re: swing culture by WonderWomanProject

Hellooooo.  Lindy Focus trip report coming soon, but in the mean time, I typed a lot of thoughts in response to a facebook post about a blog post, by my enchanting friend Aries, so I figured I'd go ahead and toss it up here.  

Solo dance performance: once as a girl and once as a boy

Earlier this year, I gave myself some dance goals for 2012.  One of them was "Choreo a solo blues routine and perform it in front of actual people."

First weekend in November, in Washington, DC, I was afforded the opportunity to perform a piece* I've been working on since mid-August at Bambloozled, which is put on every year by the fantastic folks at Capitol Blues.

I think it went pretty well:


Spoonful from David Mudre on Vimeo. Dancing and choreography by Christina Austin.



The second half of this performance was at Snowbound Blues in Rochester, NY.



The second time, I'm dressed as a boy.  Weird.  I won't lie to you, this post is gonna be long.

Hierarchy of dance needs/ what makes a good dance?

So this hasn't updated in a while in large part because it's been climbing season, and I haven't been thinking about dance as much because I've been doing less dancing.

But here is something I've been thinking about, and was talking with a friend about this morning: what makes a good dance? And here, as succinctly as possibly, is my hierarchy of dance needs:

1. Nobody gets hurt.
2. We are dancing TOGETHER.
3. We are dancing TO THE MUSIC.

Steel City Blues Festival TR

So this past weekend, I was psyched to be able to attend Steel City Blues Festival up in Pittsburgh. It was great! Fun music, people, comps, and classes. All the ingredients for a wonderful weekend!

Talking about dance on the internet...

is frustrating.  You can say something, but whether or not the other person understands the kinesthetic impression you're trying to convey with your puny, inadequate words... who knows? So in honor of a conversation I had with a friend this morning, I made this:

http://www.quickmeme.com/meme/35yk9d/

Applies to many cases/topics of trying to have a discussion/argument online.

Blues comps at lindy events and cross-competition

So there was a very active thread recently on Bug's Question of the day, about

Why don't more blues dancers go to events like ILHC and Lone Star to compete in the blues divisions? Why don't the lindy hoppers who compete in the blues divisions at ILHC and Lone Star come to Blues events and compete?

I pretty thoroughly regret* having jumped into the fray the way I did, but tangents about specific events aside, if I may take the liberty of synthesizing some of the answers, there seemed to be some consensus that, beyond the overlapping-but-not-identical pool of competitors, competitions at blues-specific events ("blues comps") and "blues" OR "slow" comps at lindy events (often used interchangeably even if labeled one way or the other) have different judging outcomes because the two communities value different things. One of the specific things that the blue community values is a particular blues aesthetic. Little to no value is placed on a blues aesthetic at an unspecific "slow" competitions.

In counter to that, some people were all like "what does that even mean?"

I am the craft-masta! (in which I glue leather to shoes.)

Fun with craftyness time!

Wednesday morning, much to my frustration, I was shot down at the shoe repair store when I asked if they'd glue leather soles onto my sneakers.  Also I was given funny looks.

So yesterday evening, I took myself over to the craft store to buy:

 1) pretty ribbons to lace my sneakers up with in pretty colors.  :)

 2). Suede and glue to fixie my shoeses.


The process...

blues practice challenge

So, I am so in love with dancing, especially blues, right about now.

But there's not a ton of blues dancing in my home scene.  Related to this, I am pretty stinkin' excited that a friend of mine who I love dancing with has agreed to make a short trip down to visit in January (when neither of us are traveling much) to work on some blues stuff with me.  I would be excited to work with him anyway, but I'm especially excited because, due to the lack of blues around here, I don't get to practice as much as I'd like.

I expressed this sentiment to him this morning on fb chat, and he totally called my shit.

Trust is a complicated thing. (Bambloozled class and current dance ruminations. Also... words are hard.)

So yeah. Trust.  It's a thing you need to have with someone you're dancing with... only sometimes you don't have it.

It's a thing you have to have with yourself to dance with, only sometimes you don't have it.


There are a few emotional/meta themes that I have been chewing on in my brain for a while now (my brain chews, apparently? yes, it does.), as they relate to my dancing.  One of them (obviously from the opening of this post) is trust.  Another could be called "confidence."  This post is going to be some of my thoughts, as best as I can articulate them, about trust in partnership and connection, and manifestations of that, physically, with respect to attitude and posture and counterbalance.

I'm going to start by attempting to describe some things about the classes last weekend at Bambloozled, especially picking out the things that I really want to dig into, and circle back around with some things that I have been working on in my lindy, both long-term and more recently.

My (It's not) Bambloozled 2011 (anymore) Blues..

So I walk into our weekly swing dance Wednesday night this week, and catch a dance with one of my favorite leads.  The dance is playful and stretchy and full of confidence, call and response, jazz, and smiles.

Kara and Paul, open Jack and Jill Finals.
Josh Wisely Photos

At the end of the dance, he stops and looks at me with some surprise/admiration and says, "You should go to blues events more often."

Because I’m listening, and relaxed, and, yes, more confident. 

The event in question that I just got back from is BamBLOOZled in Washington, DC.  This was my second year in a row for this event, and it’s one I will make every effort to get back to next year.  It’s workshop weekend, in that there are classes all day Saturday and Sunday, but it also boasts a full schedule of social dancing all night Friday, Saturday, and Sunday, so you can make whatever you want out of the weekend.

What I made out of the weekend was something of a hybrid; I danced all night Friday, went to morning classes on Saturday and napped through the afternoon ones, danced all night, skipped morning classes on Sunday and went to the afternoon ones, and then danced/partied all night.  I actually got to meet and hang out with some really cool women this weekend as well, which is something I don't always get to do.  Overall, it was simply awesome.

For the slightly longer version...

Mechanism of beauty accumulation at high skill levels in partner dancing communities by marginal selective advantage among new dancers*.

Bugs Question of the Day post again!  I feel like it's sort of inappropriate for me to post many-multi-paragraph responses to the QOTD (or my new favorite abbreviation that I just saw on the page, "?/day", when I have my own personal blog for that sort of thing. So since this is my own space, here is my really long answer to today's ?/day.  


First, the question:

@gregory Dyke asks: "A tongue in-cheek question to balance out the overly serious nature of the past few discussions. Is the theory set forward in http://www.youtube.com/watch?v=Jqmd75VsVFU @1.30 correct? Beauty and good dancing in women are linked because men do the asking, are shallow and therefore invite the beautiful women, thus affording them more opportunity to dance and become good?"

And here is my initial response:

Holy long response that I just typed out and have decided would be a better blog post. Short answer: as an evolutionary biologist, this theory (as in, prettier girls have more OPPORTUNITY to become better dancers because they'll get asked more often at the beginning) is totally plausible and would not require a large bias at all. A very small (or unconscious bias) would be plenty sufficient. As a follow whose default look is butch and scruffy but who can clean up to what might be described as glamour tomboy, I can say that when I make more effort to look more attractive, I get more dances, hands down.

But here is my slightly more complete response....

NEVERMORE! Jazz ball 2011 (ever, ever more.)

This photo is going to get used on every blog of this event, because it's awesome. Photo courtesy of Elisa Peterson

November 4-6th, me and a merry band of Columbus, OH, dancers made our way to St. Louis for the weekend-long spree of awesomeness that was the Nevermore Jazz Ball.  Our merry band was actually two whole cars full of dancers, 8 people willing to travel 7 hours for some St. Louis goodness.

 You may not know this, but the S in Hunter S stands for Stanley.
photo courtesy of Travis Hartman

The weekend began for me on Friday around noon, when my travel buddies showed up at my house to stash their cars in the lot and their bags in my CRV.  My OCD kicked in just a little at the start, and I took over packing the car, haha.  But! As a result! We got 4 people's worth of stuff for the weekend in the back, and I could still see out the back window.  Win.  

The trip down was relatively uneventful: get on I-70 W, drive until you hit STL.  We found a great Vietnamese restaurant right near the venue, and found the venue with no problem.  When we got there, there was a dedicated parking lot for the dancers, with a guard.  Brilliant! I love it when events go out of their way to solve parking problems.  Just takes a stressor out of the weekend.

We quickly got changed and dove into the dancing. The floor at the Casa Loma is really fantastic- both quick and beautiful.  That night we danced to two local bands, the Sidemen and Miss Jubilee's Hot 5.    Both bands were swinging deliciously.  We settled into the groove of hugging on and dancing with old friends, and quickly started making new ones.

Shannon, ever smiling.
Photo courtesy of Travis Hartman

Someday, maybe, you'll get to see Danny be
really excited.  photo courtesy Travis Hartman.

It wasn't all just hugs and relaxations, though.  Friday night was also the Jack and Jill competition, which everybody in my car/party had entered.  We even got B to enter.   :)

Binaebi and Jeremy in the Jack and Jill.
Photo courtesy Travis Hartman . 

Plus,  all the contests for the weekend were MC'd by the ever-ineffable Jon Tigert.


The Jack and Jill has great compliment of competitors, and Columbus's own Shannon Varner took first, with John Holmstrom.  Aaron Raiff and Hannah Burgess took second, and Michael Bradford with Emily Schuhmann placed third.

"Do they suck or do I suck?"

So I'm a big fan of the fb page Bugs Question of the Day.  Recently, there was a question sent in by an anonymous dancer that goes like this: 

"There are several dancers I have danced with repeatedly with whom dancing just doesn't work (the basics of what I understand to be leading and following are not working out for us). They are dancers who appear to be very good (and think quite a bit of their own ability) and some other dancers certainly appear to be making it work with them. I am just moving out of complete beginner stage and seem to be able to make everything work at a basic level with the majority of people (including in privates with A-list instructors). Which of the following apply?
a) Everyone has people with whom it doesn't click
b) These dancers aren't as good as they think they are but no-one has ever told them (barring their extreme confidence and the willingness of other good dancers to dance with them, I would assume that they were missing something fundamental)
c) There are other approaches to leading and following
d) I need to suck it up and learn to dance"

My original response to this question...

Necessary and Sufficient

Hey, y'all... welcome to my new blog. To kick things off, I'm going to repost an essay that I wrote this summer (July 2011), after I attended Stompology in Rochester, NY.  "Repost," because this essay originally appear on my friends' blog, All the Cats Join In.  


I am planning on posting a ULHS trip report soon! but I decided that it would be the impetus for just setting up a blog already, and I wanted to put this out there, since it's something I've very glad I wrote, and benefit from rereading and reminding myself of, occasionally. 

My greatest flaw as a dancer is probably my tendency to let my social anxiety strangle me.

My fear of screwing up on the dance floor manifests in frequent "thinking face" when I'm being led, even by familiar leads, through new or complex patterns, and in my tendency to choke when I ask a ‘high-status’ leader for a dance. My favorite definition of "choke" is from the book Deep Survival: a reversion to the state of being a beginner, wherein you consciously think about what you're doing, as opposed to the more advanced state of performance where "muscle memory" largely controls the specifics of movement. To choke is to lose one's flow.  The mechanics of this for me personally usually looks like bad posture and too much tension in my arms and body, which hinders my ability to follow sensitively. In either case, the process is too much thinking and the product is less than sublime dancing.

Which is a shame, because my favorite part of dancing, the high that I am always chasing that keeps me coming back, is found in the moments when I am not in my head but in my body, fully with the music and my partner.  There is a thrilling physicality to just letting go and dancing.