It's a Wonderful Life

Maybe the 20's and 30's are starting to come around again. Both decades were marked by a fad for dance contests and the current craze for Dancing with the Stars and So you Think you can Dance sort of look back to that trend. I'm not sure what to attribute the 20's/30's fad to and I don't feel like I can comment with too much authority since I wasn't there to experience either era. As for the modern trend? Personally I link it with my reason so many people have a taste for reality shows: you can watch people acting like idiots without their behavior impacting you personally.

Those of you who've read Blue Suede Souls know I've got a real nostalgic streak but that streak doesn't extend to the fad for dance contests. There are a couple of reasons for this (and they apply to the modern fad too). First off, the whole idea that any judge or panel of judges could, on any given day, make a decision on who is the 'best' at any dance style (or worse, compare say Waltz and Jive and come up with a 'best') is ridiculous. It falls into that old algebraic conundrum of dissimilar terms, they can't be compared.

Another difference between the 'good ole' days' and modern times is that in the 20's/30's there seemed to be a focus on quantity rather than quality. Dance marathons were the rage with contestants dancing to the point of barely remaining upright so that they could win cash prizes. Maybe this was just part of 20's youth culture – an emphasis on virility, endurance, and strength over refinement, skill, and experience. As I said earlier, I'm not qualified to interpret and I can only imagine what the experience must have been like. Jam 200 teen-somethings onto an improvised (or actual) dance floor and the band kicks off the event with all the festiveness of the first day of a carnival. After a few hours the weaklings are culled from the heard, after a dozen hours only the most determined remain and the crowd of onlookers thins. Sometime after about twenty hours the crowd returns to see the end, it's like waiting for a matador to dispatch the bloodied beast he's been tormenting. Finally one of the couples drop and the other is crowned victorious. The swell of adrenalin is just enough to get them to smile for the photos – then they're asleep before they're out of the venue.

How do I hook this up with the holiday? Well, one of my very favorite movies contains a nice dance contest scene. It's a Wonderful Life depicts a Charleston Contest. George Bailey gets roped into accompanying Mary Hatch to a high school dance and then finds himself in the midst of a Charleston contest. I love the teetering on the edge of the pool portion of the scene – they move up and back, unaware they're about to plummet into the swimming slowly opening gymnasium swimming pool. Sometimes dancing feels like that scene. You're out there, having a good time and going at it like wild but totally unaware that disaster looms just at your heels. At least in the movie the disaster only ended in winning a loving cup and plundering the high school locker room for dry clothing! Anyway, I did my best to find a clip to show but You Tube came up bare. A still will have to do for this post. Maybe at some point the video will fall into my hands and I'll air it.

Oh, and a little something to show I'm not all about flashing back to the way things were in 1946 when It's a Wonderful Life is set. The movie contains one of the hardest scenes in cinematography for me to watch – the scene where drunken druggist Gower slaps a young George Bailey in the head until his ear bleeds. The violence is troubling enough by itself but the 'angelic' commentary provides a window into the thinking of the era. Clarence doesn't show a hint of horror at what has happened to George, he doesn't remark on the violence at all except to say 'is that the boy who got his ear slapped back…' when he sees Bailey as a grown man. Omission, for me at least, is acceptance of normality and that says a lot about the era of this film. I guess not all that's old glimmers with a soft, sepia-toned love light.

Holiday Dance Postcards

The holidays are here!!! I can't wait to dance to Rock Around the Clock, Marshmallow World, Jingle Bell Rock, and all the other wonderful holiday tunes. Here are some couples dancing. Check out the one with the woman wearing the beautiful red and green dress. Also some very talented chickens. Oh, and the pine cones. Who knew they could dance?

The Routine

I’m excited too. As Gary said, we went from no, don’t think so, to um, maybe, to yes let’s, and now….I’m really excited!

We did have some concerns. As Gary said, at first we didn’t want to spend time on it…we were just beginning to dance, and we wanted technique and steps we could use out every week on the floor.

But we also thought that doing a routine meant it was choreographed by someone else. To us that meant coloring in someone else’s lines; we wanted to do the drawing ourselves. Well. We've learned two things. One is that a routine can be designed by someone else, but it doesn’t have to be. Two is that having someone assist and suggest isn’t a bad thing. And of course, since we have the best dance teacher in the world, she is going to let us have as much artistic control as we want, while gently suggesting that perhaps, a triple wheelie backwards flip just doesn’t fit in that waltz part. :-)

So. We gleefully picked out a weird and wonderful song and have already started to create steps. We’ve written the story line for our routine. I’ve even ordered the skirt. But here’s the hard part: I CAN’T TALK ABOUT IT! I want to. I really do. But Gary wants to keep it a surprise mostly, so I’m honoring that. But how can I talk about its evolution without telling about it??? Heavy sigh.

I so want to blab. I’m a blabber about my creative process, as you might know from reading my writer’s blog. Funny, because in any other area I’m as tight as a clam. When people tell me stuff and say don’t tell, you can bet I won’t. Even when I’m not sure I keep my mouth shut. I don’t discuss me much either, except for my creative endeavors.

My artwork, my books, my dancing, about all of those things I can chatter away. I don’t know why exactly…I don’t necessarily want the feedback…once I start talking I’ve already decided, but I DO enjoy getting embellishment ideas from others, so maybe that’s the reason.

But mostly it just feels good to let the cork out of the bottle. And right now I’ve got all of this fizzy goodness locked up inside about the routine. ARGGHHHHHH!!!

But then, Gary’s already posted the song. Shouldn’t I get to let out one little peep? I’m gonna. Our song, Planet X, is based on the old sci-fi move The Angry Red Planet, and our routine will reflect a little of that.

Ah. I feel better now.

Just Routine

Kelly and I made a big decision recently. Well, a big decision for us and our dancing. We decided that we would undertake doing a Routine at one of the upcoming Fred Astaire events. I call it a 'Routine' because the thing has taken on an air of event-ness that I think warrants capitalization. Small 'r' routine is, well, just average, normal, and nothing out of the regular every day thing while big 'R' Routine has weight, heft, and is just something you've got to decide to take on or let go by. Up until recently (and I think I've written about this) we'd been of the opinion that though Routines were cool we weren't interested in doing one. This wasn't because we didn't think it was worth our time or because we didn't appreciate the artistic component - frankly we just didn't want to devote a large portion of our time and dance lessons to a onetime thing.

Now, before I'm reminded of this fact, yes - I know that some of the moves we learn for the Routine will translate into everyday social dancing. I also know that the combinations of moves won't easily make that leap and I don't plan on becoming one of those dancers who have to run over three people because the double lutz always comes after the back flip sow-cow.

That said, the more we discussed Routines and their pros/cons the more Kelly and I found ourselves saying things like. "If we did a Routine…" and "I think a good tune for a Routine would be…". We were talking favorably about something that, before, we'd been set against. So, we decided we should take the plunge.

So, in true Kelly and Gary style we've selected a bizarre song. I've included the YouTube video here - it has nothing to do with dancing really and generally consists of a pretty hack (if funny) video, but it gives you an idea of what feeling the Routine will have. I'll be writing more about the process of choreographing, practicing, and generally making sure we don't make fools of ourselves in coming posts so keep an open eye.

Being Happy

Without getting too philosophical, I believe it is every human’s right, goal, and reason for living to be as happy as possible. And yes, I also believe that includes helping others, but one can’t assist anyone else if the well is dry, so to speak. Being happy obviously means you must know what brings you joy. Duh. But I think you also have to be aware of what doesn’t.

Gary and I have taken that very seriously with our dancing, which must sometimes drive our dance instructor Melissa crazy, although as you know from many previous posts she has risen to the challenge. We have chosen not to follow any prescribed dance course, deciding instead to follow our own hearts.

The downside to that is there are, and I’m not kidding, probably a million dances from which to choose. The odds are good that we may try some we don’t like. Sometimes that can be a big disappointment.

Take the shag. Don’t you just love that name? And it’s a beach dance…the shag is danced regionally in southern coasts on open-air dance floors, soft island breezes playing through one’s hair while sipping fruity drinks with umbrellas…sigh. OK, so maybe I’m romancing it a bit, but I had such hopes for the Carolina Shag. Gary too. We’ve tried to like it; we took a class in it last year during the 2008 Moving Across The River dance workshops, and also this year.

But we just didn’t feel it.

Don’t get me wrong, it’s a very cool dance, sort of swing/river dance shuffle mix. We saw many many examples of expert shaggers over the weekend. I love some of the fancy footwork and pretzel-like turns. And then we had a revelation. Why not take some of those moves and put them into a swing we DO like? I mean really. If we can put samba and cha-cha moves into our West Coast Swing, surely we can add a bit of shag in there.

So that’s what we’re going to do. We learned something called a shag belly roll which sounds creepy but in truth is a wonderful face to face intricate step. It’s a definite toe-smash risk, but so worth it. And, if we ever do go to one of those romantic beach dance floors we can do our WCS Shag…The Wag, ha ha.

Check out these shaggers: it may not be for Gary and me, but maybe it is for you.

Move Across the River 2009

Move Across the River 2009 was a blast and a whirlwind – two days (Friday and Saturday), four classes, and three dances means coming home very tired and a little sore! In the last forty-eight hours we’ve taken classes in Chicago Jitterbug, Arkansas Street Swing, St. Louis Imperial Swing, and Carolina Shag and from some great instructors. I think one of the most valuable things that came out of the weekend was a realization about my own learning style and how to get the most out of these group sessions.

The thing to remember – I discovered – is that the instructors are teaching a routine and (unless you’re planning on doing a routine yourself) you’ll probably seldom use the moves in the same order as they’re being taught. So, the point is to learn the moves themselves as individual units and not worry so much about the transitions.

Secondly, there are going to be some instructors you don’t gel with. That’s okay – it’s no big deal, you don’t have to be in tune with everyone who teaches at every event you attend. For me it’s a lot better to bail on a session than to stand around getting frustrated. Sometimes I can even pick up a move or two from the sideline when the pressure is off.

We came away with something called an Illusion Turn, A Man’s and Woman’s Neck Wrap, and a Belly Rub from the Carolina Shag – all of which we’re working on perfecting so that we can work them into our various swings.

Danny and the Juniors

Here's a fun little memento of 1957. Danny and the Juniors playing what (through the bad video quality of the era) seems to be an outdoor venue though the posted of the video didn't provide any information to confirm that assertion. I find something interesting in this video. Try to make out the dances that are being done and you'll see ECS (hard to tell if it's single or triple) and what seems to be a very relaxed rockabilly swing. What you don't see are the crazy aerials and breakneck pacing that you get nowadays. My father-in-law often bemoans how his beloved ragtime music is treated like the idea was to play it as fast as possible and I think his concern carries over to other genres. The music's got a danceable pace, not insanely fast and not dragging – it's being played at the tempo it was meant to be played at which means over a hundred people can get on the dance floor and they don't kill each other doing moves that take too much room or they're not capable of executing at the right speed. Nearly every modern swing band ought to remember this and maybe learn to read time signatures!

Dance Power

In reference to Gary's post about dance power... there is such a thing! Check this out!!!

Finally...

Finally the Halloween pictures re uploaded and ready for your viewing pleasure (though I have to say, it seems like if they're Halloween pictures they ought to be there for your viewing horror…). One week, two parties, and about 400 miles later Kelly and I have attended both the Indy Dancers costume party at the East Side Moose Club and the Casa Loma Halloween Masquerade party. Both were great and now it's kind of good to settle back and relax into a pre-tryptophan stupor while we rest up for the big three: Thanksgiving, Yule, and New Years.

St. Louis' Casa Loma Ballroom is a fantastic place to dance. The floor's in great condition, the bands are good (if a bit loud), and the crowd is diverse. This year, though, that crowd was a little thinner than in 2008. I don't know if it's due to the economy or the fact that the party fell on Halloween night and parents had to tour their kids around - whatever the case, the balconies stayed empty all night long and the dance floor was noticeably emptier. Most of the time I'm all for a bit of elbow room on the dance floor but not when It makes me worry over a storied ballroom's future. Maybe I'm being alarmist - I hope I am - but only time will tell. I guess I shouldn't bust the post-Halloween sugar high with my concerns. Better to savor the moment for none of us have control over the future.

I always knew that the Electric Slide was the devil's dance. There's something satanic about it - okay, maybe not satanic but you know. I've never been good at following rules so I guess I'll never be any good at doing line dances.



This is either the Macarena or a group of NFL referees practicing the signal for a good fieldgoal attempt. Isn't the Macarena the perfect dance for a mime? All those hand motions? Well, maybe not since this mime doesn't seem to be keeping up with the crowd.


Perpetual motion - if you could bottle this kind of energy we won't need coal gasification, wind turbines, or solar power. The nation could be powered by DANCE POWER! Oh, notice the shiny, oil slick looking to the right? It isn't a party until a guy dressed as a sheik slings MGD all over the dance floor and then has to be led off by his rather embarrassed looking spouse.


My favorite costumes of the night. They didn't take home first place in the costume contest - they lost to the entire cast of Carrie - people just go for a psychotic, psychic chick drenched in pig blood, I guess.

Casa Loma Ballroom Halloween 2009

On the way to St. Louis Gary and I discussed looking to another venue for Halloween 2010. We loved dancing at Casa Loma last year, but St. Louis is a long drive, and, it’s expensive to stay near the ballroom, at least, if you want a neighborhood that’s safe.

But it’s hard to imagine having a better time. Gary and I had a fabulous, magical evening at the fabled ballroom; we danced until I almost collapsed. Literally. My legs stopped working. We had to quit in the middle of a fast medley, but that was OK. To say that I couldn’t possibly do one more dance was the best feeling ever.

The band, That 80’s Band, was, if a bit too loud, very good. They played 80’s music. Naturally. So we got Madonna, Prince, Michael Jackson, Cher, Joan Jett…all the icons of the 80’s. Good dance music for swing and a few rumbas. It was fun, being Halloween and all, dancing to Thriller, Ghost Busters, and Werewolves of London.

The costumes were wonderful, from the sublime (a jellyfish), to the hilarious (the ENTIRE cast of Carrie…they won), to the er, questionable. You know the expression “her headlights were on?” Well, first imagine a woman in a tight top. Her headlights were ON, shining brightly through the thin material. Funny. We were garbed in Star Trek attire; Gary in a red shirt and me in a red dress. We had regulation pins and bags that looked like tricorders. I even found a pair of black stage boots (Sansha brand) that although were not as comfortable as my dance sneakers were fine for one evening after I put a couple of shoe inserts into them.

The crowd was its weird normal self. We saw some truly expert club dancers (hoping to steal some of their moves), free form expression (aka hopping up and down and having a blast), and of course, the annual beer baptism which luckily occurred when we were sitting down.

I feel freer there than anyplace else. I think it’s a combination of Halloween magic, the historic venue, and the costumes. Is that 20’s era flapper woman sitting next to me in reality a ghost from times past? Or is she even a she at all? We sat next to a table of cross dressers. :-)

You just never know on Halloween. And that’s the beauty of the holiday. Sigh. I wish it wasn’t over.

Here’s a video of Ella Fitzgerald performing one of her favorites. The band she’s singing with, Chick Webb and his Orchestra, gave Ella her start…at the Casa Loma Ballroom. Enjoy.