The New Orleans Swing Dance Festival

The festival is upon us! Every October hundreds of people from around the world come to town for a celebration of dance, music, and all things swing. This year, we want to introduce you to the director of the festival and a major behind-the-scenes creative force in our city: Amy Johnson.


Photo by Babs Woods

Photo by Babs Woods

How long have you been swing dancing? Where did you start?

I have been swing dancing almost 20 years now. Its actually a bit of a mind trip to think about that. I started in the Twin Cities in 1998 right at the height of neo-swing popularity. I would be lying if I said that things like the Gap swing commercial and the movie Swing Kids didn't give me encouragement to start. But I had been a fan of old movies and swing music long before that. 

 

How old is the swing dance festival?

The New Orleans Swing Dance Festival is turning 9 this year. It started in 2008 when I moved The Ultimate Lindy Hop Showdown to New Orleans from Minneapolis. The Ultimate Lindy Hop Showdown would be turning 16 this year of it wasn't taking a much needed break. 

 

What's your vision for this year's event?

The vision for this year is all about exploring the variety of styles of dance and music under the umbrella swing. There are so many that we can't even feature during the weekend because there just isn't enough time. And as usual we have classes with live music. There is nothing more valuable than hearing the perspective of the people playing the music you dance to. 

 

What are you up to when you're not organizing this crazy thing?

I also run a summer camp for adults called Welbourne Jazz Camp on a farm in Middleburg, Virginia. Its for people of all ability levels who want to learn to play jazz and also study lindy hop, tap, and jazz. Its the most fun thing I do all year. I love it so much. 

Throughout the year I also run The Chorus Girl Project and The NOLA Chorus Girls with another local dancer, Laura Manning. We do our own original choreographies to all local band recordings. We also do parades but thats not the main thing we do. We mostly focus on performing in local jazz clubs. The Chorus Girls are super fun because it's ladies of all ages from all over the city coming together to dance and break away from their normal life. 

 

What's your favorite place to dance in town?

Naming my favorite place to dance is a hard one. When it comes down to it, I love to dance anywhere there is music that is really really good. I am very much partial to dancing to bands my friends are in. They just happen to also be the best around. 

 

What are you going to be for Halloween?

Not sure yet. My 6 year old nephew thinks I should be a Minion like him. 

 

Where can I find the best Thai Iced Tea in New Orleans?

The best thai tea? Hmm. Well, I drink the most at The Orange Couch because I basically live there when I'm working. Sukho Thai is good too. But the best Thai tea I've ever had was in Middleburg (where Welbourne Jazz Camp is) at Best Thai. :)


Check out The New Orleans Swing Dance Festival website for details about schedule and ticketing. We, your friendly neighborhood Crescent City Swingers will be there too, teaching the Beginner Lindy Hop classes and hosting the festival's community ambassador program. Find our table at the event!

Leveling Up Your Dancing

I’ve spoken before about how learning and improving my dancing is important to me. It’s one of the reasons I wanted to help start a dance school; so that I could share my joy learning with other folks who might feel the same way.

And so it makes sense that one of the most common questions we get from our students is when to move on to the next level. I’m going to answer some of those questions here, but the first thing you should know is that learning is a very personal process and not all the guidance you’ll find here will apply to you. A blog post probably won’t answer every question you have on this topic, so I’ll start by encouraging you to always speak with your dance teacher to get their opinion on the issue.

If you think you might be ready to move on, or if you want to be ready to be ready to move on, listen up!

An Overview Of The Program

Imagine our swing dance program like a lush, beautiful tree. Swing Basics courses are like the trunk of the tree. Everything else you learn is connected to the solid foundation you build in these introductory classes, so it’s really important that you know them backward and forward. Thin, puny trunks don’t support big, strong trees!

Just past the trunk you’ve got some branches on your tree. At our tree... er, school, we have Lindy Hop branches, Charleston branches, Balboa branches, and Solo Jazz branches. You might enjoy one of these styles more than the others, but strong trees have at least a few solid branches rather than just one big one (I think a tree with one branch is just a log). The reason we offer more than one type of dance is so that not only will you find something you enjoy, but you’ll build a good foundation in each style and be able to use them whenever you’re inspired to.

At the end of your branches you’ve got full leaves and maybe even some fruit growing. This is your personal touch, your contribution to the dance. This is your higher-level stuff. You need a good trunk of foundations and nice branches of specialized knowledge to get there, but finally you’ve got some fruit! It’s unique to you and the envy of all the other dancers, and you needed the whole journey to get there.

What You Should Know

Alright, metaphors aside, there are practical things you need to extract from each level before you’re ready to move on. From swing basics, you might be ready to move on when you know these skills comfortably:

  1. Six count basics with single and triple step rhythms
  2. Eight count basics with single and triple step rhythms
  3. Six count send-outs and return to closed position patterns
  4. Six count tuck turns
  5. Eight count promenade patterns (leader goes, follow goes, etc.)

You’ll notice that most of these things are techniques and moves. Dancing isn’t just hammering out move after move but you have to know these things before you can start to exercise your creativity and control over the dance. We’ll talk more about the “non-move” stuff later.

A longer period of time spent in Swing Basics will serve you very well moving forward. In fact, it’s a good idea to return to swing basics periodically (no matter your level) to work on your fundamentals. Generally, you should be in Swing Basics for 6-8 weeks for exposure to all these concepts – and more – before you’re ready to move on.

What You Need From Level 1 Courses

Level 1 courses like Lindy Hop 1 and Charleston 1 assume that you have a decent foundation in the Swing Basics repertoire. These classes will move faster and challenge you to grow more. In the level 1 classes you’ll learn the “classic” moves from that particular dance style and maybe start to see the bigger picture of how all these dances relate to one another. 

Advice about moving from Level 1 to Level 2 classes is a little less cut and dry. Of course, you’ll need to know the foundational aspects of each dance style to move to level 2, but there are less quantifiable aspects that should be starting to happen with your dancing, like:

  1. Beginning to introduce musicality to your dance decisions
  2. Growing more comfortable deliberately breaking patterns or mixing techniques together
  3. Able to more clearly lead or readily follow weight changes and more complex patterns
  4. Experimenting with your own ideas and moves during a dance to see what works and what doesn’t

You’re not expected to be a pro to be at Level 2 – far from it. But if the concepts above seem daunting or maybe even impossible at your current level, consider staying in Level 1 for a little while longer. Just like Swing Basics, Level 1 courses can be taken repeatedly to improve your dancing. Mastery of Level 1 might take you longer than Swing Basics and that’s ok – 8-12 weeks minimum might be enough to expose you to all the concepts you need to get you ready for Level 2 courses.

Around The World And Back Again

Maybe you’ve done Swing Basics, Level 1, and Level 2 in one of our course offerings. What now? The learning doesn’t end there. Here are some ideas on different ways to progress and grow in your dancing:

  1. Try the opposite role of your preferred one
  2. Try a different style (even if you’re not sure you’ll like it at first)
  3. Talk to us about joining our performance team
  4. Start a practice group and work with your peers on improving together
  5. Try a weekend exchange or workshop weekend
  6. If you have a competitive streak, try entering a competition
  7. Social dance, social dance, social dance!

We believe that there’s no secret to becoming a better dancer. The truth is it takes time and practice and a little bit of dedication. We’re here to set you on the path. If you have any questions about where to go or what to do with your dancing, we’re here to help answer them too. 

Whatever you do, remember that dancing is supposed to be fun and rewarding! We take the learning seriously, just in case you don’t want to. But if you do want to take it seriously – we got you.

See you on the dance floor!

Balboa Takeover

Come with us for walk through Balboa fields forever. We're starting a whole new branch of classes this fall and we want to make sure you have some idea what's you're getting into. So put your feet up, grab some popcorn, and get comfy with a whole new style of swing.

What Even Is It?

Balboa is a swing dance! It originated in southern California, as opposed to Lindy Hop which is from New York, so when you dance it you can feel the ocean breeze on your face. That's the main difference. Just kidding.
You'll find a lot of similar rhythms in Balboa to Charleston and Lindy Hop, and you can easily transfer knowledge from one dance to another. There are a few main differences though, most notably the connection. Balboa is danced much closer to a partner, often chest to chest. 

It's also known for its fast footwork. These weight changes, like in other swing dances, are led and followed, even though sometimes it looks like a magic trick. (Sometimes it is actually magic)

Why Should I Do It?

The small space requirement and relative ease of dancing to faster music makes it an ideal addition to the New Orleanian swing dancer's arsenal. You can mix it in with all of your other dances, plus - it's beautiful. This next video, an example of Balboa in New Orleans, was shot at French Quarter Fest 2009 and features Balboa mixed in which a bunch of other swing dances. Can you can identify all of the different swing dances in the clip?

We'll discuss the answer in Balboa class, Mondays at 7:30 in the fall. See what I did there?

A Fresh Perspective

A Fresh Perspective introduces dancer, writer, friend, and Jazz Squares member, Cameron Lovejoy. Cameron has been lindy hopping for almost ten years, starting in Columbia, South Carolina and making his way to New Orleans, where he now resides. Seeing as though he has a number of years under his belt, I thought it’d be interesting to get “a fresh perspective” on the dance from someone who’s done it for so long.

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You can find him on Frenchmen with a typewriter, dancing at one of the socials, or teaching a lesson at the Spotted Cat restaurant every few Thursdays. Join me as I take a look at Cameron’s thoughts about dancing in New Orleans.

 

1. When did you see swing dancing for the first time?

Well, I saw Lindy Hop for the first time in 2006. And I remember taking a small workshop that same day. But getting into it was a slow process because their wasn’t much of a scene in my town.

 

2. What was your thought the first time you saw swing dancing?

There was this workshop fair at my summer camp back when I was a teenager. Two of the staff advisers were really good at it and wanted to show us. So everyone was crowded around this brick fireplace in the middle of Vermont. Then they played Lavender Coffin, I think, and danced. So it was the coolest thing, I thought, to see this rubber band dance. The dancers were so good. The style was so playful. I went crazy about it.

 

3. What’s your absolute favorite thing to do, besides dancing, of course?

Probably write poetry. I do that almost every day. But I also dance every day. So, you could say it’s my physical and mental balance.

 

4. Favorite solo jazz move?

Uh, I really like Crazy Legs and the Shish-ka-boom-ba from the Big Apple. And this is a cheesy one but I like the Scarecrow a lot.

 

5. Favorite TV show growing up?

Definitely Hey Arnold. In the first episode they dress up as these fruits for a play they’re in. But they end up getting on the wrong bus and go an adventure. Plus, there’s jazz throughout the whole show. So I think my love of jazz and traveling started with Hey Arnold, subconsciously.

6. If you had to pick one dance move to lead during an entire three-minute song, what would it be?

Swingout. When I played drums, I’d always try to do some kind of fill at the end of a measure. Or add an accent here or there. So it’d be really hard to keep the same vanilla swingout for that long. But if I had to pick, it’d be that….or high-fives.

 

7. In your opinion, what makes a really good lead?

A really good lead allows the follow to finish their sentences, and guides so that the other can speak. They’re soft enough to feel gushy, but firm enough to convey their ideas.

 

8. What’s your number one favorite dance memory?

This isn’t a specific memory, but there are times when it’s late at night and you’re kind of delirious, and keep dancing song after song, and you’re sweating so much -- like your eyes are burning, there’s so much sweat -- and you’ve even slightly injured yourself and know you probably shouldn’t keep dancing but you do anyway, and there’s a live band playing and everyone wants to dance with you and you want to dance with everyone else.

 

9. Is New Orleans different at all compared to other swing communities? How?

A hundred percent. You guys are spoiled. I mean, so many other cities have like one night a week, maybe two, at an appointed dance hall or some weird building with a terrible floor. Here, we have the option to dance to live music pretty much any night of the week. And there’s the social aspect to it. Not just the people you’re with, but the people who are visiting New Orleans, the bands who feed off the dancers and vice versa. And even if the floor sucks or if it’s crowded, it’s just a great time.

 

10. What’s your favorite book of all time?

Uh, I really love Daracula by Bram Stoker, Other Voices, Other Rooms by Truman Capote, and I’ve really been getting into Something Wicked This Way Comes by Ray Bradbury.

 

11. Where’s your favorite spot to dance in New Orleans?

Hmm, well the energy at the Spotted Cat is awesome. But, I love the floor at DBA...and the space at DBA...and the beer at DBA. Soooo….DBA.

 

12. Why did you hate the new Spider-Man movie with Tom Holland (no pressure, we just want to know)?

Ugh, it was just super formulaic and cheesy and cliche. They just recycled the same lines and the same message from every other superhero movie. Plus, I thought Spider-Man was just really whiny.

 

13. What non-dancing areas of your life has dancing helped you evolve in?

Definitely drumming. Being able to know measures and counts. Being able to know the difference between the “and” and the “e” and the “1” and the “2”. To know through my body where the “1” is or where I can add an accent, and just understanding the structure of music. Also I feel like it helps with the rhythm of metered poetry. And then relationships, as well. Whether platonic or romantic, just in listening to each other. I feel like a lot of people don’t let others speak enough. So as a lead in the conversation I’m conscious of listening more.

 

14. Is this what you do, hop out of bed and spit wisdom?

Well, I don’t hop out of bed. I Lindy Hop out of bed.

 

15. Favorite place to get a cup of coffee in the city?

I’d say St. Coffee’s pretty good. But if I’m going for the atmosphere, I’d say Flora’s.

All photos in this post by Ashley McKibben.

All photos in this post by Ashley McKibben.


Ian Monroe is a contributing writer for Crescent City Swing, community member, and friend.

A Look Inside The Crescent City Swing Performance Team

I’m a pack animal by nature. I like being part of a team and genuinely prefer it to doing things by myself. So when Kerry started the Jazz Squares, the Crescent City Swing performance team, I was really excited to join. Surprisingly, it was more fun and rewarding than I could have imagined. And if you were interested in joining a team (or THE team), let me pull back the veil a little and tell you what it’s like.

The Routines

When you’re on a dance team, you practice dancing. A lot. There are generally two types of routines we might perform; a choreographed solo jazz routine with little or no partnering, and a partner routine which is also choreographed but can often be lead and followed like a social dance.


When we practice a solo jazz routine, we’re moving independently or through different formations together. Although these routines revolve around solo movement, sometimes the teamwork required to pull off the formations and aesthetic we’re looking for is even greater than what’s required to lead and follow a partner routine. I didn’t think I would appreciate these routines as much as I do – I was excited to dance with partners in the team setting, but I was surprised how much fun and creativity can come out of the team when we work together and dance together even when we’re not even touching.


The partnering routines are also a ton of fun. I often find new and interesting ways to spice up my Lindy Hop by adapting the choreographed elements of a performance into a movement that can be lead or followed with ease. The nuts and bolts of my leading and following have been refined by working on complex partnering ideas with consistent partners over and over again. Hands down some of the fastest growth you will see as a dancer will come through focused effort in a team setting.

The Work

Did I mention earlier how much we practice? The Jazz Squares meet for a minimum of two hours every weekend, and often practice together several hours of the week during Office Hours to get everything humming along nicely. Add in the time spent on your own working on choreography or improving your own dancing and you start to see the amount of time and dedication it takes to be on a team.


Working on dancing and practicing together is a badge of honor for the team and we take our commitment to each other seriously. That’s a big part of what being on a team is about. It’s an agreement to work hard together to help everyone’s work pay off. It’s true that I work hard for my own personal satisfaction, but I also work hard to honor my fellow teammates and the hard work they've put in.


The Play


Don't get me wrong, it’s not all work all the time. Practices are fun! And building camaraderie with your teammates is also fun! In the time we’ve been together, we’ve been able to support each other, hang out, and have a good time outside of practice.

And the performances we’ve gotten to do have been a blast. When you’re asked to perform, you’ll often get to go to places you normally wouldn’t go, like fancy cocktail parties and VIP-guests-only sort of engagements. More than one performance has involved some free cocktails and free food thrown my way. Dancing is its own reward, but eating good food for free is a pretty sweet win, too.


Final Thoughts


You don’t need to be a superstar to be on a great team. It will take some hard work, dedication, and team work from you to get the most out of it. If you think you have what it takes, The Jazz Squares will be starting session two of their performance team in September with practice times on Sundays. If you’re nervous about starting with the team or don’t know whether it would be a good fit for you or not, give Kerry a holler and see what she thinks. If you need a little more experience before you join, that’s OK too – there will be an opportunity for you in the future.


In the meantime, look for the Jazz Squares performing and dancing around town. If you catch us performing, come over and say hi or grab a dance with us! We love dancing and we want to share it with you. It’s what Jazz Squares do.

A Fresh Perspective

Taking Lessons

Things have sped up for me recently. Finding myself in the process of moving, working more, and being an adult in more ways than I’d like has made me busier. Sadly, luxuries like dancing have taken a bit of a back seat. I’m sure those of you with careers far outside the realm of swing can relate to this. So far my summer has consisted of playing a long game of catch up. On the rare occasions that I do finally catch up, I try to spend most of my downtime getting a dance in anywhere I can. But there hasn’t been much time for lessons in my schedule. In result, I’ve been feeling stagnant in my dancing. So I thought I’d take this time to express how much a fan of lessons I am, and how big a part they are in my life.

First off, if you’ve recently gotten into dancing and are considering buying a lesson package but not sure if it’s worth the change, I have three words for you. Just. Do it. Lessons may be my favorite part of dancing. They’re the reason I am what I am today, why I can walk onto a floor with confidence, and even why I’m writing this. Community lessons are great way to get your foot into the door of dancing. But if you truly want to progress as a dancer, there’s no way to invest in yourself than by getting a package of lessons. In lessons such as these, you and other dancers around your skill level can learn and build with each other without any judgment. You’re free to ask as many questions as you like or even have a teacher examine your technique if you’d like. These classes usually have a smaller attendance record and allow for more personal instruction time than your usual drop-in class.

A few other things about lessons are the rate at which you progress. Getting a package and going to lessons every week can allow for so much progression as a dancer. Of course, going to community lessons on top of these would be even better (which I highly recommend). But community lessons are geared more toward people who have very little or no swing experience, so they won’t build on themselves the same way a lesson package might, which will have around the same students consistently. And maybe you’ll even get to know these other students and go have informal practices of your own. I have a friend who’s always going to lessons. Whether it’s a package or community lesson, if it’s swing he’s there. Actually, at one point he was even a member of two lesson packages at two different dance studios. But, eventually we started seeing each other at the same lessons for a while so we started talking about different moves we’d learned and how we could improve on them. And the best part is we’re both leads, so dancing together causes us to practice our following as well. So try to ask other students as well as teachers about certain moves, or about setting up impromptu practices to work on moves. It’s a great way to get better in a fun, comfortable setting.

Inherently, lessons will make you a better dancer. But at the heart of it all, they can also make you a more confident person. Once your knowledge of multiple turns and moves fall in line with your ability to execute them, there’ll be nothing stopping you from asking anyone to dance, which was something that I struggled with when I first started. Of course, that shouldn’t stop you from asking people, whether you’re a lead or follow, and it shouldn’t have stopped me. I would have progressed a lot faster if I got rid of that fear first, because the best way to get better is practice.

Photos by Ian Monroe

Photos by Ian Monroe

One of the most important things I’ve found in going to lessons is to use it or lose it. For me, I have about a three-day window after I learn a move to use it on the dance floor before I start forgetting the dynamics of it. Because as you progress further into dancing, more complex moves will start making their way into your vocabulary. In my experience, a good way to make sure they don’t overwhelm you is to get them into your muscle memory early on. Whether it’s going out to dance, or getting together with a partner, or practicing alone in front of the mirror, anything helps. Your brain can only remember an hour’s worth of new material for so long. So get out there and dance!


Ian Monroe is a contributing writer for Crescent City Swing, community member, and friend.

Start Swing Dancing With A Community Lesson

Like many people who’ve learned to dance in New Orleans, I got my first lindy hop lesson in a darkly lit bar in one of those “hipster” places in the Marigny neighborhood, surrounded by strangers. I was hesitant to give up the comfort of my drink to join in, but everyone looked like they were having so much fun! So I set my drink down, got a quick lesson, and when the live music started that night after the lesson and I saw everyone dancing – I was hooked. And now here I am.   

That’s an example of a community lesson. Typically, the lesson is done for tips at a bar or other venue where there’s about to be a live band or other music to start using what you just learned. It’s an opportunity to make new friends, sample the wide world of swing dance, and (with a little consistency on your part) get you a comfortable trying some basics while the music plays.

What Will I Learn At A Community Lesson?

Community Lessons aren’t meant to teach you advanced concepts, tricky techniques, or flashy styling. With only half an hour or an hour of class, you’ll likely learn some six count basics, eight count footwork, basic Charleston, and maybe a few turns. If those phrases don’t mean anything to you then you’ll be in good company. Most people taking a community lesson have never done any swing dancing before and are just looking for the fundamentals to get started. 

I don’t mean to say you can’t learn a lot at a community lesson. You can take your dancing pretty far just knowing the basic steps and getting comfortable with a partner. But more advanced concepts will take some dedicated lesson time and plenty of social dancing to master. 

What Should I Bring To A Community Lesson? 

You don’t need to bring anything with you, not even a partner. Just make sure to wear something comfortable that you can move around in and some shoes that will stay put on your feet. You’re also going to need some money to tip the instructors, get a drink (it doesn’t need to be alcoholic, but you’ll need some refreshment), and tip the band if there’s live music. The hard-working people of New Orleans live off tips, so make sure you show your appreciation and support them for their hard work to make your evening something special.

Who Teaches The Community Lesson?

Crescent City Swing teaches many of the community lessons, but there are no shortage of talented dancers and teachers in New Orleans. Our recommendation? Try a few and find the lesson that works with your schedule, as well as has a teacher that you connect with. But remember that variety is the spice of life, and getting a lot of perspectives on the basics can be really helpful.

Where Can I Find One?

Not sure exactly where to start? You can always check our resources page, as well as follow Swing Dancers of NOLA to see a list of common community lessons. But for starters:

I've Taken Plenty Of Community Lessons And I'm Hooked. What Do I Do Now?

Well done! Starting is the hardest part. If you're serious about having a good time, keep going to your community lessons and enjoying our live, local music. But if you want to get more serious about your learning, Crescent City Swing is here for you. Take a look at our course offerings and consider getting a pass to try Lindy Hop I or Charleston I. There's a lot to learn out there.

Community lessons are a great way to get started dancing. Nothing beats the fun and adventure of meeting new people and making friends while you start something new. If you've been waiting, give it a shot. There are so many opportunities here to jump in. We hope to see you there!

A Fresh Perspective

Seaside Stomp

Now that everyone’s settled into their usual routines, it seems like the perfect time to recap Seaside Stomp. For anyone who may have missed it, Seaside Stomp was a Lindy Hop exchange in Pensacola, FL during Memorial Day weekend. A weekend full of beach bums and dancing. If you did miss it, however, no need to worry. There are plenty of exchanges coming up in the near future.

As a newbie in the swing scene, the anticipation of my first out-of-town event was weighing heavy on my anxious car ride toward the Pensacola beach. Now, let me just say, that though I am a fairly new dancer (about three months shy of my first year), I’ve had the advantage of being from New Orleans. So while this was my first exchange I’d traveled to, I’m thankful for the fact that many before had traveled to me. So I wasn’t surprised to meet people from across the country, and some from outside of it.

The weekend started with a Friday evening dance led by New Orleans’ own Shake Em’ Up Jazz Band. Dancers got a chance to warm up their legs straight off the drive from their local swing community. Shortly after midnight most of the crowd began to head toward the late night dance, grabbing a bite to eat and having a chat with unacquainted dancers on the way. The late night dance had a plethora of studios from which to choose, for whatever might tickle your dancing fancy. The blues room was lit up to set the tone as slow blues played in the background, the Lindy Hop room jumped with people dancing to old time Swing, and the Balboa room stood just across the hall.

The next day was filled with four hours of classes at the UWF recreation center. Taking lessons for hours straight may not sound like the most enjoyable way to spend one’s day, but multitudes of people, ranging from recent beginners all the way to tenured dancers with years of experience under their belts, showed up for lessons to tighten their technique. The classes covered everything from fast and slow dancing to body awareness and fancy footwork.

Photos by Ashley McKibben

Photos by Ashley McKibben

On Saturday night, Moonshine Rhythm Club played their hearts out in a huge gymnasium-like room on a chilly night in Pensacola. Though I may be biased, this night was probably my favorite as it included a performance by the Nola Chorus Girls and Crescent City Swing Jazz Squares, as well as a Mix & Match competition in which four New Orleans dancers made it to the final round. It was amazing to see so many great dancers performing next to each other. And it’s safe to say that New Orleans definitely showed out on Saturday night. It’s also safe to say we had no problem tooting our own horn, chanting “Nola! Nola!” any and every chance we got. At midnight the band took its final bow and music from the speakers took over for dancers who weren’t tired out yet. Being among the many who weren’t tired enough to quit, I continued to have one of my best nights of dancing (dancing at exchanges is always better, for some reason). And I was even able to pick up on some moves I learned earlier in class. It was for this reason I succeeded in convincing myself it’d be alright to play hooky from classes the next day to go to the beach.

I love dancing,  though another four hours in constant movement would have been too much. I’d barely recovered from classes, let alone dancing until 3 am! The beach sounded a contrary use of time spent. So I put away my dancing shoes for the day and slipped on some sandals. The next few hours were spent accidentally swallowing salt water, napping on the sand, and reading Spanish poetry with friends. After a much needed rest on the Pensacola seaside, we all gathered our things and started to get ready for yet another night of dancing.

Avery & the Beards took the stage Sunday night at the Voices of Pensacola Multicultural Center. This was a change from traditional jazz as the room grooved to upbeat rockabilly and slow blues all night. Now as a listener, I love blues. It was one of my favorite genres growing up and I can still jam out to Stevie Ray Vaughan any given day of the week. But as a dancer, I despise it. Catch me at any slow blues gathering with my hands in my pockets praying someone doesn’t ask me to dance (I’m only a little serious). I’ve begun to love and trust the foundational steps of Lindy Hop. Faced with a dance that has less structure than what I’m used to, it’s only natural I’d hate it with a burning passion. But alas, I gritted my teeth and made the best of what I had to work with. And it wasn’t so bad after all. Because at the end of the day that’s what all of this is about. No one’s asking you to be Susie Q or Shorty George. Though, certainly no one is keeping you from being them either.

For me, the last night of Seaside Stomp ended on a pitch black beach enthralled in lighthearted conversation, listening to the waves ride to and fro, reflecting on the weekend. The first out-of-town exchange was a success, and the group was already beginning to plan the next. Wherever it may be, I’m down.

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For any of you who missed out, worry not! I’ve done some research on upcoming exchanges nearby:
- Balast Off: A Balboa exchange in Huntsville, AL for those who are interested in Balboa, have just started, or have been doing it for years. Aug. 4-6
- KLX: Lindy Hop exchange in Knoxville, TN. Sep. 8-10
- Lindy Hop on the Plains: A Lindy Hop exchange in Auburn, AL. This will be located inside the Auburn University campus. Sep. 22-24
- New Orleans Swing Dance Festival: The 9th Annual New Orleans Lindy Hop exchange. Sep. 28-Oct. 2.


Ian Monroe is a contributing writer for Crescent City Swing, community member, and friend.

A Private Lesson On Private Lessons

One of the things I enjoyed about beginning my swing dance journey was learning a brand-new skill. I’m a serial hobbyist that likes to dive deep into my new fascination and I work hard to get as good as I can at a new skill. And for me – as it is with every new learner – classes were the way to go. In group classes, you learn the fundamentals of the dance, what it’s like to have multiple partners, and make some great new friends. But after a while if you’re serious about your dance development, private lessons will give you the boost you need to take some big steps in your dancing. Big dance steps. See what I did there?   

Anyhow, I’m here to share some tips on how to make your first private lesson or private lesson series a success. Follow this advice and you’ll be richly rewarded with a killer lindy hop private lesson.

Find The Right Teacher

There are a lot of good dancers in the world. A lot of them even live in this city. Your first inclination might be to find the best dancer and work exclusively with them, and that might be exactly what you need. 

But not every great dancer is a great teacher, and a private lesson requires even more knowledge and skill than a group class instructor. Find a teacher that you think would work well with you, has experience providing private lessons, and has a set of skills that you’d like to improve on personally. I suggest asking friends and fellow dancers who they would recommend learning from. Think outside of the box a little bit with this. If you’re typically a lead, why not take a private lesson from a great follow? Do you like the way that one instructor looks during their swing out? Learn from them! You’re already going to be paying a premium for the undivided attention of the instructor, so make sure you’re getting the most out of it by choosing the right person.

Get Over Your Jitters

The first thing you realize is that it’s a lot easier to hide in a group class. The teacher’s attention is on the whole class and only sometimes exclusively on you. And even then, the experience is simply not as intense as being with a private instructor. It can be nerve-racking to feel all the eyes on you.

But can I tell you a secret? A good private lesson instructor doesn’t have any judgement about you or your dancing while you’re in the lesson. In fact, seeking a private lesson is commendable because you’re admitting that there’s something you need work on! These teachers have seen everything and your skill (or lack thereof) will not surprise them in the least. Try and relax and remember that the instructor is there to help you. You have nothing to be nervous about.

Come Prepared

Besides the essential things you should bring to every class, like water, dance shoes, a winning smile, and an open mind, you may want to bring some things you normally wouldn’t think about. The first is an idea of what you’d like to work on. There are plenty of times when you can start a private lesson with the goal of just getting better and let the instructor guide the practice. But if you are passionate about something, you should tell the instructor what it is you’re hoping to get out of the time you have together.

Do you have a partner in mind if you’re looking for some partner work? Think of a few people that you work well with and are appropriately skilled for the subject you’re working on. You don’t want to be caught in a lesson where your partner can’t keep up with the material you’re paying money to work on. If you’re not sure where to start with this, you should ask your instructor.

Do you have a song or specific tempo in mind? If you do, you should make it a point to have a song or even a few songs ready to play so that the teacher has an idea of what you’d like to work on from that perspective. 

Each instructor is different, so if you need guidance on what to be prepared for you should ask in advance of the lesson.

Be Receptive To Feedback

A private lessons, and any other class for that matter, only works if you’re willing to listen to your teachers. You’re dedicating a lot of time and energy to work on something that you think would be an improvement. Sometimes the feedback you receive isn’t what you were looking for or you have a hard time seeing the value of the lesson in the short term. That’s ok – we are often bad judges of our weaknesses. And if you have a strong perception of what you’re dancing is like, and your feedback conflicts with that perception, it can be a tough pill to swallow.

My best advice for taking criticism is to focus on how making these changes to your dancing will make you a better dancer and lead to more fun for you and your partner when you’re dancing. Keep your focus on the reward of getting better in the future and not the disappointment of not being perfect today. If you were perfect you wouldn’t need the lesson in the first place.

Record What You Learn

Maybe you’re the note taking type like I am (I keep my notes on my phone, backed up online for quick reference). Or maybe you want the visual cues to remember exactly what you went over. Either way, make sure you record what you learned so you can reference it later during your practice or spare time. Just remember to ask your instructor before you film them. It’s pretty rude to pull out a phone and record during a session without permission.

Practice

Ok, great. You finished a wonderful lesson and feel new swing dance powers coursing through you. But all that work will go to waste if you don’t practice what you’re working on. Use your notes or video to focus on key points you went over so that you can make habits out of the tips you received. If possible, seek more feedback from the instructor after you’ve worked on your new skill for a while and see if there’s something you’re missing. Even better – sign up for another private lesson session to keep plugging away at whatever you’re getting at. 

Final Thoughts

Private lessons can really fast track your dancing skill. It’s a lot of time, effort, and dedication but the rewards are so worth it. Do you need some help getting started? Contact us and we’ll be happy to get you a one on one session, or point you in the right direction if we don’t have what you’re looking for. 

See you on the dance floor!

A Fresh Perspective

Charleston

Charleston is simple in theory, yet frustratingly difficult to learn. Of course, this is coming from someone who took months to get the steps exactly right. It seemed so complex at first, but it’s literally just...walking. Remember that time you got out of bed to make a bowl of cereal? You did the Charleston on the way to the kitchen. Now just do that in place for eight counts, and you’ve got it. Though, it may get more complicated when going deeper into the style. In light of this topic, I’m going to leave you with a story of a recent experience I had with the Charleston.    

Sunday Swing

As the band banged their drums and blew their whistles, the thump-thump of a traditional jazz beat kept its time. The joining musicians pursued the rhythm, weaving their sounds in and out of its grooves. It made for a compelling tune. Not far off, a friend of mine found his way into the grooves as well. In a sea of partnered dancers, he held his space in the middle of floor busting solo Charleston moves. Every joint in his body stretched in perfect time for the movements to flow as nicely as they did. Then, he did something that caught my eye. A leg here or there would turn in a peculiar way until it didn’t look like the Charleston at all, but did. This started a string of variations that struck my curiosity.

When the song was over, I asked him about it, the steps and what he was doing with them. “You already know the steps,” he said, “Now, it’s about trying to mess with them and see what you can do while getting to the backstep on time.” It made sense. Another song started, and he did some basic Charleston moves while I followed alongside. One of the first moves I caught onto was a double-kick. Instead of kicking back on the count of seven, we’d kick forward again as we did on five, making me rush to get my foot back for one. Some were hard to get the hang of. We did this move where we stepped forward on five and pivoted to a one-eighty on seven, facing the opposite direction by the time we started again on one.

Photo by Ashley McKibben

Pretty soon, we were just having fun with it, and I didn’t care too much about where I was when the one came back around. That’s when a third person joined in, kicking through with steps neither of us had seen before. We were forming a circle of solo dancers, each doing our own interpretation of the same steps. As we clapped to keep the beat for one another, a fourth man jumped in. Now, still in the middle of partnered dancers, we formed a square, kicking across from each other; switching sides when the music called for a change, as it often did.

With sweat dripping from my skin and an ache in my body halfway through the song, I had to break. But there was no way I could walk off now. Something was coming and we could feel it. Whether it was through the anticipation of the music, a suspended chord, a lagging horn, the musicians were leading some sort of crescendo and trying, discreetly, to let us in on it. There was a moment coming, and it needed only to be felt. A melodic chorus from the band finished by putting a punctuation mark on its question. The southern drawl of a trombone jumped in to answer, all while a set of drums proved itself a mediator. At this point, the three of us were standing in a circle around the fourth, still kicking, still sweating, still aching, and still smiling all the way through. Then one of us would break in, forcing the other back into the outside barrier.  

Photo by Ashley McKibben

As this was happening, the trombone’s plea was interrupted by an aggressive trumpet with a punch packed like a schoolyard lunch. We felt this, and matched it as best we could. In the middle of the circle, her legs moving like a grasshopper in a hurry, was an embodiment of the cries we were hearing from the stage. They flowed together as one, it seemed. The trumpet spoke what she couldn’t as the dancer lifted her limbs to its voice. They were two separate forms of the same conversation.

Now, there was a shift in tone and the trumpet started to sound like it had said everything it needed to. It wrapped up the speech with a high note suspended as the others came back in full force with the melodic chorus. As if practiced, we abandoned our circle and formed our own chorus, facing each other in a square as we had in the beginning. And now we were the ones answering boldly what had been asked, like the trumpet with its potent declaration. Our kicks in sync like some jazzy line dance, each of us provided a touch of innovation to the picture we held as a whole. The song was coming to a close. As the last notes rang in unison we let out the wildest motions our muscles could carry. Then the ringing of the big brass band was met with silence, as the silence was met with applause. We doubled over and exhaled and clapped and smiled and wiped the sweat from our faces, thanking each other for the dance, and dispersing into the crowd.