Concerns about 'gatekeeping'

I love Lindy hop and I love the Lindy hop community.

Both have brought me so much joy since I first discovered this amazing dance a few years ago, but I have become increasingly saddened by some of the comments I read online and occasionally hear.

Every so often someone shares a video or something else that brought joy to them and they want to share it with everyone else. Or maybe they just bought their first vintage outfit and tonight is its social debut. Perhaps they asked someone else after class “…who is Frankie Manning?” Or maybe they requested that the DJ play Elvis or Sinatra.

If someone is not yet versed in all of the intricacies of Lindy hop or swing dancing history, or Swing Era music, or the fashion trends of the 1920s-50s, it is possible that they may overlook a detail or two. One of the benefits of a community is that is offers the opportunity to educate and to be educated - I have learnt a lot from reading things written or shared by others better versed than I am, and by listening to more experienced dancers share a little about the history of the dance I love.

But there is a way to inform and share opinions that does not involve scoffing, being patronising or just being rude. A current McDonald’s advert illustrates this perfectly.

I came to Lindy hop through listening to Buddy Holly, Frank Sinatra and electroswing; by watching the dancing in Grease; and, though not directly related, by thinking I should have been a greaser. I know now that none of those things shares much (if anything) with the Swing Era or the birth of Lindy hop, but that is the path I took and I imagine there may be others who were not born into Count Basie, Frankie Manning and swing outs.

I know that I am going in hard on the Lindy hop community, here. I have commented before that self-styled ‘purists’ exist in all dances and walks of life, but sadly the greater something's provenance the louder the snobs. Within Lindy hop I am very grateful that the people I am aiming this post at are very much in the minority. But as they are often some of the more experienced and vocal within our community, they stand to do it the biggest damage due to the status they are afforded.

Frankie stated that he and his fellow Lindy hop pioneers were subjected to dismissive and pejorative statements from event organisers, agents, and other dancers who all viewed Lindy hop with utter disdain throughout its early years. Frankie’s goal was to elevate Lindy hop into the global dance pantheon alongside ballroom and ballet, and he and others had to fight against all forms of discrimination to achieve that.

Furthermore, and based upon the hard work of Frankie and others, the Lindy hop community has developed a reputation for its inclusivity and progressive stance on a number of important (social) issues. So, to hear or read sanctimonious comments from within our community mocking the authenticity in someone’s outfit or music choices, the accuracy of their terminology or historical knowledge, or even just their dancing aesthetic – especially if that someone is at a much earlier stage of their Lindy hop adventure – saddens and sometimes enrages me.

It is antithetical to inclusivity.

I understand that in order for Lindy hop to be recognisably preserved then a curriculum of sorts must extend beyond teaching footwork and technique. There is much to learn about swing dancing, the Swing Era, and the many figures who feature prominently, and much of it is objective, historical fact that is not subject to differences of opinion.

Everyone could do with learning a little more, and some more than others. But, as with all learning, I have always found that positive feedback keeps me hungrier than negative feedback. I know that my students agree, and I am fairly certain that others would too. 

Nearly everyone I have met in the Lindy hop community has been kind, warm, and overflowing with a passion for their dance and for those who share it with them. Do not be the exception.

the Swing Slate refresh

A few folk had noticed that the look of my blog had changed but a few more were briefly confused if they had ended up on a completely different page altogether, so this is just a quick public service announcement to confirm those suspicions: the Swing Slate has been redesigned.

As to why - that is due to one reason in particular.

For my previous background I had made a montage of photos of the dancers who have had an influence on me and how I (hope I) dance. Some had influenced me directly through classes and workshops, some indirectly via videos online, and in the case of a few significant others it was my way of paying homage to historical figures who have played such a key role in establishing the dances that I love.

But recently, a couple of dancers on my background were identified as the subjects of a string of allegations and I certainly do not wish to lionise any such individuals so I thought it best to change things up. And I'd also like to apologise to anyone who may have been offended by the presence of those individuals on my background while it was up.

For my redesign I also thought I would give a bit of a nod to the music genre and era that I love above all else: Rock & Roll and the 1950s.

Adroitly this also allows me to side-step the issue of picking sides between a 1930-40s aesthetic that might be more reminiscent of the original Lindy hop generation, and a more contemporary theme to celebrate my other love of west coast swing.

So before any swing-era purists or WCS aficionados point fingers querying my blog allegiances, know that I am sitting squarely on the fence!

Interestingly, when I was doing a bit of research on period-authenticity I disappeared off down the wikipedia rabbit hole and found articles on gramophones/phonographs, microphones and all sorts of things that I may share later (e.g. the gramophone logo I had been using previously, had been modelled on the iconic Victor V and, like many gramophones, would have been extinct long before the swing era!).

Finally, if anyone finds any bugs or issues with my new site please let me know and I shall try to fix them as soon as I can!

Thanks!

dance faces

sometimes photos can be less than complimentary

We all have them, they can sometimes reveal what we're actually like to dance with, and as the photo above shows we can absolutely guarantee that our worst ones have been caught on camera.

It's very rare to find someone that holds exactly the same expression throughout a dance or, for that matter, throughout their dancing life, but generally there are a number of default dance faces that are most commonly seen on a dance floor. Males and females alike.

McDonald's Eyebrows - the beginner's giveaway, the look of fear may be obvious or only nuanced but it is almost always accompanied by a well arched 'brow. Commonly an indicator of a first social dance but generally just suggests a lack of confidence. The altitude of the eyebrows is directly correlated with experience and, much like the balls of a pubescent boy, they drop with time.

Shy Guy - it doesn't matter how incredible some dancers may be, they inconceivably still lack confidence. Their extravagant solo flourishes are as rare as their eye contact but that doesn't mean they aren't 100% focused on you or incapable of giving you the best dance of your night. Ephemeral glances and simpers are worth a fortune and they're always gracious. (geek points if the name reminded you of these chaps)

Sexyface - these folk crack me up. There's usually a subtle duck-face vibe with the lips slightly pouted, and eye contact is either sporadic or constant but always intense and invokes Lauren Bacall at her coyest. Sometimes this actually looks demure but more often than not they're trying so hard to smoulder it looks like they've just awoken from a stupor sucking lemon rind. Fairly uncommon in the Lindy hop community but slightly more prevalent in west coast swing and salsa/Latin circles.

Monolith - when I say their faces appear hewn from stone I'm not celebrating a flawless bone structure but instead suggesting that they resemble the expressionless Moai of Easter Island. It's not immediately clear why they dance as they don't appear to enjoy it or to be peacocking for a mate, but yet they still get up for as many dances as the next guy. Sometimes the default dance face of pros who are social dancing out of obligation or self-promotion rather than desire.

Smilers - completely self-explanatory, these folk just exude joy for their dancing, their partner, the music, life in general. Without question, smilers are the most fun to dance with because they offer the simplest and most satisfying form of feedback you can get during a dance. Even if they smile at everyone for the entirety of the night, and not just because you did something awesome, a smile across the face of a partner is a confidence builder that never fails to put a spring in my step. I love these guys and thankfully they are the most abundant!

Divas - immeasurably worse than sexy face and the pure embodiment of pretension. You're not good enough, not hot enough or simply not French enough (I once danced with a girl who infamously only 'turns it on' for the Gauls). Although the sexyface types may not always offer eye contact they at least focus on you, but the divas would rather look beyond and around for someone more befitting of their status to rescue them from boredom - despite the fact that divas are almost always only barely above average dancers. A rare species but sadly not yet extinct and demonstrating a frustrating penchant for survival in every dance habitat.

Eye Contact Max - sometimes this is just a cultural thing (I've found it to be especially common with Central and Eastern Europeans) and sometimes the face can be otherwise entirely neutral but holy good heck: these people!! As someone brought up in a culture where staring is discouraged, to find yourself the sole object of another's fixation for a few minutes can wreak all manner of mischief within. I appreciate that paying attention to your partner can improve the connection and therefore the dance, but to the inexperienced social dancer unaware of these cultural nuances, having someone stare at you for an entire song triggers intense inner monologue:

"Is there something on my chin?"
"What's wrong with my hair?"
"I think she likes me!"
"...no, no, I think she's angry!"
"Did... did I mess that up?"
"Has she fallen asleep on her feet? Hellooooooo?"
"She... she is staring... into my Soul!!"

Game Face - comparatively inexpressive from the eyes down but the eyes themselves are completely alive. Sometimes the tongue protrudes from between the lips or pokes against the inside of the cheek with the mouth slightly open; demonstrating supreme concentration. They are utterly focused on their partner, the floor, and the space around them. Also most likely to be accused of staring at their partner's décolletage but, chances are, they're just so focused upon the movement of their partner's core and so lost in the moment that they're entirely oblivious to how said core is furnished.

☺

And additional to the list above there are also a few 'occasional' faces that appear during those special moments where further expression is required:

Whoops! - it's like McDonald's Eyebrows but the whites of the eyes are more prominent and the chin is frantically attempting to recede into the neck. Most commonly occurs after an errant kick-step, flailing arm or accidental inappropriate hand placement. If they've also got flaming red hair then there is an obvious and unfortunate comparison.

'Daheckuat?! - this expression can flash across the face of even the calmest of dancers irrespective of ability or affability, but simply implies that they have no idea what their partner is attempting. There may be fear involved, it could be contempt, but if the eyebrows and the lips simultaneously make a lunge for the nose it's because they're asking the person opposite "what the heck are you at?!"

Nailed it - it doesn't have to be a super advanced move or pattern, just one that three minutes ago you thought was beyond you, but that don't matter: you just owned it. Maybe your entire dance was on point, but you're far too cool to smile: eyebrows high but eyelids low, rest of face impassive. If this was a movie, you'd be calmly swaggering towards the camera while stuff explodes in the background.

Derp - never actually apparent on the dancefloor but very obvious when the photos hit social media. Some people (myself included) are capable of some of the most ridiculous facial contortions: eyes focused on opposite walls, forehead and neck trying to out-crease each other, all framed between inverted jazz hands while trying to bite my own ear. So hawt.

And I'm willing to bet at least a couple of you attempted to recreate some of these descriptions while reading!

swing slate 7: tips for beginners

seven simple swing tips

In my last post I mentioned some of the fears that beginners may face at their first socials so here are a few tips that I hope will help ease the nerves! 

• skip the first half of the song • a simple solution for anyone new to the social dancing scene who's worried that the repetition of the limited moves they know will bore their partner is to wait until the song is about halfway through and then ask someone for a dance as this way it's unlikely the repetition will be obvious. I used this a lot when I started out and it really helped build my confidence.

• don't be afraid to repeat those basics • there's not actually anything wrong with going over the same basic moves again and again - practice makes perfect is a cliché for a reason, but the idea that practice also makes permanent is incredibly true. I have watched professionals dance to an entire song genuinely using only the three or four fundamental moves you learn in your first few classes and it looked phenomenal, so if you can make those moves second nature you're home and hosed.

• do they smile? • before you rush towards someone to ask for a dance have a look to see if they smile when they're dancing with others. This sounds seriously cheesy but it doesn't matter what level you are at: if your partner doesn't smile at all when you feel like you are having fun and pulling your best stuff it can be very disheartening and especially if you've not yet got confidence in yourself. So look for the ones that always have a grin ear to ear when they dance and when you partner up with them you'll feed off their energy.

• dance to songs you know well • this is a great way to take the edge off because if you know the song inside out you'll probably be able to relax a lot more and you'll be more able to feel out the rhythm without having to listen to it intently, mentally repeating "one, two, three-a-four...", BUT, and best of all, dancing to a song you know and love is one of the simple pleasures of swing dancing!

• I ask to dance, not to sex • this might sound a tad ridiculous but for most people the only other environment where people go out to dance is a nightclub where the intentions behind approaching a stranger in a dimly lit room do not always have the noble intentions of dancing/conversation as the end-goal. When you go to a swing social dance, however, the atmosphere (and lighting!) is completely different. I'm speaking mainly as a bloke, here, but it took me a while to get used to the idea that I could saunter up to a girl to ask for a dance without fearing her presumptuous rebuttal. I should say that I'm not so naive as to think that more 'adventurous' thoughts beyond a swing dance don't occur to a few (and as a good middle-ground for that there is blues dancing or kizomba) but beginners should know that you can confidently walk towards a potential dance partner projecting only good intentions.

• experienced dancers don't bite • I've mentioned before that experienced dancers should do their bit to get beginners up and going but I also really want to encourage new folk to ask the seasoned swingers - they were in your position once, will likely say yes, and you'll probably learn more in a few dances than you did in a few weeks whilst looking pretty flash at the same time! You can also use this opportunity to help out your more nervous friends by asking the experienced dancer to get one of them up.

and finally... • have a chat with the person first • it's called social dancing for a reason! Go over to someone, introduce yourself and just get chatting! You are both there for your mutual love of swing dancing so you can ask for tips, how they got into it, how long they've been doing it etc. whatever you want and if that other person has any sense then they'll get the hint and ask you for a dance - and if you time your conversation right it combines nicely with tip #1!

grab a newbie

new guy new fear

In the time I've been dancing, few things have yet to top the terror of my first few social events.

Classes can be intimidating for anyone starting out but at least you are surrounded by others at your level, all being told exactly what to do and with each move repeated until it starts to stick, but socials are a different beast entirely.

It would be great to be able to plug away at classes until you have everything completely nailed and then strut out onto your first dancefloor as a finished product, but as anyone with even just a few events under their belt will stress: it's social dancing where you really learn, especially if that's with someone who knows their swing onions.

That said, one of the subtler caveats of partner dancing is that it requires a partner and plucking up the courage to acquire one when you're the new guy/girl can be a tad scary; especially when you've probably done what most new dancers do at socials - sit and watch for the first while thinking you just want to take it all in before getting up but in fact all you're doing is building up a subconscious fear you're seriously out of your depth.

For those of great testicular fortitude maybe nothing phases you and you're quite content to bounce up to the local pros on your spacehopper-sized balls (or the equivalent female metaphor) and prepare to blow them away with the best basic steps ever performed. But, for everyone else, other than dancing with classmates you're probably not going to get an opportunity to partner up with some of the more experienced dancers unless you're asked.

It's easy to say that beginners should just step out of their comfort zone and ask but I think it is much more important for the more experienced dancers to remember that they were in the same position once and to make a point of getting the new guy or girl up for a swing.

I feel incredibly strongly about this and it's probably due in part to a bad experience I had had one night at a social early on in my (now defunct) salsa career when I approached a girl for a dance who, after taking a moment to look me up and down, gave me a flat "no". After a brief pause I went to the next girl who told me she was taking a break and wasn't dancing to this song... but as soon as I stepped away she was up with the next guy that asked her.

That wasn't the end of my night, I know I had a few more dances before I left and if you can believe me I genuinely don't keep it as a chip on my shoulder but two rejections in quick succession really burnt and, going beyond making sure I never refuse a dance, I make sure to ask the quiet ones in the corners or the person hovering with intent near the edge of the dancefloor who knows no one there and barely knows the steps but is already infected by the fun of swing and is raring to give it a rip.

I'm hardly alone on this as I know plenty of others do the same but it's still worth highlighting for the sake of the rest that don't and who risk looking like an elitist clique. I've said before, and I will never tire of repeating, just how wonderful the people in swing are and I guarantee that if any of these more experienced dancers are asked 99% will say yes, but I do think a greater onus should be on them to actually initiate the dance in the first place.

This also doesn't just apply to the swing bourgeoisie but to anyone who knows they've been dancing longer than the other person sat there tapping their foot in anticipation - even if you have only been learning for a few months and are far short of where you want to be, ask up the girl or guy that you know has probably only been to about three classes and just have fun. Not only will it help your own progress and confidence but it will make you feel like a rockstar and the positive effect you will have on that beginner is priceless.

We've all been that beginner so pay it forward and go grab a newbie.

the swing bat-signal

An artist's interpretation of a 'Swing Bat-Signal' over Belfast

I was out in Glasgow over the weekend for a friend's birthday and we ended up in a place called Drury Street Bar & Kitchen - cunningly enough, on Drury Street.

It was a great venue and it also had great music; but that was a serious problem.

For the first hour or so there was an ace little live swing band and they were followed by a great DJ set but there wasn't a swinger in sight and, like a kid standing at the window of a locked toy store, I stood and imagined all the fun that was there to be had but was tantalisingly out of reach.

I got a few of my more eager friends up and attempted to teach them some basic Charleston but although they gave it their best shot, understandably no one wants to learn to dance in the full glare of the public, so that came to nothing. I also approached a few random strangers who I thought were giving out the international signal for swing dancer by tapping their feet along to lindy hop music on two but, alas, it too was nothing but smoke and mirrors.

This has also been a regular problem at weddings.

One of the things I got really excited about, after taking up dancing, was thinking about being able to go to large social gatherings such as wedding receptions and being able to dance without resembling that uncle we all have who refuses to conform to societal or rhythmical norms.

No such luck.

Invariably the music is great, whether lindy hop or west coast swing appropriate, and each time a great song comes on I scour the function room looking for some syncopated body movement but each time the search is fruitless. What is worse is that, now that my friends know how fond I am of swing dancing, they expect greatness on the dancefloor. Try as I might, however, I have yet to make a partner dance look anything other than completely daft when performed solo.

It's possible that doing a couple of rapid two-handed sugar pushes at the right moments to Donna Summer's Hot Stuff might just about work for anyone wanting to recreate the most famous scene from The Full Monty but otherwise you really need a partner.

In fact, I have a wedding coming up in December when I know the music is guaranteed to be good so as a precaution I have invited my regular dance partner as my +1 just to be on the safe side!

That said, it would be great if there was a universal signal or motif you could wear to such things to try to root out other dancers without having to ask everyone the same question. A special handshake, or an app that makes your phone vibrate when you're within range of a another swing dancer, or, best of all, put out a great big Commissioner Gordon-style bat signal and hope for the best.