Lindy Hoppers

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The subculture of Hollywood style Lindy-Hop Dancing, it’s really more a subculture of a subculture. In Ballroom Dancing there’s lots of different styles of rhythm dancing and notably the swing. You have the East Coast Swing, West Coast Swing, Jive (International), Jitterbug, Shag (a variation) and the Lindy-Hop. The Dancesport/Ballroom community doesn’t officially recognize all of these variations of swing dancing. There’s simply too many and the styles are too subtle and intermingled for many to even care. Within these styles I’m going to focus on the Lindy-Hop and within the Lindy-Hop the Hollywood style, hence, the subculture of a subculture. Yes, we are going there.

A little bit of history first. In May of 1927, Charles Lindbergh was the first man to fly solo across the Atlantic Ocean non-stop. Because of this feat, he became a national hero. Streets, beverages, schools, songs, and even a dance called the Lindy-Hop were all named all after him. The Lindy-Hop acquired its name because of the theatrical aeronautics that could be achieved with the dance. Other names with was called were “The flying Lindy” and simply “The Lindy”. For the purposes of this paper, I’m simply going to refer to the Lindy-Hop as the Lindy.

Boogy Man

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There are many common misconceptions associated with this dance. One of the misconceptions was that it was an African-American dance with roots in Africa. This isn’t true or simply if it is true, it’s true on the level of evolution that would go back farther than the generation that was dancing the Lindy at the time were influenced by it. But, according to Frankie Manning, one of the original Whitey’s Lindy-Hoppers, and someone whom I’ve had the honor of being a pupil of until his death in 2009 at the age of 95, it was simply a natural evolution of the Charleston, Balboa and other ragtime dances of the time as it adapted to new emerging musical styles. The big band music of Glenn Miller, Benny Goodman and Duke Ellington, wasn’t as speedy and flapperesque as the previous musical remedies of the 20’s but it still incorporated many of the boogie-woogie influences of the Jelly Roll Morton and Sidney Bechet’s New Orleans musical style (as well as many others). So, the Lindy-Hop was born. Allowing more partnership dancing interpretation of a newly emerging genre.

It started out on the East Coast and in Chicago mostly in some of the more “less desirable” neighborhoods. Historically, in this case, many of these neighborhoods of those days were “less desirable” because of the large African-American population that inhabited these neighborhoods but if you lived in Harlem in the 20’s or 30’s it was a very desirable place to live. I think it just wasn’t desirable for white people. I mention this because many have stated that the Lindy was a dance of “black people” coming out of “black people’s bars”. Once again, not true or not always true. It was an effort by many of the affluent white upper class that found the music too racy and of “low moral”. But if you were to go into any place of that era to dance you would find just as many whites dancing as you did “blacks” all alongside one anther and with one another in great harmony. There was no race issues there, only made up ones out on the street discouraging the youth not to enter because the police were paid to do so, shouting to them as they stood in the line to get in that went around the block. How humiliating it must’ve been for black people during this time to hear local law enforcement officials talking to the white couple standing in line behind you, telling them not to enter this place because it was a black establishment (Ironically, owned by Jews) and that it wasn’t for “good decent folk” to enter. This was a dance and a music that was genuinely bringing people together in great harmony.

Having said all of this, the big band swing music of the Glenn Miller and friends couldn’t get any radio air play during any major prime time radio spots. This big band or “Swing” music was being played at 11 p.m. or Midnight. Well, midnight in N.Y is 9 p.m. in California, much closer to prime time and as you migrated across the country further West it’s popularity and influence was growing. Much to the entertainers surprise as well. There are countless stories of racism, resentment and anger towards the big band entertainers on the East Coast until they reached the West Coast. Then, upon their arrival to the West Coast many entertainers were finding that they were celebrities. But that’s another story, for another day. In fact, many of the big bands acts of the day relocated to the West Coast permanently. If you look at Benny Goodman’s Career it looks as if he couldn’t get there quick enough.

As the music found it’s way across the states so did its dance, the Lindy. The way the dance was being danced in Harlem at the Renaissance or Savoy Ballrooms was a little different that the dance that found it’s way to the West Coast. The Savoy style of the Lindy was a little more straight legged and rigid whereas the Hollywood style was a lot more flexible, bent at the knees and stationary…well, stationary is relative. Here’s an example of a Savoy style of the Lindy, danced by Whitey’s Lindy-Hoppers in Hellzapoppin in 1941,

Whitey’s Lindy-Hoppers in Hellzapoppin in 1941

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that’s Frankie Manning in the overalls. As you can see the style is very spread out and what I would call lanky. I don’t mean that as a bad term, just a very rigid style. It’s a little harder, physically, on the body.

Here’s another example of a Savoy style Lindy:

another example of a Savoy style Lindy (the first couple mainly.)

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Although, these two aren/t my favorite, the idea and the fundamentals are still the same. Note how the girl keep her legs open as she swivels. Note the wide stance of the dancers and their floor craft and positioning (floor craft- Is dance floor etiquette in relation to other dancers). The irony of floor craft is it is should be employed even if you’re practicing and by yourself. This of course isn’t the case when doing a showcase number of course

In contrast is the Hollywood style as demonstrated here by William and Maeva

Hollywood Style Lindy Hop

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Note how he hardly ever makes eye contact with her. This isn’t typical of the dancers in this genre and shouldn’t be an accurate assumption that this is the norm. It’s also, over choreographed and over rehearsed. But that’s not the point here now is it? I chose this demonstration because the dancers are relatively stationary, have good posture, and use their center of gravity to play off of each other......