DOCSLIB.ORG

Hoppin' Birthday, Frankie!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Hoppin' Birthday, Frankie! We Love You! Who's that cat? Why, it's the young Frankie Manning with partner Ann Johnson, in action at Big George's Restaurant in Corona, NY. Sketch by Porl Smith, based on an unattributed (boo, hiss, shame on those responsible) photo from the cover of Jookin', The Rise of Social Dance Formations in African-American Culture by Katrine Hazzard-Gordon. Inside Frankie-isms: The Defining of a Lindy Legend Ernie Smith paints a word portrait of our Man of the Month (page 4) The.London Scene There's a lot happening in the London dance scene ... (page JO) Spotlight on The .Big Apple Lindy Hoppers A troupe in the home of the Lindy Hop {page 6) The Secret . of Life Margaret Batiuchok shares experiences of Frankie (page 12) New York, New York Where it all began - what's happening today. (page 3) The Feet Dance - And Sometimes the Heart Dances With Them More of Frankie's stories... (page 8) and more... ©1993 Dancing Star Productions except where held by author {noted). All rights reserved. No part of this newsletter may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying. recording, or by any information storage and retrieval system, without permission in writing from the Publisher. Editorial Hoppin' Spring '94 Letters to (and from) the Editor Dear Reader: around the world supporting and contributing to There's a lot happening around the world in this newsletter and the continuation of Lindy. I Lindy. As we went to press, we heard of an think I speak for all Hoppin' readers in express­ Hoppin' up-surge of interest in the LA area � new ing gratitude to all contributors. We each have Swing clubs opened and more likely to open. our own interests and talents, and there is Hoppin' is now truly international,with our enough room in the world of Lindy for all of us. Publisher and Editor: firstAsian subscriber and listings. And interest If you have a talent or idea to contribute, go for Deborah Huisken in the up-coming CAN'T TOP THE LINDY it! HOP birth-day celebration is as much in Lindy Here's to all of us putting aside our International Correspondent: as in Frankie Manning himself - some differences in New York to celebrate the 80th Rob van Haaren registrants didn'.t even know who Frankie was! birthday of a very special man who's spent the The down side is, in the last issue we better part of those 80 years living that dance. Writers: inadvertently included some inaccurate Paris Such dedication and passion deserve Margaret Batiuchok, Deborah Huisken, Porl club information. Some people were upset that recognition. Let's celebrate the dance that has Smith, Ernie Smith. all their performances and activities weren't meant so much in Frankie's life and in the lives listed, others perceived Hoppin' tO be biased in of others, many of whom he's touched directly. Additional Contributions: favourof one group or person ot another. For the rest of it, to paraphraseFloyd Striegel at John Brooks, Jeanefer Jean-Charles, Carol Hoppin' aims to be by, for, and about the the end of our last phone con-versation, "forget Clark, Monica Coe, Tricia Darnell, Eileen Lindy community. We work tO be as complete the bullshit, Feeney, Jan Forsell, James Hamilron, and unbiased as possible. We include every­ Have fun, and Richard Harris, Fred Hunt, Craig thing for which we have space and which we keep dancing." Hutchinson, Frankie Manning, Ellen Miller, think is of interest to our international Cynthia Millman, Julie Oram, Odella audience. Schattin, Simon Selmon, Porl Smith, Rob van There are a lot of talented, energetic people Haaren, Lennart Westerlund, Chester Whitmore, Valerie Wilson. Cristobel at Dear Hoppin' Wayzgoose Typesetters; Phil at Abceda .. .I feel I must point out a typographical Every movement of the hips, of the body, is an General Printers. error in my article on Paris. Due to our attitude, expressive of the lives they were Jiving misunder-standing on the 'phone, the credit then. Editorial Assistance: for the map should be attributed to The Night --Jeanefer Jean-Charles Simon Bell, Becky Crane Club Map of HARLEM, and not Holland! I London, UK guess it was an easy mistake considering what .feanefe1· · We agree - that's part of the reason Consultant: a cosmopolitan publication Hoppin' is. we' re writing this newsletter. Thanks for affir­ Christian Batchelor E.S. Campbell was a prolific cartoonist and ming our sense of an integral part of this dance. illustrator for Esquire in the '30s, and probably Distribution: the best friend of Cab Calloway. He produced Dear Hoppin' Managers: Lennart Westerlund, Sweden; at least one drawing a day, and the map is Do other teachers exist in France? We have Nancy Sandburg, USA. Masters: Patricia typical of his style. As far as I know, h.e spent the passion to become good Lindy Hop dancers. Brennan, Melinda Comeau, Freddie very little time in Holland! I also teach tap dance and rock 'n roll [which I Haugan, Craig Hutchinson, Sing Lim, Yours, Porl Smith have done] for 10 years, but I have found new Cyrilla Smith, Porl Smith, Rob van Haaren, London, UK motivation with Lindy. Chester Whitmore. Commercial: Dance Port - I wondered that there was so much I hope to see you soon, Franck Balbin Books Ltd. Subscriptions: Caroline Cole, swinging acth·ity in Holland ·in the 40s· - so Lyon, FRANCE Fred Hunt Marcus Koch, Beckie much for that article idea! 1hank you for Franck - You may he in luck. Richard Dixon, Menckhoff, Erin Stevens, Tim the DJ. pointing out the mistake with such tact. Ed. an accomplished Lindy Hopper. has recently moved 10 Southem France (see Lindy Listings). Submissions: Dear Hoppin' His energy and enthusiasm for the dance will, Submissions 10 Hoppin', c/o Dancing Star ...Hoppin' is a great idea... I'm sure, match yours. Ed. Productions, at our NEW ADDRESS! P.O. Kurt Bieller & Regina Smith Box 6008, London W2 5ZY UK. phone Vienna, AUSTRIA Dear Hoppin' +44 71 221 8331. Deadline for Summer I've been meaning to write to you since I saw issue: July I, 1994. Dear Hoppin' the first copy of Hoppin•, to tell you what a fabulous job you did on it. It was very informa­ Advertising: I was thinking about the article [in the Winter issue] on Norma Miller the other day. tive, and definitely filled a need. Simon Bell, Judy Martin, Angela Andrew,. It occurred to me that to understand Lindy, it's I like the truly international flavor of Hoppin', Editorial calendar, rates, and deadlines imponant to read the stories about that time, to and it was really interesting to read. Nice available on request from Hoppin' (see imagine what it was like to be alittle girl, layout, typeface, etc. too. Submissions above). moving every month, watching her mother go Good luck with future issues. I sincerely wish through those difficulties. Then an offer like Hoppin' a long, Jong life. the one from the Savoy comes along... Most Best, Cynthia Millman © 1994 Dancing Srnr Production:-; except where held by of the early Lindy Hoppers came from that New York, USA author. All righl� rt:served. Responsibilicy for veracity of infonnation wi1hin lhe anic.:les is the author's alone kind of background. You have to understand Hoppin' and Dancing Star Produclions accepts no liability. the social context to understand this style. Page2 Special City Review Hoppin' Spring ·94 New -York, New. York Some old-time dancers feel the Contacts: NY scene has fractured, that the Ballroom Review. 60 Gramercy energy for Lindy is diminishing. Park North, NY, NY 10010. For Others say West Coast has also social dance in the NY, New crested and is diminishing, and Jersey, Connecticut area. Nick that where within the past ten Ullo, phone +I 212 673 3442 years one might dance most Mama Lou Parks Dancers, nights of the week, today the Richard Harris, +I 201 440 1268, scene has consolidated around wk +I 212 489 7400, or Debra two or three solid evenings, with Youngblood, +I 212 862 8009. demanding jobs and recession New York Swing Dance Society/ causing people to be less active. Big Apple Lindy Hoppers. P.O. Nevertheless, there are numer­ Box 1512, NY NY 10009-1512. ous dance studios and organisa­ Promote Swing dance and music. tions giving classes, series, and NYSDS - Bob Crease phone + l one-off Lindy workshops, often 212 696 9737. BALH - Cynthia taking advantage of teachers in Millman, +l 212 989 2315 town from outside NY. Various supper or dinner/dancing clubs Venues: ASDC Winnera in the Lindy Hop Division, April 1994. (/, r) Ivan & advertise live music from the '40s NYSDS Savoy Sundays (19:00- Elizabeth Berggren, Louise Thwaite & a bearded Simon Selmon, MC and earlier. 24:00), Continental Club, 17 Irving Kenny Wetzel, Maxine Green & Warren Heyes, unidentified. Photo Place at 15th St. Live bands; cost courtesy of Simon Selmon. Hoppin' is told that our best bet fordancing Lindy in New York is $12. phone +l 212 696 9737 With New York hosting the CAN'T Swing Dance Championships. go to the Sunday night Continental *Monday (21:00-23:30), Well's TOP THE LINDY HOP celebra­ Winners in this year's couples Club dance, get Ballroom Review, Restaurant, 132 St. & 7th Ave. tions, it seemed appropriate to division were Warren Heyes & for current dance events, and go Popular in the 30's; reopened by have a special city focus on the Maxine Green of the UK (first), to the Monday night dance at the the daughter of the original place where Lindy started.
Recommended publications
  • The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities

    The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities

    The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice.
  • Re-Imagining United States History Through Contemporary Asian American and Latina/O Literature

    Re-Imagining United States History Through Contemporary Asian American and Latina/O Literature

    LATINASIAN NATION: RE-IMAGINING UNITED STATES HISTORY THROUGH CONTEMPORARY ASIAN AMERICAN AND LATINA/O LITERATURE Susan Bramley Thananopavarn A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the College of Arts and Sciences. Chapel Hill 2015 Approved by: María DeGuzmán Jennifer Ho Minrose Gwin Laura Halperin Ruth Salvaggio © 2015 Susan Bramley Thananopavarn ALL RIGHTS RESERVED ii ABSTRACT Susan Thananopavarn: LatinAsian Nation: Re-imagining United States History through Contemporary Asian American and Latina/o Literature (Under the direction of Jennifer Ho and María DeGuzmán) Asian American and Latina/o populations in the United States are often considered marginal to discourses of United States history and nationhood. From laws like the 1882 Chinese Exclusion Act to the extensive, racially targeted immigration rhetoric of the twenty-first century, dominant discourses in the United States have legally and rhetorically defined Asian and Latina/o Americans as alien to the imagined nation. However, these groups have histories within the United States that stretch back more than four hundred years and complicate foundational narratives like the immigrant “melting pot,” the black/white binary, and American exceptionalism. This project examines how Asian American and Latina/o literary narratives can rewrite official histories and situate American history within a global context. The literary texts that I examine – including works by Carlos Bulosan, Américo Paredes, Luis Valdez, Mitsuye Yamada, Susan Choi, Achy Obejas, Karen Tei Yamashita, Cristina García, and Siu Kam Wen – create a “LatinAsian” view of the Americas that highlights and challenges suppressed aspects of United States history.
  • Black Dance Stories Presents All-New Episodes Featuring Robert

    Black Dance Stories Presents All-New Episodes Featuring Robert

    Black Dance Stories Presents All-New Episodes Featuring Robert Garland & Tendayi Kuumba (Apr 8), Amy Hall Garner & Amaniyea Payne (Apr 15), NIC Kay & Alice Sheppard (Apr 22), Christal Brown & Edisa Weeks (Apr 29) Thursdays at 6pm EST View Tonight’s Episode Live on YouTube at 6pm EST Robert Battle and Angie Pittman Episode Available Now (Brooklyn, NY/ March 8, 2021) – Black Dance Stories will present new episodes in April featuring Black dancers, choreographers, movement artists, and creatives who use their work to raise societal issues and strengthen their community. This month the dance series brings together Robert Garland & Tendayi Kuumba (Apr 8), Amy Hall Garner & Amaniyea Payne (Apr 15), NIC Kay & Alice Sheppard (Apr 22), Christal Brown & Edisa Weeks (Apr 29), and Robert Battle & Angie Pittman (Apr 1). The incomparable Robert Garland (Dance Theatre of Harlem) and renaissance woman Tendayi Kuumba (American Utopia) will be guests on an all-new episode of Black Dance Stories tonight, Thursday, April 8 at 6pm EST. Link here. Robert Battle, artistic director of Alvin Ailey American Dance Theater, and Angie Pittman, Bessie award- winning dancer, joined the Black Dance Stories community on April 1. In the episode, they talk about (and sing) their favorite hymens, growing up in the church, and the importance of being kind. During the episode, Pittman has a full-circle moment when she shared with Battle her memory of meeting him for the first time and being introduced to his work a decade ago. View April 1st episode here. Conceived and co-created by performer, producer, and dance writer Charmaine Warren, the weekly discussion series showcases and initiates conversations with Black creatives that explore social, historical, and personal issues and highlight the African Diaspora's humanity in the mysterious and celebrated dance world.
  • Harlem Intersection – Dancing Around the Double-Bind

    Harlem Intersection – Dancing Around the Double-Bind

    HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Judith A. Miller December, 2011 HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND Judith A. Miller Thesis Approved: Accepted: _______________________________ _______________________________ Advisor School Director Robin Prichard Neil Sapienza _______________________________ _______________________________ Faculty Reader Dean of the College Durand L. Pope Chand Midha, PhD _______________________________ _______________________________ Faculty Reader Dean of the Graduate School James Slowiak George R. Newkome, PhD _______________________________ Date ii TABLE OF CONTENTS CHAPTER I. INTRODUCTION ……………………………………………………………………. 1 II. JOSEPHINE BAKER – C’EST LA VIE …………………..…….…………………..13 III. KATHERINE DUNHAM – CURATING CULTURE ON THE CONCERT STAGE …………………………………………………………..…………30 IV. PEARL PRIMUS – A PERSONAL CRUSADE …………………………...………53 V. CONCLUSION ……………………………………………………………...……….74 BIBLIOGRAPHY ……………………………………………………………………… 85 iii CHAPTER I INTRODUCTION “Black is Beautiful” became a popular slogan of the 1960s to represent rejection of white values of style and appearance. However, in the earlier decades of the twentieth century black women were daily deflecting slings and arrows thrown at them from all sides. Arising out of this milieu of adversity were Josephine Baker, Katherine Dunham, and Pearl Primus, performing artists whose success depended upon a willingness to innovate, to adapt to changing times, and to recognize and seize opportunities when and where they arose. Baker introduced her performing skills to New York audiences in the 1920s, followed by Dunham in the 1930s, and Primus in the 1940s. Although these decades resulted in an outpouring of cultural and artistic experimentation, for performing artists daring to cross traditional boundaries of gender and race, the obstacles were significant.
  • Frankie Manning: Ambassador of Lindy Hop Free

    Frankie Manning: Ambassador of Lindy Hop Free

    FREE FRANKIE MANNING: AMBASSADOR OF LINDY HOP PDF Frankie Manning,Cynthia R. Millman | 312 pages | 28 Sep 2008 | Temple University Press,U.S. | 9781592135646 | English | Philadelphia PA, United States Frankie Manning - Wikipedia N o one has contributed more to the Lindy Hop than Frankie Manning -- as a dancer, innovator and choreographer. For much of his lifetime he was an unofficial Ambassador of Lindy Hop. Once again, since the swing dance revival that started in the s, Frank Manning was a driving force worldwide with his teaching, choreography and performance. His own love of swing music and dancing was contagious as his dazzling smile. History African Roots Reading. F rankie Manning started dancing in his early teens at a Sunday afternoon dance at the Alhambra Ballroom in Harlem to the music of Vernon Andrade. From there he moved on to the Rennaissance Ballroomwhich had an early Frankie Manning: Ambassador of Lindy Hop dance for older teens with the live swing music of the Claude Hopkins Orchestra. Finally, Frankie "graduated" to the Savoy Ballroomwhich was known for its great dancers and bands. Competitive as well as gifted, Manning, became a star in the informal jams in the " Kat's Korner " of Frankie Manning: Ambassador of Lindy Hop Savoy, frequently won the Saturday night contests, and was invited to join the elite Clubwhose members could come to the Savoy Ballroom daytime hours to practise alongside the bands that were booked at the Savoy. F Frankie Manning: Ambassador of Lindy Hop Manning's dancing stood out, even among the greats of the Savoy Ballroom, for its unerring musicality.
  • San Francisco Lodge Survey “One Paper, Many Voices”

    San Francisco Lodge Survey “One Paper, Many Voices”

    San Francisco Lodge Survey “One Paper, Many Voices” Chinese American Citizens Alliance Volume 21, Fall Issue Inside this Issue… President's Message 2 Education 3 Activities 4 Honoring Senior Citizens 5 52nd C.A.C.A Conven- 6 tion Much Ado About Nothing 8 What is Happening to America’s In the News 10 Chinatowns? By Melanie Chan Are America’s Chinatown disappearing? For over a hundred years, Chinatowns were a com- In Memory of Jack Low 10 munity where new immigrant families could depend on a network of friends and relatives to help ease them into their new life here in America. They were vibrant and diverse gateways that provided shelter, jobs and support to the community. Honoring Senior Citizens 11 (Chinese version) The Asian American Legal Defense and Education Fund (AALDEF) studied Chinatowns in the cities of Boston, New York and Philadelphia. They spent a year recording block by block by lot the existing land uses in Boston, New York and Philadelphia's’ Chinatown and sur- rounding immigrant areas, looking at the residential, restaurants and businesses. What they discovered is that the shrinking of the areas’ Chinatown are multi-faceted. Rising land prices has contributed to the gentrification and expan- sion of luxury buildings and upscale businesses encroaching into the Chinatowns. An example is when the New York City Council, despite protests from the Chinese community and businesses, approved the city’s third largest rezoning plan in 2008. Independent analysis by urban planners concluded that it would push luxury development into Chinatown and disproportionately impact the low income and immigrant communities.
  • Department of English and American Studies English

    Department of English and American Studies English

    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Karla Mikulová The Development of Swing and Its Influence on The Inter-War American Society Bachelor’s Diploma Thesis Supervisor: Christopher Adam Rance, M.A. 2021 I declare that I have worked on this thesis independently, using only the sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my supervisor, Christopher Adam Rance, M.A., for his help, valuable advice, kindliness, and patience. I would also like to thank my friends for their helpfulness, support, and tolerance. Finally, I would like to thank my family and Hugo for bearing with me, and for cheering me on when I needed it most. Table of contents Abstract ...................................................................................................................................... 5 Introduction ................................................................................................................................ 6 1. Theoretical section ................................................................................................................. 8 1.1 History ........................................................................................................................... 8 1.1.1 Understanding the Circumstances ....................................................................... 8 1.1.2 The Historical Turning Points for American Society ....................................... 11 1.1.3 The Advances
  • Bodies Bodies

    Bodies Bodies

    @VBZ verspielt, queer, CLUB SILBANDO INFO POINT IM HAUPTBAHNHOF SALSARICA – Förrlibuckstrasse 62, GZ WIPKINGEN Fr 13:00–19:00, Sa 12:00–20:00, So 11:00–18:00 kosmisch, zeitgenössisch, BANANENREIFEREI 8005 ZH Breitensteinstrasse 19a, Pfingstweidstrasse 101, 8037 ZH urban, auf der leinwand WIRTSCHAFT 8005 ZH TAGES- UND WOCHENENDPÄSSE ZUM TRANSIT Tagespässe Freitag, Samstag und Sonntag je CHF 25.—, Aargauerstrasse 14, oder im glamourösen 8048 ZH TONI-AREAL Wochenendpass Freitag bis Sonntag CHF 45.—, 7. Ebene Tanzstudios, TANZHAUS Zürich Ein guter Move: Kinder und Jugendliche bis 16 Jahre erhalten einen SHOWFORMAT Kaskadenhalle Wasserwerkstrasse 129, TANZWERK 101 Pfingstweidstrasse 96, 8037 ZH Gratispass. Der Pass ist für alle Veranstaltungen Pfingstweidstrasse 101, 8005 ZH In unserer stadtweiten Festivallandschaft 8005 ZH von ZÜRICH TANZT gültig. Es gilt überall die Devise JOSEFWIESE «first come, first served». findest du dieses Jahr sieben thematische TURBINENPLATZ Josefstrasse 197, CLUB EL SOCIAL Mit dem ÖV Turbinenplatz, 8005 ZH 8005 ZH Viaduktstrasse 67, Hubs, in denen es verschiedene Facetten der 8005 ZH VORVERKAUF lokalen, nationalen und internationalen BACKSTAGE STUDIO Unsere Tickets gibt’s an allen Vorverkaufsstellen und im Hardstrasse 81, 8004 ZH JUGENDKULTUR- GELESEN 25HOURS HOTEL HAUS DYNAMO Webshop von Starticket. Earlybirds werden belohnt: Tanzkultur zu entdecken gibt. Und natürlich Wasserwerkstrasse 21, LOFT1 POLE- LANGSTRASSE «Es lebe die Tradition» CHF 20.— / CHF 40.—! Langstrasse 150, 8004 ZH 8006 ZH antanzen. tanzen wir auch wieder durch die Strassen, STUDIOS Erismannstrasse 2, auf Plätzen und an anderen ungewöhnlichen 8004 ZH ZEOT TAGESKASSE Orten in der Stadt. Wir empfehlen dir, die Lagerstrasse 107, Während dem Festival sind die Pässe am Info Point KOSMOS 8004 ZH (Bar­ oder Kartenzahlung) und an allen Spielorten ZIRKUSQUARTIER Details zu den Veranstaltungen auf unserer Flurstrasse 85, 8047 ZH Lagerstrasse 104, (NEU nur Kartenzahlung) erhältlich.
  • BLACK GIRL: Linguistic Play

    BLACK GIRL: Linguistic Play

    Reference and Resource Guide Camille A. Brown’s BLACK GIRL: Linguistic Play draws from dance, music, and hand game traditions of West and Sub-Saharan African cultures, as fltered through generations of the African- American experience. The result is a depiction of the complexities in carving out a positive identity as a black female in today’s urban America. The core of this multimedia work is a unique blend of body percussion, rhythmic play, gesture, and self-expression that creates its own lexicon. The etymology of her linguistic play can be traced from pattin’ Juba, buck and wing, social dances and other percussive corollaries of the African drum found on this side of the Atlantic, all the way to jumping double dutch, and dancing The Dougie. Brown uses the rhythmic play of this African-American dance vernacular as the black woman’s domain to evoke childhood memories of self-discovery. Hambone, hambone, where you been? Around the world and back again Let’s use the hambone lyric as a metaphor for what happened culturally to song and dance forms developed in African-American enclaves during the antebellum era. The hambone salvaged from the big house meal made its way to cabins and quarters of enslaved Africans, depositing and transporting favors from soup pot to soup pot, family to family, generation to generation, and providing nourishment for the soul and for the struggle. When dancing and drumming were progressively banned during the 18th century, black people used their creativity and inventiveness to employ their bodies as a beatbox for song and dance.
  • The Beginning of the Harvest Moon Ball and the Myth of the Harlem Riot in 1935 As the Reason for It

    The Beginning of the Harvest Moon Ball and the Myth of the Harlem Riot in 1935 As the Reason for It

    1 The Beginning of the Harvest Moon Ball and the Myth of the Harlem Riot in 1935 as the Reason for It Harri Heinilä, Doctor of Social Sciences, University of Helsinki February 12, 2018 On March 19, 1935, thousands of Harlemites protested intolerable social and economic conditions by rioting for one day. They attacked mainly white-owned stores and broke hundreds of windows. The riot resulted in 1-2 dead and 64-100 injured1. Mayor Fiorella LaGuardia launched an investigation into reasons for the riot by appointing the research commission which found discrimination and poverty as the base for Harlem’s problems. The possibility of a new uprising because of the intolerable conditions convinced Mayor LaGuardia to better Harlem’s government services and infrastructure2. One of the improvements is claimed to be the Harvest Moon Ball dance contest which, depending on the version, supposedly either Mayor LaGuardia and the New York Daily News designed together for calming down frustrated Harlemites3, or the Daily News and the Savoy Ballroom authorities agreed on because of the social unrest after the riot4. The Daily News-sponsored Harvest Moon Ball was the New York metropolitan area-wide dance contest between 1935 and 1974, which included dances like the Foxtrot, Viennese Waltz, Tango, Rumba, and the Lindy Hop. All profits from the contest were donated to underprivileged children in the New York City. Its finals were organized yearly in the Madison Square Garden, except for preliminaries to the finals, which were held in various ballrooms like the Savoy Ballroom around the New York Metropolitan area.
  • February – Black American Social Dance

    February – Black American Social Dance

    February Reading List African American Social Dance or Why We Do What We Do? Articles: “2010-19: Reflections Of A Black Woman In Dance Music” by Ash Lauryn, Resident Advisor, January 2020. https://ra.co/features/3592 “Black Women Helped Build House Music. Their Credit Is Often Left off Records” by Renee Jarreau, ZORA, July 2020. https://zora.medium.com/black-women-helped-build-house-music-their-credit-is-often-l eft-off-records-8fc505300bd1 “Remembering Black Female Dancers in Jazz Era Film,” by Robin Nunnally, Sister Kate Dance Company, February 2020 https://sisterkatedancecompany.com/black-history-month-remembering-black-female-dancers-i n-jazz-era-film/ “10 Women in Jazz Who Never Got Their Due,” by Giovanni Russonello, New York Times, April 2020 https://www.nytimes.com/2020/04/22/arts/music/women-jazz-musicians.html "The Swingin' Lindy: Origins of A Legacy" by Brenda Dixon-Gottschild, Arts & Culture for Google, June 2018, https://artsandculture.google.com/exhibit/the-swingin-lindy-origins-of-a-legacy-by-brenda-dixon- gottschild-lincoln-center/9wKyl1IJ7CwnJQ?hl=en “With a kick and a spin, a sudden surge in soul line dancing,” by Victoria St. Martin, The Washington Post, June 2016 https://www.washingtonpost.com/local/with-a-kick-and-a-spin-a-sudden-surge-in-soul-line-danci ng/2016/06/26/9398c3ba-22af-11e6-8690-f14ca9de2972_story.html “Soul Line Dancing: Come For The Fitness. Stay For The Friendships,” by Maria Godoy, NPR, September 2019 https://wamu.org/story/19/09/22/soul-line-dancing-come-for-the-fitness-stay-for-the-friendship s/ Videos: The History of African American Social Dance, Camille A.
  • Jive Nation Poland Ltd and Its Associates Reserve the Right to Change the Programme and Competition If Necessary Without Consultation

    Jive Nation Poland Ltd and Its Associates Reserve the Right to Change the Programme and Competition If Necessary Without Consultation

    EUROPEAN MODERN JIVE CATEGORIES AND PRIZES All category winners, will receive a European Title, Trophy and Cash Prize. Medals will be awarded for 1st, 2nd and 3rd places in each paid category. The Team Cabaret category, trophies only for 1st, 2nd and 3rd places. OPEN This is the premier Modern Jive category. Entry is open to all levels of dancer. This is a freestyle dancing competition. 1st Place Prize: £250 per couple. SPOTLIGHT An original choreographed composition by a dance couple of between 3 and 5 minutes, danced to their own chosen music. All dance styles are permitted, there is no requirement for Modern Jive elements. The routine performed will be assessed in accordance with the Judging criteria. Entrants in this category will be contacted so that they can provide their music track. Apply early to reserve your entry as places will be limited. 1st Place Prize : £250 per couple. ADVANCED Open to amateurs only. Dance Teachers and/or Professional dancers (see definitions below) are not eligible. This is a freestyle dancing competition and is recommended for all those that have been dancing Modern Jive for twelve months or more. 1st Place Prize : £150 per couple. INTERMEDIATE Open to amateurs only. Dance Teachers and/or Professional dancers (see definitions below) and previous winners are not eligible. This is a freestyle dancing competition and is recommended for all those that have been dancing Modern Jive for six months or more. 1st Place Prize : £125 per couple. EUROPEAN MODERN JIVE CATEGORIES AND PRIZES RISING STARS Open to amateurs only. Dance Teachers and/or Professional dancers (see definitions below) and previous winners are not eligible.