PREFACE, added on January 10, 2016:
One summer night in Herräng, might probably have been in 2013, I was standing at the side of the upper dance floor, just enjoying the music and watching the dancers, when someone tapped me on the shoulder.
It was Sugar Sullivan, reaching out from the pedestal that the old timers are seated on during the nightly dances.
I curiously leaned towards her, and she said: "You are really enjoying the music, hm. I’ve been watching you, you dance beautifully."
Despite of, of course, being happy about her kind words, it then dawned on me that "really enjoying the music" apparently seems to be literally remarkable, even at a gathering of hundreds of dancers, even at Herräng. Huh.
And yes, music touches me deeply, always has.
However that be – I don’t think that me being super fond of music is infact the point.
I meanwhile think that there might be some more extensive aspects that keep a dancer, beginner or advanced, from actually listening, and therefore from really enjoying and expressing the music.
And from my point of view, one aspect that might "block the way" is HOW Swing dances are being taught.
// So, here comes the original post, though partly edited for the sake of better comprehensibility:
Hello everyone!
Even though I try my best to not take those matters concerning Swing all too seriously, my annoyingly avid brain just won't let me be. Thoughts come, they stick, they breed, they settle, and at some point they need to see the light of day. I can't help it, apparently.
I care about Swing, a lot – if I want to or not.
There are a couple of thoughts that just wouldn't leave me alone over the past 3 to 4 years.
I have discussed them with friends (thanks for your endurance, friends!) and strangers alike, and as my fascination and well – frustration remains, I decided to let "the world" take part in the discussion.
If it is interested, that is.
Just so you have a vage idea of where I am coming from:
I started Swing dancing, more concrete Lindy Hop, in Berlin in January 2009.
I discovered the worldwide Swing dance scene 1.5 years later (bummer!), in the summer of 2010.
Some of you might have met me on a dance floor somewhere in this world.
Recently I am not traveling much for my dancing pleasure, but I intend to change that.
So, here we go:
Let me tell you how I, in average, experience most dance floors:
There are the beginners, struggling with steps and counts and partners, not having the capacity (yet) to care about other dancers around. Or to listen to the music. Which is considered a "normal" phase.
They look happy, yet more often than not quite tensed up (apparently some mixed feelings there).
Then there are plenty of basically skilled leads maneuvering their follow through routined patterns. The music is mainly used as a metronome to keep the speed, and as a giver of energy, let’s suppose.
They look happy, yet some of them seem veeery serious (like it’s a live and death operation).
There are follows who move nicely, but do not know how to react if something "new" comes along. Because they haven’t learned "that one" yet.
They look happy, yet quite confused or worried from time to time (again like it’s a live and death operation).
There is usually a smaller group of leads and follows who own great skills in mastering the "technique" of the dance, who have a wide repertoire of "moves", or who, in times, are very creative in playing with the dynamics between the partners.
They look happy, yet there is often not much music shown in their dancing (at least from my point of view).
And then there are those few people who CLEARLY enjoy the music above all, who dare to spontaneously react to it, to play with rhythms, and who own at least the basic skills to do so together, as a couple. And I don't mean freakin' wild freestyling – I mean dancing in the music plus sensitive and sensible leading or following.
They look very happy, relaxed, not a care in the world.
Those are the ones I love to watch dancing, and to dance with.
The ones where you see and sense the rhythm and the music in every move.
Because they actually listen to it, and care for it, a lot.
And who do not worry, but enjoy.
Unfortunately they are a rather rare breed.
But as I value them so much, I of course want to see more of them.
So so badly. I crave for it.
Tough luck, you might say. Live with it, things are how they are.
Well, that’s what I thought for the longest of times.
But I started to get an inkling that more people would like just that.
That many would like to see more musical and individual dancing on the dance floor, and, way more importantly, would like to dance more musically and individually themselves!
So, my first thought, or rather question, is:
WHY is it usually just a handful of people who actually use the music for inspiration?
And, and that’s important, how come that it’s people from various "levels", and not just "advanced" dancers as one could assume?
How come some – or well, many – are not up for playing with the music?
In my eyes, the reason or cause might be found rather in the mindset a person brings, than in the skillset:
A rather narrow versus a broad understanding of the dance – which probably reflects the classes these people have visited.
At this point, let me state one thing:
This text was not written to attack anyone’s skills, neither in dancing, nor in teaching.
As I wrote above, people look happy, and I am very well aware that my longing for more music in the moves is – kind of – my personal problem.
So believe me, attacking anyone is absolutely not my intention.
These observations I make and the conclusions I draw – I'd see it as some sort of "research".
And I do this research because I deeply care about how a dance floor looks and feels like.
I care about it a ton, so: Please, hang on.
I’d say that, to dance "Swing" (read: a mix of all ways of dancing to Swing music since the late 1920s), you need to understand how leading and following actually works to be able to dance it with its characteristic dynamics.
That leading and following is the aspect that sure not defines the dance(s), yet makes it work out in all its playfulness. That a functional connection between the partners is what enables two (or even more) people to dance together, connected, in an exceptionally free manner – free compared to classical standard dances like maybe Waltz or Cha-Cha-Cha.
That understanding and using connection enables you to improvise and yet dance together.
Let's say: The expanded use of connection is, especially in Lindy Hop, one of the characteristics of the dance.
It allows – next to the fun dynamics – that great FREEDOM in rhythm and expression while dancing together. And that freedom is just as characteristic for the dance as its various established authentic steps.
So far at least my understanding of the dance.
Hence the next question I would like to ask:
WHY is Lindy Hop being taught in steps and figures (as far as I know mostly), especially in beginner classes, while actually the partnered dancing is strongly based on sheer leading and following?
The way I see it, the nowadays practice that Lindy Hop is commonly being taught by could best be described as "Fake it till you make it".
Do the steps you’ve learned, follow the instructions given, until some day the dynamics of leading and following will reveal itself to you. Or – not.
"Luckily", you can always survive on patterns, and I don't mean to be rude, but many won’t know the difference.
[Sidenote: I think the "faking it" is one reason for the often quite frighteningly inattentive or even forceful way of how people treat their fellow dancers on the dancefloor, partners and surronding dancers alike, which can lead to injuries, which are not fun at all.]
It all appears to me to be something like that:
Trying to make people understand how a good connection works by offering them complex figures is actually – for many – a proper Catch-22.
How are they supposed to work towards a good connection if they don’t even know what that is?
If they don’t know how it feels to be connected – how are they supposed to know what they are looking for?
Until they set out to explore (like I did), or until a friendly person comes along that manages to give them the experience of being connected, they will only have a very vage idea of what's going on.
And for some, that state lasts for ages. And that's – just sad.
Connecting these thoughts to my earlier ones: Without understanding how to connect usefully, these dancers are limited to only dance figures they learned. They simply don't have the understanding of the dance to just play with rhythms, and will for very sure have difficulties to coordinate improvised dancing.
I sure am aware that many, many people who started learning Swing dancing the "figure-based" way have learned to beautifully lead and follow. Mostly though these are people with dance or sports background who already know how to coordinate and organize their moves. That's my observation at least.
But let’s be honest:
Many don’t entirely get it. For months. Or years. Or ever.
Some don't mind, but some try hard, yet they seem to be stuck.
So, the "problem" I see, in detail: As soon as you give a student concrete directions in the form of left, right, front, back, 5, 6, 7, 8, they will of course focus on those, because it is something they understand. Now the very task they see is to merely coordinate the various levels of instructions.
And they handle it with all and everything that comes with it, including being in their brains instead of in their bodies, therefore feeling uncomfortable in their own moves, therefore being rather insensitive or even forcefully rude when interacting with their partner, also more often than not worrying if they are doing it "right", if they are on the "right" foot, and on the "right" count.
Another result of this teaching technique is the – very understandable – anticipating actionism of the follower, which of course makes any useful leading and following basically impossible.
Not to mention that in this state, the music is not much more than a background noise, harshly spoken.
Which, in my world, is the saddest part of it all.
All that stress, all that tension, all that confusion, and for what?
To end up with people dancing a regulated, standardized version of Lindy Hop that is wearing a corset, on body and mind likewise.
And that has lost one of its core characteristics: improvisation.
Which, if known of, would make all worries about "wrong steps" irrelevant – think about it!
So I ask again:
WHY?
Why teaching a dance that is, in its origins, to a big part not danced in firm figures, almost solely taught through seemingly firm and often unecessarily complex figures?
The past years I gave my best to understand and accept that everyone has his or her own reasons for enjoying this dance. And sure there are plenty of reasons to choose from: the socialising, the athletic aspect, the challenge of learning something new, the fun at parties, etc. …
For me it is, above all, the music.
Great moving Swing music.
Over the years, I’ve heard "I will take care of dancing to the music when I learned how to dance" one too many times. To me, this attitude seems like an almost criminal waste of time and energy.
I absolutely do not think that it is a question of "first one thing, then the other" – more concretely: first the steps, then the music. There has to be another way.
So I'll ask the following question:
How can dancing musically be part of everyone’s dancing RIGHT FROM THE START?
Well, I think there might be a way:
Consistently putting the main focus in class not on learning and memorizing figures and patterns, but instead on understanding and using the connection between the partners to create the capacity to fully enjoy the music.
Without the fear of "doing something wrong".
How does that sound?
The main argument pro arranged steps and figures for starters, which I get from teachers and students alike, is:
"Students need structure."
Ok then. But: Does this structure really need to consist of complex figures including a minimum of 4 aspects to coordinate: steps, counts, partner, space?
Especially in the beginning?
Another common argument by teachers is:
"Students want steps."
Which kind of translates to "if you want to give classes or even run a school you need to fulfill the students expectations".
Well.
Believe me, I do understand these arguments.
Yet I dare to suggest to look further:
What if there are ways that might lead to more musical, more individual dancing habits, straight from the start – and beginners would be totally happy with however a class is build, as long as it teaches them how to dance!
Why not at least try?
Imagine! What if?
What if students would first of all get a good idea of connecting, so they would already know the feeling that they are looking for when trying to learn the authentic steps.
What if students were in fact willing to invest some time and energy in the beginning to understand how to lead and/or follow without arranged steps? Considering they trust the teacher that he or she knows what's helpful.
What if the only thing that’s actually in the way of musical and individual dancing is having build up a mindset that does not include improvisation due to having learned figures and patterns only?
So, these are my foremost thoughts.
I didn’t come forward earlier with these ideas as extensively on a bigger platform – like the internet –, because I thought that maybe I am missing something.
That maybe I am getting it all wrong.
Also, who am I to poke around in a system that has been developing for decades now before I even got started.
I still am in doubt if I can see the whole picture, but as I anyway constantly question basically everything, I now decided to give it a go.
For a while now, in irregular frequency, I've been giving classes and workshops where people are confronted with concrete tasks of leading and following, which yet do not contain any specific arranged footwork, but rhythms and variables to play with while interacting.
The biggest advantages I see are:
No anticipation, therefore buildung a real connection, therefore being able to lead and follow in a manner that's truly understood and therefore is effective and sensitive.
And, best of it all, lots of capacity to get inspired by the music.
I resume: The idea is to build up a good understanding of and confidence in connecting with your partner, and the idea of rhythm as a free component.
And then, upon that solid foundation, layer the authentic steps and figures.
So, well – I’m afraid this text turned into some kind of rant.
A friendly rant though.
One that comes in peace.
I sure as hell don’t aim to piss off anyone, school anyone, or step on anyone’s toes.
But I’d just as sure like to start a discussion that might even lead to a change, maybe.
And by all means, these are just my observations and thoughts, nothing more, nothing less.
So here they are, exposed, out in the open, waiting to be commented, supported – or attacked.
I’d like to conclude with this little wish:
I WOULD LOVE TO SEE
MORE MUSICAL AND INDIVIDUAL un-worried DANCING
IN ALL "LEVELS", BEGINNERS TO PROS,
ON ALL THE DANCE FLOORS
OF ALL THE WORLD!
And to everyone out there who has or had similar thoughts and longings:
Please, don’t hesitate to get in touch with me!
Cheers!
Johanna
One summer night in Herräng, might probably have been in 2013, I was standing at the side of the upper dance floor, just enjoying the music and watching the dancers, when someone tapped me on the shoulder.
It was Sugar Sullivan, reaching out from the pedestal that the old timers are seated on during the nightly dances.
I curiously leaned towards her, and she said: "You are really enjoying the music, hm. I’ve been watching you, you dance beautifully."
Despite of, of course, being happy about her kind words, it then dawned on me that "really enjoying the music" apparently seems to be literally remarkable, even at a gathering of hundreds of dancers, even at Herräng. Huh.
And yes, music touches me deeply, always has.
However that be – I don’t think that me being super fond of music is infact the point.
I meanwhile think that there might be some more extensive aspects that keep a dancer, beginner or advanced, from actually listening, and therefore from really enjoying and expressing the music.
And from my point of view, one aspect that might "block the way" is HOW Swing dances are being taught.
// So, here comes the original post, though partly edited for the sake of better comprehensibility:
Hello everyone!
Even though I try my best to not take those matters concerning Swing all too seriously, my annoyingly avid brain just won't let me be. Thoughts come, they stick, they breed, they settle, and at some point they need to see the light of day. I can't help it, apparently.
I care about Swing, a lot – if I want to or not.
There are a couple of thoughts that just wouldn't leave me alone over the past 3 to 4 years.
I have discussed them with friends (thanks for your endurance, friends!) and strangers alike, and as my fascination and well – frustration remains, I decided to let "the world" take part in the discussion.
If it is interested, that is.
Just so you have a vage idea of where I am coming from:
I started Swing dancing, more concrete Lindy Hop, in Berlin in January 2009.
I discovered the worldwide Swing dance scene 1.5 years later (bummer!), in the summer of 2010.
Some of you might have met me on a dance floor somewhere in this world.
Recently I am not traveling much for my dancing pleasure, but I intend to change that.
So, here we go:
Let me tell you how I, in average, experience most dance floors:
There are the beginners, struggling with steps and counts and partners, not having the capacity (yet) to care about other dancers around. Or to listen to the music. Which is considered a "normal" phase.
They look happy, yet more often than not quite tensed up (apparently some mixed feelings there).
Then there are plenty of basically skilled leads maneuvering their follow through routined patterns. The music is mainly used as a metronome to keep the speed, and as a giver of energy, let’s suppose.
They look happy, yet some of them seem veeery serious (like it’s a live and death operation).
There are follows who move nicely, but do not know how to react if something "new" comes along. Because they haven’t learned "that one" yet.
They look happy, yet quite confused or worried from time to time (again like it’s a live and death operation).
There is usually a smaller group of leads and follows who own great skills in mastering the "technique" of the dance, who have a wide repertoire of "moves", or who, in times, are very creative in playing with the dynamics between the partners.
They look happy, yet there is often not much music shown in their dancing (at least from my point of view).
And then there are those few people who CLEARLY enjoy the music above all, who dare to spontaneously react to it, to play with rhythms, and who own at least the basic skills to do so together, as a couple. And I don't mean freakin' wild freestyling – I mean dancing in the music plus sensitive and sensible leading or following.
They look very happy, relaxed, not a care in the world.
Those are the ones I love to watch dancing, and to dance with.
The ones where you see and sense the rhythm and the music in every move.
Because they actually listen to it, and care for it, a lot.
And who do not worry, but enjoy.
Unfortunately they are a rather rare breed.
But as I value them so much, I of course want to see more of them.
So so badly. I crave for it.
Tough luck, you might say. Live with it, things are how they are.
Well, that’s what I thought for the longest of times.
But I started to get an inkling that more people would like just that.
That many would like to see more musical and individual dancing on the dance floor, and, way more importantly, would like to dance more musically and individually themselves!
So, my first thought, or rather question, is:
WHY is it usually just a handful of people who actually use the music for inspiration?
And, and that’s important, how come that it’s people from various "levels", and not just "advanced" dancers as one could assume?
How come some – or well, many – are not up for playing with the music?
In my eyes, the reason or cause might be found rather in the mindset a person brings, than in the skillset:
A rather narrow versus a broad understanding of the dance – which probably reflects the classes these people have visited.
At this point, let me state one thing:
This text was not written to attack anyone’s skills, neither in dancing, nor in teaching.
As I wrote above, people look happy, and I am very well aware that my longing for more music in the moves is – kind of – my personal problem.
So believe me, attacking anyone is absolutely not my intention.
These observations I make and the conclusions I draw – I'd see it as some sort of "research".
And I do this research because I deeply care about how a dance floor looks and feels like.
I care about it a ton, so: Please, hang on.
I’d say that, to dance "Swing" (read: a mix of all ways of dancing to Swing music since the late 1920s), you need to understand how leading and following actually works to be able to dance it with its characteristic dynamics.
That leading and following is the aspect that sure not defines the dance(s), yet makes it work out in all its playfulness. That a functional connection between the partners is what enables two (or even more) people to dance together, connected, in an exceptionally free manner – free compared to classical standard dances like maybe Waltz or Cha-Cha-Cha.
That understanding and using connection enables you to improvise and yet dance together.
Let's say: The expanded use of connection is, especially in Lindy Hop, one of the characteristics of the dance.
It allows – next to the fun dynamics – that great FREEDOM in rhythm and expression while dancing together. And that freedom is just as characteristic for the dance as its various established authentic steps.
So far at least my understanding of the dance.
Hence the next question I would like to ask:
WHY is Lindy Hop being taught in steps and figures (as far as I know mostly), especially in beginner classes, while actually the partnered dancing is strongly based on sheer leading and following?
The way I see it, the nowadays practice that Lindy Hop is commonly being taught by could best be described as "Fake it till you make it".
Do the steps you’ve learned, follow the instructions given, until some day the dynamics of leading and following will reveal itself to you. Or – not.
"Luckily", you can always survive on patterns, and I don't mean to be rude, but many won’t know the difference.
[Sidenote: I think the "faking it" is one reason for the often quite frighteningly inattentive or even forceful way of how people treat their fellow dancers on the dancefloor, partners and surronding dancers alike, which can lead to injuries, which are not fun at all.]
It all appears to me to be something like that:
Trying to make people understand how a good connection works by offering them complex figures is actually – for many – a proper Catch-22.
How are they supposed to work towards a good connection if they don’t even know what that is?
If they don’t know how it feels to be connected – how are they supposed to know what they are looking for?
Until they set out to explore (like I did), or until a friendly person comes along that manages to give them the experience of being connected, they will only have a very vage idea of what's going on.
And for some, that state lasts for ages. And that's – just sad.
Connecting these thoughts to my earlier ones: Without understanding how to connect usefully, these dancers are limited to only dance figures they learned. They simply don't have the understanding of the dance to just play with rhythms, and will for very sure have difficulties to coordinate improvised dancing.
I sure am aware that many, many people who started learning Swing dancing the "figure-based" way have learned to beautifully lead and follow. Mostly though these are people with dance or sports background who already know how to coordinate and organize their moves. That's my observation at least.
But let’s be honest:
Many don’t entirely get it. For months. Or years. Or ever.
Some don't mind, but some try hard, yet they seem to be stuck.
So, the "problem" I see, in detail: As soon as you give a student concrete directions in the form of left, right, front, back, 5, 6, 7, 8, they will of course focus on those, because it is something they understand. Now the very task they see is to merely coordinate the various levels of instructions.
And they handle it with all and everything that comes with it, including being in their brains instead of in their bodies, therefore feeling uncomfortable in their own moves, therefore being rather insensitive or even forcefully rude when interacting with their partner, also more often than not worrying if they are doing it "right", if they are on the "right" foot, and on the "right" count.
Another result of this teaching technique is the – very understandable – anticipating actionism of the follower, which of course makes any useful leading and following basically impossible.
Not to mention that in this state, the music is not much more than a background noise, harshly spoken.
Which, in my world, is the saddest part of it all.
All that stress, all that tension, all that confusion, and for what?
To end up with people dancing a regulated, standardized version of Lindy Hop that is wearing a corset, on body and mind likewise.
And that has lost one of its core characteristics: improvisation.
Which, if known of, would make all worries about "wrong steps" irrelevant – think about it!
So I ask again:
WHY?
Why teaching a dance that is, in its origins, to a big part not danced in firm figures, almost solely taught through seemingly firm and often unecessarily complex figures?
The past years I gave my best to understand and accept that everyone has his or her own reasons for enjoying this dance. And sure there are plenty of reasons to choose from: the socialising, the athletic aspect, the challenge of learning something new, the fun at parties, etc. …
For me it is, above all, the music.
Great moving Swing music.
Over the years, I’ve heard "I will take care of dancing to the music when I learned how to dance" one too many times. To me, this attitude seems like an almost criminal waste of time and energy.
I absolutely do not think that it is a question of "first one thing, then the other" – more concretely: first the steps, then the music. There has to be another way.
So I'll ask the following question:
How can dancing musically be part of everyone’s dancing RIGHT FROM THE START?
Well, I think there might be a way:
Consistently putting the main focus in class not on learning and memorizing figures and patterns, but instead on understanding and using the connection between the partners to create the capacity to fully enjoy the music.
Without the fear of "doing something wrong".
How does that sound?
The main argument pro arranged steps and figures for starters, which I get from teachers and students alike, is:
"Students need structure."
Ok then. But: Does this structure really need to consist of complex figures including a minimum of 4 aspects to coordinate: steps, counts, partner, space?
Especially in the beginning?
Another common argument by teachers is:
"Students want steps."
Which kind of translates to "if you want to give classes or even run a school you need to fulfill the students expectations".
Well.
Believe me, I do understand these arguments.
Yet I dare to suggest to look further:
What if there are ways that might lead to more musical, more individual dancing habits, straight from the start – and beginners would be totally happy with however a class is build, as long as it teaches them how to dance!
Why not at least try?
Imagine! What if?
What if students would first of all get a good idea of connecting, so they would already know the feeling that they are looking for when trying to learn the authentic steps.
What if students were in fact willing to invest some time and energy in the beginning to understand how to lead and/or follow without arranged steps? Considering they trust the teacher that he or she knows what's helpful.
What if the only thing that’s actually in the way of musical and individual dancing is having build up a mindset that does not include improvisation due to having learned figures and patterns only?
So, these are my foremost thoughts.
I didn’t come forward earlier with these ideas as extensively on a bigger platform – like the internet –, because I thought that maybe I am missing something.
That maybe I am getting it all wrong.
Also, who am I to poke around in a system that has been developing for decades now before I even got started.
I still am in doubt if I can see the whole picture, but as I anyway constantly question basically everything, I now decided to give it a go.
For a while now, in irregular frequency, I've been giving classes and workshops where people are confronted with concrete tasks of leading and following, which yet do not contain any specific arranged footwork, but rhythms and variables to play with while interacting.
The biggest advantages I see are:
No anticipation, therefore buildung a real connection, therefore being able to lead and follow in a manner that's truly understood and therefore is effective and sensitive.
And, best of it all, lots of capacity to get inspired by the music.
I resume: The idea is to build up a good understanding of and confidence in connecting with your partner, and the idea of rhythm as a free component.
And then, upon that solid foundation, layer the authentic steps and figures.
So, well – I’m afraid this text turned into some kind of rant.
A friendly rant though.
One that comes in peace.
I sure as hell don’t aim to piss off anyone, school anyone, or step on anyone’s toes.
But I’d just as sure like to start a discussion that might even lead to a change, maybe.
And by all means, these are just my observations and thoughts, nothing more, nothing less.
So here they are, exposed, out in the open, waiting to be commented, supported – or attacked.
I’d like to conclude with this little wish:
I WOULD LOVE TO SEE
MORE MUSICAL AND INDIVIDUAL un-worried DANCING
IN ALL "LEVELS", BEGINNERS TO PROS,
ON ALL THE DANCE FLOORS
OF ALL THE WORLD!
And to everyone out there who has or had similar thoughts and longings:
Please, don’t hesitate to get in touch with me!
Cheers!
Johanna
RSS Feed
