This post is dedicated to Frankie Manning. Frankie died this morning of complications related to pneumonia He was one month shy of his 95th birthday. I will really miss him. Frankie is a lindy hop legend. He choreographed the clip below and is the dancer in the overalls.
In the 1980s, there was a lindy hop revival. Lindy hop is a partner dance invented by African American youth in Harlem dancing to swing music in the early 1930s. Named after the “hopping” of the Atlantic by Charles Lindbergh Jr., it became wildly popular in the 1930s and ‘40s, traveling from the East to the West Coast and from black to white youth. Since its resurgence, Lindy Hoppers have enjoyed a national scene with websites, workshops, competitions, and city-wide social events that draw national and international crowds.
Though lindy hop was invented by African Americans, lindy hoppers today are primarily white. These contemporary dancers look to old movie clips of famous black dancers as inspiration. And this is where things get interesting: The old clips feature profoundly talented black dancers, but the context in which they are dancing is important. Professional black musicians, choreographers, and dancers had to make the same concessions that other black entertainers at the time made. That is, they were required to capitulate to white producers and directors who presented black people to white audiences. These movies portrayed black people in ways that white people were comfortable with: blacks were musical, entertaining, athletic (even animalistic), outrageous (even wild), not-so-smart, happy-go-lucky, etc.
So what we see in the old clips that contemporary lindy hoppers idolize is not a pure manifestation of lindy hop, but a manifestation of the dance infused by racism. While lindy hoppers today look at those old clips with nothing short of reverance, they are mostly naive to the fact that the dancing they are emulating was a product made to confirm white people’s beliefs about black people. Let’s look at how this plays out:
This clip, from the movie Hellzapoppin’ (1941) is perhaps the most inspirational clip in the contemporary lindy hopper’s arsenal:
By the way, the dancers are in “service” outfits because of the way lindy hop scenes featuring black dancers were included in movies. Typically they would have no relationship to the plot; they would occur out of nowhere and then disappear. This was so that the movie studios could edit out the scene when the movie was going to be shown to those white audiences that were hostile to seeing any positive representation of black people at all. If you want to see how the scene above emerged (black “help” suddenly discovering musical instruments and spontaneously congregating), you can watch the extended clip here.
The clip below, from the Ultimate Lindy Hop Showdown (2006), reveals how powerfully contemporary lindy hoppers have been influenced by clips like the ones above. Watch for how the styling, moves, and trick reflects the clips above:
Another good example can be found here (but the angle, audio, and visual quality are not very good).
So we have a set of (mostly) white dancers who naively and wholeheartedly emulate a set of black dancers whose performances, now 70 to 80 years old, were produced for mostly white audiences and adjusted according to the racial ethos of the time. On the one hand, it’s neat that the dance is still alive; it’s wonderful to see it embodied, and with so much enthusiasm, so many years later. And certainly no ill will can be fairly attributed to today’s dancers. On the other hand, it’s troubling that the dance was appropriated then (for white audiences) and that it is that appropriation that lives on (for mostly white dancers). Then again, without those dancers, there would likely be no revival at all. And without those clips, however imperfect, the dance might have remained in obscurity, lost with the bodies of the original dancers.
As a white lindy hopper myself, for over ten years now, who desperately loves this dance, I find this to be a deep conundrum.
I don’t know what Frankie would have had to say about this critique. But I do know that he loved lindy hop to his last days and he was grateful for the revival. Here he is dancing with Dawn Hampton, another legend of lindy hop, at the age of 94:
I’lll miss you, Frankie. And I’ll keep on dancing, embodying, with ambivalence, all the great contradictions of the dance and the history of this country.
UPDATE: A couple commenters asked how, exactly, the dance was changed in order to appeal to white audiences. This is actually really difficult to say, since few films of social dancing (black dancers dancing only for other black dancers) exist. But we have some theories. Evan, in the comments, had this suggestion:
For white audiences of the time, Jazz was Hot Black jungle music – Black people were sex crazy hedonists, and you can see it in the moves, the exaggerated body undulation. the speed. the sweat. the rhythmical drum.
It was like watching a tribe around a fire.
I’m with Evan. I’d like to also add that, as a person with a trained eye for lindy hop, I see two things in those clips:
(1) I see incredibly effective technique. Unbelievable strength and precision. It’s fantastic. (By the way, Frankie explained that, by the time they got to the take you see in the Hellzapoppin’ clip, they’d performed that routine more than 20 times in a row… they were amazing athletes.)
(2) But I also see, layered onto and facilitated by that technique, an effort to make the dance appear more out-of-control than it is. They are wild-ing the dance.
At least, that’s how it looks to me.
More than that, though. As a dancer who has also been inspired by those clips, I know how to do that. I know how to exaggerate the out-of-control look. I won’t go into the technical details (I did, and then deleted!), but it’s do-able. And it’s not that it’s not cool… adding the drama is fun and exciting to watch… but there’s a historical reason why lindy hop has that dimension and that is worth thinking about.Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.