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The Lindy

(Margaret has made the thesis available to the network on the condition that people who read the thesis either send (ecb@world.std.com) or her their postal address. Whatever postal addresses that get sent to me, I will forward to her (she's not on the net). She will put you on her mailing list, but all that would mean is getting an occassional flyer from her. I don't think this is a big deal since it does save people the $15.00US + $4.50p/h cost of a paper copy of the thesis. If you've already "fetched" parts of the thesis, I would appreciate it you sent either me or her your address. She'd like to make connections with people all over (not just in the US, she was in Norway a few weeks ago and will be in Tokyo, Japan in mid May). Sorry if people object to this, but it's hard to find good dance material that's also in the public domain.)

The thesis goes along with 4 videos that Margaret produced; however, the thesis does not require any of the videos to be understood and each video can stand by itself. The videos are $59.99US+$4.50p/h each and have Margaret interviewing, demonstrating steps and dancing with one partner per tape:

• Frankie Manning, Chief Choreographer of Whitey's Lindy Hoppers in the late 1930s & 1940s; winner Tony Award, for Black & Blue (2 hours)
• George Lloyd, savoy dancer of the late 1940s & 1950s. Margaret's champion partner in the 1983 Harvest Moon Ball (2 hours 20 minutes)
• Charlie Mead Jamacian born, jazz and tap dancer in Buddy Bradley shows in Europe in the 1950s (2 hours)
• Tom Lewis, Margaret's former student, is one of the best Lindy dancers in New York City (2 hours)

TABLE OF CONTENTS

• Proposal
  • Thesis Statement
  • Purpose
  • Research Methods
  • Justification
  • Conclusion
• Introduction
• Chapter I: Lindy
  • Characteristics as a Dance
    • General Forms
    • Technical Elements
  • Origins and Evolution
    • Lindy, Jitterbug, and Swing: What the Lindy Developed From and Into
  • Social History: Black Culture
    • The Lindy: African/American Cultural Phenomenon
  • Additional Notes and Conclusions
• Chapter II: Artistic Aims
  • Conclusion and Dedication
• Chapter III: Technical Essay.
• References
• Bibliography

Proposal

Thesis Statement

Dancers of today and tomorrow need to view great dancers for inspiration and to capture any steps or styling they might choose to learn. Viewing certain dancers that I know now is important to the authenticity and development of the Lindy that is currently being passed on. There is not much visually-recorded material of Lindy available for future generations to view. Only a handful of New York Lindy enthusiasts get the opportunity to view or dance with these great dancers, and an occasional viewing or dance doesn't afford one the necessary time for learning.

I want to present, on videotape, these dancers who have achieved excellence in Lindy dancing, to document the dance and the personal style and grace only they can offer. I will discuss the dance's basic form and its differences as exhibited by the various dancers' interpretations. I will discuss their personal backgrounds and influences and their attitudes toward dancing.

Purpose

In terms of contribution to society in general and those who are interested in dance, this project will provide an historical documentation of the Lindy which can be a resource for Lindy dancing done in 1988. It can be used as an inspiration to other dancers, as well as a teaching tool.

Research Methods

By choosing dance partners who span the years from the Lindy's origin to the present, and by having available to me dancers who are considered the best by many observers, I can provide a visual history and learning manual that far exceeds in scope and detail any material that is available at present. There is a need to capture the dancers' styles while they are still alive and interested in dancing. A slight problem might be that since some of these dancers are in their sixties, their styles today may be different from the earlier years, when they competed and performed. Their dancing is now so beautiful that is hard for me to be too concerned about the changes they underwent; it seem that any change must have been for the better! For historical accuracy's sake, I will discuss with them how their dancing has changed. The video can only reveal dancing in 1988, but will present a sense of history which will be evident in obvious differences in the dancing of those of different ages. Each dancer dances a different dance, yet it is all Lindy, and all of the highest quality. This is a point I want to make by doing this project, that dancing, especially Lindy, encourages personal expression and creativity. There are few rules and I'd like to explore what those rules are and look at the variety of forms that have been built upon them.

The videotape will also be a learning tool that will influence all who see it now and in the future. The way most ballroom studios teach Lindy produces sterile dancers who concentrate on the steps and fail to see the limitless possibilities for creativity in the dance. Most of the teachers do not provide a suitable example of Lindy dancing. Their teaching methods leave out the essential ingredient of improvisation. Teaching videos that I have seen duplicate this bland approach. I will attempt to provide an example for spiritual inspiration as well as to give dancers an opportunity to study the moves and stylization's that appeal to them, which they can translate into their own bodies. I will also discuss and demonstrate basic steps and elements which they can experiment with and use as tools for creating their own dance.

Conclusion

Introduction

The purpose of this thesis is to show, on tape, the best swing dancers in New York in 1988, dancing and discussing the Lindy. This will reveal something about the nature of the dance; the Lindy is a dance with as many possibilities as there are dancers who dance it. The Lindy is a social dance, a ballroom dance, but primarily a jazz dance. Because rhythm is its most essential characteristic, Lindy is called a rhythm dance. It has two basic rhythm patterns, a few basic moves, and all else is improvisation structured upon this. It has to be danced with a partner but offers a lot of room for individual expression within the partnership. Partnering, timing, lightness, flexibility, jazz feeling, and musicality are all integral parts of good Lindy dancing.

The thesis includes, aside from the videotape section, a four-part written section: thesis proposal, research chapter, artistic aims chapter, and technical essay chapter.

In the research section, I will first attempt to define the Lindy through a discussion of its characteristics as a dance. I will discuss the more general forms the Lindy is included in, "social dance," "ballroom dance," and "jazz dance." I will then discuss the technical elements which distinguish the Lindy from other dances and the characteristics that distinguish good Lindy dancing from bad. I will then describe the technical origins and evolution of the Lindy through a discussion of the dances that led up to the Lindy Hop and descended from it; and through a discussion of the terms "Lindbergh Hop," "swing," and "Jitterbug."

I will reiterate throughout my belief that the best dancing comes from the "street" or social dancers, not from dancers trained in schools for ballroom competitions. I don't feel most dance schools understand the feeling of the Lindy there are, of course, exceptions, such as John Lucchese and Teddy Kern, who are independent teachers). The Lindy originated in black dance halls and the more authentic style uses African rooted movements, connection with the earth, vertical bounce, side hip movements, and a relaxed, not rigidly-held torso. A sense of abandon and joy comes from immersing oneself in the music and its rhythm. Students should be taught authentic movement and music and then be encouraged to create their own patterns within the feeling and rhythmic structure of the dance and the music.

I will then discuss in further detail the history and social scene surrounding the Lindy and the dances immediately preceding it. I will show how the black influence on American social dance has been great, but not readily accepted by white society a whole. Each dance follows a pattern: it is introduced by black dancers, criticized and banned as shocking and immodest, then forced into acceptance by sheer popularity, public demand, possibly years later, n a watered down or modified version, one which the general public can easily learn and perform. It is then part of American culture. Jazz music and dancing began being played by segregated bands and danced in segregated dance halls, but ended up being integrated. This latter idea is still not accepted or commonly seen in some areas. The American melting pot takes years to bring two cultures together to create a third, and years more to participate together within it.

In the videotape section, I will dance the Lindy with four dance partners, the best in the world at this time (1988). They are all of different ages (one in his seventies, one in his sixties, one in his fifties, and one in his thirties), three of them are black, one is white. I will show that great dancers allow their own style to develop; even though they are dancing the same dance, keeping to the same basics, they look different.

In the artistic aims section, I will analyze my four partners' stylistic differences in relation to their different backgrounds, philosophies, and personalities.

Finally, I will discuss how I technically went about arranging the specific details of the video shoot.

The entire work is the first attempt I know of to present these dancers, or any swing dancers, with an accompanying discussion of the historical background of the dance and the dancers, plus a discussion of the technical elements of style and elements basic to the dance. It is meant to be informative, educational, entertaining, and inspiring.

included in, "social dance," "ballroom dance," and "jazz dance." I will then discuss the technical elements which distinguish the Lindy from other dances and the characteristics that distinguish good Lindy dancing from bad. I will then describe the technical origins and evolution of the Lindy through a discussion of the dances that led up to the Lindy Hop and descended from it; and through a discussion of the terms "Lindbergh Hop," "swing," and "Jitterbug."

I will reiterate throughout my belief that the best dancing comes from the "street" or social dancers, not from dancers trained in schools for ballroom competitions. I don't feel most dance schools understand the feeling of the Lindy (there are, of course, exceptions, such as John Lucchese and Teddy Kern, who are independent teachers). The Lindy originated in black dance halls and the more authentic style uses African rooted movements, connection with the earth, vertical bounce, side hip movements, and a relaxed, not rigidly-held torso. A sense of abandon and joy comes from immersing oneself in the music and its rhythm. Students should be taught authentic movement and music and then be encouraged to create their own patterns within the feeling and rhythmic structure of the dance and the music.

I will then discuss in further detail the history and social scene surrounding the Lindy and the dances immediately preceding it.

I will show how the black influence on American social dance has been great, but not readily accepted by white society as a whole. Each dance follows a pattern: it is introduced by black dancers, criticized and banned as shocking and immodest, then forced into acceptance by sheer popularity, public demand, possibly years later, in a watered down or modified version, one which the general public can easily learn and perform. It is then part of American culture. Jazz music and dancing began being played by segregated bands and danced in segregated dance halls, but ended up being integrated. This latter idea is still not accepted or commonly seen in some areas. The American melting pot takes years to bring two cultures together to create a third, and years more to participate together within it.

In the videotape section, I will dance the Lindy with four dance partners, the best in the world at this time (1988). They are all of different ages (one in his seventies, one in his sixties, one in his fifties, and one in his thirties), three of them are black, one is white. I will show that great dancers allow their own styles to develop; even though they are dancing the same dance, keeping to the same basics, they look different.

In the artistic aims section, I will analyze my four partners' stylistic difference in relation to their different backgrounds, philosophies, and personalities. Finally, I will discuss how I technically went about arranging the specific details of the video shoot.

The entire work is the first attempt I know of to present these dancers, or any swing dancers, with an accompanying discussion of the historical background of the dance and the dancers, plus a discussion of the technical element of style and elements basic to the dance. It is meant to be informative, educational, entertaining, and inspiring.

Chapter I: Lindy

Chapter II: Artistic Aims

Chapter III: Technical Essay

     1 The Round Dance Book, 1950, cited by Ray Walker,
Let's Talk Jitterbug, Information and Education Release from
the U.S. Swing Dance Council, 6B39 North 14th Street,
Phoenix, Ariz., 1987, p. 1.

     2 Richard M. Stephenson and Joseph Iaccarino, The
Complete Book of Ballroom Dancing (New York:  Doubleday &
Co., 1980), p. 4.

     3 Ray Walker, Let's Talk Jitterbug, Information and
Education Release from the U.S. Swing Dance Council, 6839
North 14th Street, Phoenix, Ariz., 1987, p. 2.

     4 Robert P. Crease, "The Lindy Lives!",  50 Plus, Vol.
28, No. 3 (March 1988), p. 38.

     5 Robert P. Crease, "Swing Story," The Atlantic, Vol.
257, No. 2 (February 1986), p. BO.

     6 Marshall and Jean Stearns, Jazz Dance-  The Story of
the American Vernacular Dance New York:  Macmillan
Publishing Co., Inc., 1964, pp. 315-316.

     7 Dorothea Duryea Ohl, Dance Magazine, Vol. 30, No. 11
(November 1956), pp. 90-92.

     8 Stearns, op. clt., p. 323.

     9 Ibid., p. 128.

     10 Ibid., p. 108.

     11 After Seben, Paramount, May 17, 1929.

     12 Richard Powers, personal interview, New Haven,
September 30, 1987.

     13 Brian Gillie, personal interview, Guilford, Conn.,
October 26, 1987.

     14 Powers, op. cit.

     15 Stearns, op. cit., p. 329.

     16 Cynthia Millman, The Roving Reporter Asks:  Jitterbug-
bug, Lindy Hop, Swing:  What's the Difference?", Footnotes,
ed. Gabby Winkel, Vol. 2, No. 3 (July-September 1987), p. 3.

     17 Ibid.
     18 Ibid.
     19 Walker, op. cit.
     20 "Hey Jitterbug!", S.O.S. Carefree Times, Box 8343,
        Richmond, Va. 23226, Mid-Winter 1988, p. 4.

     21 Craig R. Hutchinson, Swing America, 1520 Anderson
        Ct., Alexandria, Va., 22312, 13 August 1986.

     22 Frank Manning, personal interview, New  York,
        January 27, 1988.

     23 Anatole Chuoy and P. W. Manchester, The Dance Encyclopedia-
        (New York:  Simon and Schuster, 1967), p. 503.

     24 Anne Barzel, "History of Social Dancing," in The
        Dance Encyclopedia, comp. Anatole Cluoy and P. W. Manches-
        ter (New York:  Simon and Schuster, 1967), p. B42.

     25 Lynne Emery, Black Dance in the United States from
        1916 to 1970 (New York:  Dance Horizon, 1980), p. vii.

     26 Russella Brandman, "The Evolution of Jazz Dance
        from Folk Origins to Concert Stage" (Ph.D. dissertation,
        Florida State University College of Education, June 1977),
        p. 10.

     27 Ibid., p. 112.
     28 Stearns, op. cit., p. 110.
     29 Brandman, op. cit., p. 110.
     3! Ibid., p. 112.
     31 Brenda Dixon-Stowell, "Black Dance America:  Historical-
        Roots," paper presented at Dance Black America confer-
        conference, Brooklyn Academy of Music and the State University of
        New York, April 21-24, 1983, p. 13.

     32 Emery, op. cit., p. 220.
     33 Ibid.
     34 Ibid.
     35 Ibid., p. 221.
     36 Ibid.
     37 Ibid.
     38 Ibid.
     39 Ibid.
     40 Dixon-Stowell, op. cit., p. 13.
     41 Stearns, op. cit., p. 96.
     42 Sylvia Dannett and Frank Rachel, Down Memory Lane
        (New York:  Greenberg Publishers, 1954), p. 75.

     43 Brandman, op. cit., p. 115.

     44 Vernon and Irene Castle, Modern Dancing (New York:
        Harper and Bros., 1914, p. 177.

     45 Ibid.
     46 Stearns, op. cit., p. 97.
     47 Dixon-Stowell, p. 13.
     48 Stearns, op. cit., p. 110.
     49 Ibid.
     50 Ibid., p. 318.
     51 Ibid.
     52 Ibid.
     53 Ibid.
     54 Ibid., p. 320.
     55 Brandman, op. cit., p. 124.
     56 Stearns, op. cit., p. 329.
     57 Crease, "Swing Story," p. 78.
     58 Ibid.
     59 Ibid.
     60 Norma Miller, "The Home of Happy Feet:  A Salute to the Savoy
        Ballroom," unpublished paper, New York, 1986, p. 2.
     61 Ibid.
     62 Crease, "Swing Story," p. 78.
     63 Ibid.
     64 Ibid.
     65 Emery, op. cit., p. 235.

Bibliography

Barzel, Anne.  "History of Social Dancing."  In The Dance
     Encyclopedia, comp. Anatole Chuoy and P. W. Manchester.
     New York:  Simon and Schuster, 1967.

Brandman, Russella.  "The Evolution of Jazz Dance from
     Folk Origins to Concert Stage."  Ph.D. dissertation,
     Florida State University College of Education, June,
     1977.

Castle, Vernon and Irene.  Modern Dancing.  New York:
     Harper and Bros., 1914.

Chuoy, Anatole, and P. W. Manchester.  The Dance Encyclopedia.
     New York:  Simon and Schuster, 1967.

CreaQe, Robert P.  "The Lindy Lives!"  50 Plus, Vol. 28,
     No. 3 (March 1988).

        .  "Swing Story.ll The Atlantic, Vol. 2S7, No. 2
     (February 1986).

Dannett, Sylvia, and Frank Rachel.  Down Memory Lane.  New
     York:  Greenberg Publisher, 1954.

Dixon-Stowell, Brenda.  "Black Dance America:  Historical
     Roots."  Paper presented at Dance Black America conference,
     Brooklyn Academy of Music and the State University
     of New York, Aprll 21-24, 1983.

mery, Lynne.  Black Dance in the United States from 1916 to
     1970.  New York:  Dance Horizons, 1980.

Enelbrecht, Barbara.  "Swlnging at the Savoy.n Dance
     Research Journal, 152, Congrcss on Research in Dance,
     Sprlng 1983.

Glllle, Brlan.  Personal lntervlew.  Gullford, Conn.,
     October 26, 987.

"Hey Jltterbug!" S.O.S. Carefree Tlmes, Box 8343, Rlchmond,
     Va. 23226, Mid-Wlnter 1988, p. 4.

Hutchinson, Craig R.  Swing America.  1520 Anderson Ct.,
     Alexandra, Va., 22312, 13 Augut 1986.

Bieberson, Richard.  Personal lnterview.  New York, Auu
     1986.

Manning, Frank.  PerRonal intervlew.  New York, January 27,
     1988.

Miller, Norma.  "The Home of Happy Feet:  A Salute to the
     Savoy Ballroom.n Unpublished paper, New York, 1986.

Millman, Cynthia.  "The Rovng Reporter Asks:  Jitterbug,
     Lindy Hop, Swing:  What's the Difference?"  Footnotes,
     ed. Gabby Winkel, Vol. 2, No. 3 (July-September 1987),
     p. 3.

Ohl, Dorothea Duryea.  Dance Magazine, Vol. 30, No. 11
     (November 1956), pp. 90-92.

Schoenberg, oren (formerly with Benny Goodman).  Personal
     interview.  New York, July 1986.

Stearns, Marshall and Jean.  Jazz Dance:  The StorY of the
     American Vernacular Dance.  ew York:  Macmillan
     Publishing Co., Inc., 1964.

Stephenson, Richard M., and Joseph Iaccarino.  The Complete
     Book of Ballroom Dancina.  New York:  Doubleday  Co.,
     1980.

Walker, Ray.  Let's Talk Jitterbug, Information and
     Education Release from the U.S. Swing Dance Council,
     6839 North 14th Street, Phoenix, Ariz., 1987.



                    Additional Sources

Bennett, Richard.  A Picture of the Twenties.  London:
     Vita Boos, 1961.

Blalr, Skippy.  Disco to Tango and Back.  Downey, Callf.:
     Golden State Teachers' Asociation, 1978.

Butler, Albert and Josephine.  EncYcloPedia of Social Dance.
     New York:  Albert Butlcr Ballroom Dance, 1980.

Clarke, John Henrik.  Harlem:  A CommunitY in Transltion.
     New York:  Cltadel Prcs, 196.

Dance, Stanley.  The World of Swing.  New York:  Charles
     Scribner' Sons, 1974.

De Mille, Agnes.  America Dances.  New York:  Macmillan
     Publishing Co., Inc., 1980.

Finkelstein, Sidney.  Jazz:  A PeoPle's Music. New York:
     Citadel Press, 1948.

Fonteyn, Margot.  The Maaic of Dance.  New York:  Alfred A.
     Knopf, 1979.

Frank, A. H.  Social Dance.  London:  Routledge & Regan
     Paul, 1963.

Harris, Jane.  Handbook of Folk. Sauare and Social Dance.
     Mlnnesota, Burges Publishing Co., 1950.

Heaton, Alma.  Techniaues of Teachin Ballroom Dance.
     Provo, Utah:  Brigham Young University Press, 1974.

Holliday, William.  "Shagging."  Myrtle Beach, Spring, 1986.

Hostetler, Lawrence A.  The Art of Social Dancina.  New
     York:   A. S. Barne & Co., 1934.

Humphrey, Doris.  The Art of Making Dances.  New York:
     Grove Press, Inc., 1959.

Levy, Steven.  "Shag Dancing & Sop Popping."  Rolling Stone,
     September 39, 1982.

McDonough, Don.  Dance Fever.  New York:  Random House,
     Inc., 1979.

Nettl, Paul.  The Storv of Dance Music.  New York:  reen
     wood Press, 1947.

Rust, Francis.  Dance in Society.  London:  Routledge &
     egan Paul, 1969.

Williams, Martin.  The Jazz Tradition.  New York:  Oxford
     University Prcss, 1983.



                       Visual Works
A Dav at the Races, with the Marx Brothers.  MGM, 1937.
Eve on Dance.  ARC vldeodance, NYCTV.  New York 1985.
HellzaDoDDin'. Universal, 1941.
The Savo Ballroom of Harlem.  Dlr. Mura Dehn.  New York,
     1950.

Shaa.  Dir. Rick Sebak.  South Carolina Educational 
Television Network, 1985.

The Sirit Moves.  Dir. Mura Dehn.  New York, 1950.
Various films from the collection of Ernie Smlth.
Varous films from the collection of the Schomberg Library,
     and the Performance Library at Llncoln Center.



                        Interviews

Dancers
Tom Lewis
eorge Lloyd
Joseph Maslln, teacher, Colorado
Harold Charles Meade


Musicians and Musicologists
Bryant Dupree, of the Swing Now Trio
Richard Lieberson
ndre Lubart
Bevln Manon, faculty, Berkeley School of Music, Boston

Tiny Moore, formerly with Bob Wllls

And to my other dance partners: John Clifford Wise, Gary Kirmayer, Mlchael Chambers, Roger Weiss, Lrry Michol, Dean Moss, Mark Hollis, and Carl McGowan, all from City imits; Gll Toro, Jerry Goralnick, Frank Werber, Al eagins, Calvln Johnson, Judy Pritchett, Susan Hoffman, Steve Oppenheim, and Blll aasters, from the New York Swing Dance Soclety.

And all my students, and all the members of the New York Swing Dance Soclety.

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