Lindy Hop as Thoroughly Vernacular

I’m reading Sam Carroll’s thesis paper and came across the following (emphasis mine):
”Both Jackson and Malone draw on Ralph Ellison’s definition of African American vernacular dance, quoting the following passage from Going to the Territory:

‘I see the vernacular as a dynamic process in which the most refined styles from the past are continually merged with the play-it-by-eye-and-by-ear improvisations from which we invent in our efforts to control our environment and entertain ourselves. And this not only in language and literature, but in architecture and cuisine, in music, costume, and dance, and in tools and technology. In it the styles and techniques of the past are adjusted to the needs of the present, and in its integrative action the high styles of the past are democratized… Wherever we find the vernacular process operating we also find individuals who act as transmitters between it and earlier styles, tastes, and techniques. In the United States all social barriers are vulnerable to cultural styles (Ellison 139 – 41).’”

This is helping me now reconcile my complicated feelings toward labeling Lindy Hop as a vintage dance which Amy Johnson brought to the forefront last year when marketing for Ultimate Lindy Hop Showdown in New Orleans. Here is now a smattering of thoughts from me and others as it relates to Lindy Hop as a traditional dance - “traditional meaning, something that is rooted in tradition, but wholly alive. Of the now, but with some of the old ways preserved in order to connect it to the culture from which it came.”:

• Notes from a conversation with Gaby Cook about the ideas behind Sw!ng Out and you can learn more through this NY Times article - Swingout! is a modern anthopological exhibition about how swing dancing is a form of humanity. Wants to be a display of swing dance in modern bodies/modern clothes and doing things that feel true to the dancers' bodies.

• As dancers we are asked to bring ourselves into the dance including our entire lived-in experience. Teachers ought to be asking students to explore their range of personal movement while social dancing inside or outside class while avoiding asking them to re-enact the teachers’ exact movement because Lindy Hop is real now and not just the past.

• From my experience selling and wearing vintage clothing, vintage was always something plucked from a fixed time period. Lindy Hop, as any vernacular dance, is mutable as seen in Moncell Durden’s documentary, Everything Remains Raw, and continuously spans multiple generations. It seems this could play into the revival myth that places white saviorism and dance colonialism in the midst of Black stories that featured Lindy Hop as ongoing community dance practice.

• Vintage also communicates very differently between Black/BIPOC and white communities. The idea of vintage can also play into the idea of time travel to an era when Black communities dealt with Jim Crow laws, segregation, and much much more which Grey Armstrong tackles here.

• From a marketing standpoint, I want to appeal to wide demographics and want potential students to see themselves learning and dancing Lindy Hop. Vintage can be a barrier to entry as people might not want to dress vintage, do a dance that seems to be a reproduction, or do something deemed out-of-fashion.

• If you were to look at comparable dances including blues, salsa, argentine tango, you’ll rarely if ever find them branding their dances as vintage though some have as long if not longer lineage than Lindy Hop. Again, why does Lindy Hop and its dance peers get the vintage treatment? One theory posits that by labeling a dance as being in the past or even “dead,” one can preserve and do with it as they see fit, therefore separating it from its originating culture.

Overall, I see this as a complicated subject and still want to include people where vintage plays a large role in their lifestyle. I do think labeling swing dances and music as vintage keeps them in the past while new swing content continues to be produced by both dancers and bands. To paraphrase what Rachael Pitner once wrote - To limit Lindy Hop being a “vintage” dance likely sterilizes it and hurts the art form.

Using Technology to Amplify Vernacular Dances Origins

Noted Black historian and dancer, Moncell Durden, asked in a presentation entitled "Rooting Uprooted" at The International Conference and Festival of Blacks in Dance - “what is being taught through the media?” and later saying “Once you find out where they {Black social dances] originated from you find out the meaning and why it's called what it's called but technology misses that.”

This made us immediately reflect on how we broadcast what we do online and what others do. For example, iLindy has this statement accompanying each of their social media posts on Instagram and Facebook: ”Swing Dancing is an African-American creative art, built on African-American dance values. These roots and values deserve to be reflected in our communities, to respect the spirit of the dance, and make it an inclusive space for people of color.” How they explicitly center swing dancing as an African-American dance form is fantastic to see!

Fifth Element Dance in Aurora writes “Jazz dance originated from Black communities in the late 1800s & 1900s. It combines performance with social & cultural dances that were emerging at the time of its development.” under the Jazz class description.

Katrina Rogers, owner of Move With Ease and a Blues dance instructor, writes “Embark on an immersive exploration of Blues Dance, a captivating and soulful form of black vernacular dance that transcends time and resonates with the heartbeat of cultural expression. Rooted in African American history, Blues Dance embodies the rich tapestry of emotions, stories, and experiences woven into the fabric of the blues music genre.” for her Beginner Blues series in the Facebook and Meetup events.

Others bundle Jitterbug and East Coast Swing as Vintage Swing Era Jazz Dances, offer that East Coast Swing “were originally developed side by side with vintage Jazz music”, or write that Lindy Hop is interchangeable with Jitterbug. Why do we need to couch Black dance in terms associated with whiteness? As Moncell also says and I paraphrase - “Your identity is attached to it and that's a disruption” which, if it holds true to me and my dance history, is likely true for other current organizers where they themselves and their own mentors are and were not steeped in swing dances’ origins or they purposefully avoid explicitly sharing the Black origins online.

We’re at the point when organizers occupying space within the Black social dance community ought to be using the names Black creators gave their social dances, stop using names that purposefully erased Blackness (jitterbug and east coast swing) and seek opportunities to share that these are Black social dances online and offline. And since we’re still in a time where whiteness is the default, it’s important to expressly state Lindy Hop is a Black (vernacular/social) dance. Stating it’s a dance born in Harlem, NY isn’t enough when the overall Black population is down to 44% in that neighborhood and people lack education around the Great Migration and Harlem Renaiisance.

Let’s use the technology available to us to amplify the origins of the vernacular dances we love so much rather than featuring them without origins.

Social Dances Have Names

Some of the shortest statements are the most impactful ones. When Taylor Madgett at Dance Dance Evolution firmly stated “Black social dances have names” at the beginning of her class when she was contrasting Black social dances with studio dance, it lodged into my brain. Much like - “The term vernacular refers to dance performed to the rhythms of African American music: dance that makes those rhythms visible.” from Steppin' on the Blues - this statement has become a touchstone for my teaching and teacher instruction, most recently being shared during our Little Man Ice Cream Swingin’ Under the Stars teacher training.

As my co-instructor pointed out during the teacher training, we both get a little irked when we see local swing dance schools continue to teach East Coast Swing and Jitterbug classes. As another school’s instructor shared when asked what a Jitterbug lesson was - “It was east coast. I asked why it was called a Jitterbug lesson and he said because it is very beginner swing dance. And the most important descriptor that stood out to me was that [name redacted] said that it’s very white. Like the most white. That it’s up pulse instead of down in the ground like lindy hop.”

"Nowadays if you say Lindy Hop there are very few people who know the word. You know you say Lindy Hop and they just look at you you know. What is that? And then you say uh jitterbug and their face light up because they have heard Jitterbug for so long till they think that's what it is." - Frankie Manning in Swingin' at the Savoy: The Frankie Manning Story.

“But why then, when I took dance classes in school, was I not told that Lindy Hop came from the Black community?“

This separation (Jitterbug = beginner swing dance) and centering in whiteness does more harm than good within our vernacular dance community. Lindy Hop is easy to learn, difficult to master. However, thanks to particular instructors and swing schools, we have many people that think Lindy Hop is hard, fast, too athletic because we have this “different dance” over here that is an appropriated commodified version of Lindy Hop further distilled (“tamed”) from what Arthur Murray originally did. I was in the thick of it in the 1990s and know why Jitterbug happened. It’s surprising JItterbug’s legacy has lasted this long since neo-swing crumpled and Jitterbug is attached to my parents’ and grandparents’ generation. As Gaby Cook wrote here, “Language like ‘East Coast Swing’ belongs to the practice of white people siphoning black innovation and repackaging it as a ‘safe’ white cultural product.”

From one swing dance school’s website

"The key elements are the implications that the jitterbug was a dance that was out of control, whereas the Lindy Hop was indeed a theatrical performance, one that Martins attests that "of all the ballroom dances these prying eyes have seen, this is unquestionably the finest; but let the white man attempt it at his peril." - The Oxford Handbook of Dance and Theater.

The other reasons that Jitterbug and East Coast Swing lessons are still pervasive with schools that teach Lindy Hop and other vernacular dance styles are likely marketability, white comfort, organizers resistant to the work involved when evolving, holdovers from the late 1990s neo-swing era, and whitewashing of Black history.

If we are to be better guests in Black social dancing’s house and, rather than be cultural appropriators, be cultural surrogates as defined by LaTasha Barnes, then changes need to be made.

• Swing dance schools ought to stop branding Lindy Hop classes as East Coast Swing and Jitterbug. Since Lindy Hop comprises of many different visible-on-the-dance-floor rhythms, teachers should be comfortable teaching and dancing a variety of rhythm patterns including step, step, rock step while folding it into vernacular dance values like call-and-response, improvisation, the aesthetic of cool, etc. Let’s start avoiding the neo-swing era with its further appropriation and commodification of Lindy Hop now.

• When renaming your class “Lindy Hop Taster” or “Level 0 Lindy Hop,” accompany your marketing with appropriate school-sourced video of teachers dancing what your school will be teaching. Include appropriate fun imagery, emphasize the beginner-friendliness of what you’ll be teaching and make some statements on social media and your website about why you’re making the change. Perhaps this will make your classes more accessible and inclusive.

• Continue to educate. Your website and social media presence should be a resource and a marketplace. Many people treat their social media platforms as places to sell things, but it should also be a resource. And then make sure your classes are educational on several fronts - music, history, dancing, consent, etc.

We can do better.

Another school’s website where they center Black social dances with their origins and using the dances’ names.