Here’s something I wrote about cultural relevence and swing dance a while back. I think it was posted on Swing Talk. I’m reposting it here because it’s got some interesting points that I want to hang onto and think about with the chapter I’m writing atm.
[quote begins]
In terms of music: one of the neat things about Afro-American vernacular jazz dance is that it was ‘made’ in tandem with the music – that’s why live music is important. Jazz totally leans on improvisation. So jazz dances do too. Being able to improvise is as important for us as dancers as it is for jazz musicians: it tests us. It pushes us to our creative limits. It makes the whole thing harder and so much funner.
So if I assume that the original line was: “the way vernacular dance maintains its relevancy to ordinary people’s lives. Dance styles and fashions stick around because they have use-value – they respond to the culture of the day”. You could also use ‘society’ instead I guess.
You know, I’ve thought about this a lot lately. It’s something that has relevancy to me as a dancer, and to me as a feminist researcher looking at issues of power and discourse and ideology in a dance culture.
nerdy academic rambling
As a cultural studies person, I believe that ‘culture’ …
– ie ‘stuff’ like texts (ie music and songs and pictures and paintings and sculpture and story and dances and magazines and television programs and film clips and so on)
and ‘practices’ (stuff we do – like talk about things or share clips or publish magazines or produce paintings or make clothes or whatever)
…is a nice way to look at what a society or culture is thinking and doing at a particular moment in time. As a cultural studies person I tend to be interested in ‘now’ – I’m not a historian, but sometimes I might do historical research. I don’t use historical research techniques. Nor do I use a sociological or anthropological techniques in the same way as people in those fields do.
I assume – as a feminist cultural studies researcher – that the relationships between people – ‘politics’ are indicated or represented in cultural ‘stuff’ and ‘practices’. So if I examine a song from 1935 I could make some guesses about the language and culture of the time. For these guesses to be more productive, I’d look at this text in context. So I’d look at other songs, I’d do interviews with people of the 30s, I’d read newspapers of the day, I’d read academic and popular work of and about that time. I guess that’s what I’m doing with my thesis: I’m looking at how the media we produce (be that dance or online) can be read to identify ideological discourse.
So I think it’s really neat that Afro-American vernacular dance builds this idea of cultural relevancy into its very structure… I mean, all dances do, but Afro-American vernacular dance totally DIGS it and positions it as very important. Hell, the swingout is revolutionary because it broke open the highly structured European partner dance form and gave partners all that time to do their own thing – to improvise.
So I like to see people do ‘their’ thing in those moments. And I think we can analyse those moments to see what sort of person they are, their dance experience and knowledge, their physical abilities, even their political or social beliefs and position (take a look at girl x’s swingout compared to guy x’s swingout – what does this tell you about gender relations? about sexuality? about musicality?). It’s there that we make the dance mean something.
more specific rambling
I wonder how we might combine ‘making the dance relevant to us today’ with any sense of historical ‘accuracy’ or congruency? ie getting new stuff in without losing the old stuff?
It wasn’t a problem in Afro-American dance communities in the ‘original swing era’ (or in vernacular dance traditions generally) – the shared knowledge and skill base was just added to. Useful stuff stuck. Other stuff was shelved.
But many of us feel – as swing dance revivalists – that there’s a responsibility to take a historical moment (be it 1935 in Harlem, 1930 in Kansas city, 1942 in Los Angeles or that heady summer on Balboa Island) and preserve it. Because it’s beautiful or fascinating or exciting or wonderful or awful or scary or whatever. We just want to get onto that moment and somehow make it stick.
It’s an interesting tension, I think.
Some ways I’ve noticed contemporary dancers make swing dances reflect their contemporary lives by exploiting the inherent flexibility of a dance that incorporates things like improvisation, impersonation and imitation:
– women leading and woman/woman dance partnerships not a new thing for partner dance by any means.
Same sex dance partnerships were there waaay back in Europe when partner dancing got going, it was there in various African nations pre American slavery (particularly when mixed-sex partner dancing was taboo), it was there in Afro-American vernacular dance from the beginning, right through the 30s to now.
For me, it’s about reconciling my passion for dance with my frustration with patriarchal and hetero-normative gender roles and dynamics. It’s also about getting to dance with my female friends.
– dancing lindyhop and other swing dances to contemporary music. I know, it makes me cringe sometimes, but hell, if it gets people dancing… I just ask that you dance to olden days music as well: don’t replace the old stuff with the new. Hang onto the bits that are useful. And I think swinging jazz is useful.
– incorporating ‘new skool’ moves into oldskool dances:
the body roll (sexy new skool… or is it really oldskool made newskool already?);
running man (humorous performance of 1980s/70s oldskool… which might also be really oldskool made new and then made new again);
various hip hop bits and pieces (as in hip hop lindy)… again, isn’t this oldskool made newskool in the 80s?
– women and men ‘dancing like themselves’. So seeing men and women actually taking the structure of swing dances to perform their own personality and identity, outside a static gender role or identity. So, seeing a young heterosexual woman dancing with ‘power’ or kickarse to show that she’s an independent woman, in a way she mightn’t have been able to in the 1930s or 40s. Especially if her family or ethnic group weren’t into female empowerment in that time. Or seeing an assertive, alpha-type chick take a moment to just ‘follow’ and stop making decisions for a while. Or seeing a young man not worrying that he may look ‘gay’ or whatever for relaxing and really feeling the music in ways that mightn’t go down so well at a conventional night club. Or seeing a young gay guy working with female partners in a close embrace and not having to second guess the sexual tensions that would accompany this contact in a non-dance setting. Or perhaps even more exciting, see things like that first young woman [I]perform[/I] a meek, stereotypical ‘good Asian girl’ and then rework it to totally subvert it.
– one of the things I’m most interested in at the moment: swing dancers getting into solo stuff. Especially if they’ve never done any type of dancing – not even disco dancing – before swing. I am really interested in the ring structure for things like big apples, charleston-offs, a bit of jazzedy jiggywiggy or whatever – people dancing in a circle so they can see each other, and all be a part of the deal, and yet experimenting with moves and the music independently. I think this is a nice way for people to use a really, really, really old dance form to experiment with their own bodies and personalities in a public place, trying on all sorts of moves. I especially like it when it’s all girl or all boy – I like to see some same sex peer work. But then I also dig a mixed gender thing too…
in this setting you see people for whom dance has never been part of their everyday lives before taking a bit of a chance that they might embarrass themselves and really exploring the things they’re physically capable of, the limits of their ‘jazz’ vocabulary, their ability to steal steps from people near by or make up new steps. It’s different to the big apple dances of the olden days, but it’s still using similar themes and structures.
Neat!
cultural relevence and dance
