AIR pt. 9: NADC Fallout

This is part of a paper I wrote entitled “Artistry In Rhythm: Dialogue Through Dance in the Lindy Hop community.”  Previous and future posts can be found by searching my blog for the category “Artistry In Rhythm”

I’d also like to thank Paul Roth for his help this week in getting up the ALHC clip below.

2001 was a pivotal year.  Sensing the various trends I have outlined, many instructors and dancers were beginning to make serious efforts to actively influence the overall dance style of the community.

Ryan Francois and Jenny Thomas returned to active teaching after their long hiatus from the community for their run on the Broadway musical “Swing!”  In the aftermath of the 1999 WLHC debate Ryan talked of forming a “united front” to address the issues that came up in that original debate[1].  Nothing formal ever happened after that, but he was clearly dismayed at the state of dancing when he returned in 2001 and was not shy about making his thoughts known.[2]

He and Jenny along with Steven Mitchell and Swedish dance teachers such as Kenneth and Helena Norbelie, actively began re-emphasizing Charleston movements and faster dancing.

Southern California dancers such as Peter Loggins, Jenn Salvadori, Justin Zillman, Rueben Brown, and their supporters made more pointed and sometimes antagonistic arguments about what was and was not Lindy Hop through their posts in various online discussions.

On the dance floor, in late 2001, Skye Humphreys & Ramona Staffeld performed a routine to Glen Miller’s “Jeep Jockey Jump” at that year’s ALHC in an early attempt to dispel their growing reputations as slow groove dancers.

Even though they brought the crowd to its feet with the weekend’s most energetic Lindy Hop routine, their impact was probably mitigated by the fact that they were disqualified on a time technicality. The routine was short by a few seconds of the minimum time required.  The song was long enough, but the actual routine was not since it started a few seconds in to the song.[3] Despite that, they did inspire a number of dancers to begin re-examining their approach to the dance.

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