As already stated I have attended 4 showings of the Alive and Kicking Documentary Film.
The first showing on April 5th
had the largest and most gregarious audience, 95% of which were Lindy Hop/Swing
dancers. In Harlem it was a mix…. But
the last 2 showings had a change in dynamics. There was a varied mix of older persons and
young dancers…. It seemed like the older crowd was there to reminisce about
their youth or recall when their elders did it.
Again it was a light sprinkle of black people; I encouraged them to stay
for the Q & A Talk Back because they would “need” and appreciate more
clarity on what they were about to see.
At the Francesca Beale Theater you could hear better at these
latter screenings for sure! This is no
cut against enthusiasm for the documentary – there was just a more concentrated interest
in these characters on screen. Maybe more eagerness in a way to understand what
has happened, since it was so surprising for them to see how far things have
gone with a 90 year old dance. I was able to take notes and hear what was spoken
that I had missed the first two times.
At these two screenings George
Gee was there; Judy Pritchert was at one and Evita Arce at another. Hearing what they had to say and their
reactions was good. George gave a
musicians perspective with his varied travels, and how the audience of dancers
move musicians to strive for their best. Thru him we found out that theres more
footage leftover for another full length film!
Evita the seeming “star” of the film related for one that she had no
idea there would be so much of a focus on her till she saw the finished
product. Her hopes were that the film would inspire many more to get involved in the dance art form. Judy of course talked about Frankie Manning and his efforts, and as
well how it is traveling to some of these various events that were displayed in
the film.
Again for these two Talk backs I
had no idea what we all would be asked…but I knew the usual “Whats happening in
Harlem?” and “Why is this and that not happening in Harlem” would be
asked. Trying to keep things light and
on the up and up I tried to give as much hope as possible
_________________________
And things are hopeful.
If you read Part 1 of this series
there were some points made in Harlem from the audience that stood out. A few more will be addressed here that merit
value and an explanation.
- Too much
emphasis on contests and camps...
- We (dancers)
need to enjoy more of the social aspect...
- I wouldn't have my students (black youth) see this film...
Too
much emphasis on contests and camps
If you Google and want to keep
track, yep that seems to be happening ALL of the time – maybe as many as 3 – 6 events
(Contests, Dance Camps, Special Weekends) happening simultaneously every weekend out
of the year. One certainly has their
choices of which feast to attend – all over the world – and this is great!
These really can be equated to mini-conventions
that give folks a chance to meet and great their “idols” and friends. Make new ones. As depicted in the film it can
be part of the package that select folks aim to be a teacher and showcase what
they have. A realistic stepping stone to a career within this excitement. Also it is a chance to learn and meet the
“greats” they feel are on the scene of dancers and instructors. AND too you can also see (depending on the
organizers) some of the Lindy Hop/Jazz Dance Legends that are still with us.
This can be time consuming and
for some an “addiction”. When you have a
love and a dedication for anything this can happen for sure. We
see that being in a dance contest has its advantages… as the film showed for
some its not just about that per se. Becoming
proficient or popular to acquire a possible “teaching career” that can have you
traveling abroad brings a big status up the ladder…. And you in this age of technology
can be out there and catch the right person’s eye and attention. So goes it with dance contests. Since being a
part and competing was a goal and big thing back in the Savoy Ballroom days, its to be expected to be a part of the
equation – and the fun!
What can become a “must” also
with this aspect as, the Decavita Sisters honestly told us, is that “People
can forget you in 6 months to a year” if you don’t accept gigs. We figure that may also go for not going to gigs … performing… being in
contests? Maybe depending on where you
are at in the scope of things and which hierarchy you know?
To read more about this dynamic duo and their reaction to how they were portrayed check this link http://www.swingzine.com/meet-the-decavitas/
To read more about this dynamic duo and their reaction to how they were portrayed check this link http://www.swingzine.com/meet-the-decavitas/
So perhaps its come to that
according to “Lindy Hop Land” standards.
But who is making up these
standards or rules? Who sets the bar and do all have to follow it? HMMMmmm….
As far as the few (in comparison)
Blacks/African Americans involved we
also observe and note some getting “caught up”… or a bit too involved. “How so?” and “Whats wrong with that?” you may
ask? Well these are folks who say
they want to or who are “supposed” to be building up interest and/or a stronger
presence in the African American community.
This would especially be in accordance or expected with the Frankie
Manning Ambassador standards stated here http://www.frankiemanningfoundation.org/ambassador-program/
Are we saying anything is wrong
with attending these events and partaking of contests and showcases? Nope, not at all. However if
you say you want to build up in your home community…. well… then it can be
questioned if you practice certain behaviors.
Or when someone pulls your coat tails (especially of color) you may want to listen up and
evaluate yourself.
Why?
Maybe because you have blended
in, or allowed yourself to be swallowed up by the glitter and possibility of
being a “star” in Lindy Hop Land circles (or in a smaller locale) versus taking
care of business at home. Maybe your actions can be perceived - or really are -
being counter-productive.
Huh?!
We will address this and more in another post.
We (dancers)
need to enjoy more of the social aspect...
This is very true from a Harlem standpoint.
In this atmosphere of a dance social Beginners
feel more comfortable and less stress to be perfect concerning what they have learned
thus far. These socials can be fun,
harmless and very helpful in the learning process. Teachers can observe students in action and
guide them. Hopefully with the females
Instructors won’t forget them on the dance floor. This is a critical piece; the scene can be
cliquish as it is. As stated in Part 2
in this series the least asked person to dance on the floor are black
women. So it would be nice if the
teacher was more perceptive of this; otherwise she will feel its all about you
taking her money at class … and then “abandoning” her on the social dance floor…
With the film Alive and Kicking focusing on
Special Weekends, Dance Camps, Exchanges and Special Events this is a cause for concern. Smaller venues or events are very important to
help build a dance community in a locale.
It also attracts others in the area to see whats happening if it is
advertised (and not an underground thing). Needless to say in Harlem
this would be a welcome addition as there are still 3rd and 4th
generation Harlemites around who had relatives that this dance culture.
In time, in time….
I wouldn't have my students (Black youth) see this film...
Promo clip for Alive and Kicking showing Black youth,
and this is the same amount of time they are on the screen
and this is the same amount of time they are on the screen
One of the things stated
by an audience member in Harlem was that they wouldn’t take their young black students to
see the film. We can honestly understand
why… and also why not to avoid having them see the film.
Depending on the age and
exposure of the child to swing dance and Lindy Hop (whether viewing a video or
experiencing via lessons) it would make a degree of sense. Children wouldn’t fully grasp what was being
stated, but of course would be entertained by the dancing. Perhaps select clips or stories from the film
would be better for a group especially in a public school setting.
For The Harlem Swing Dance
Society it is a must that this film needs to be prefaced; we feel if it isn’t
it can be a shocker. One reason for this
can be on how it is promoted by various institutions hosting the viewing
(versus the film maker). Either way for us certain aspects – not many – of the current
Lindy Hop/Swing Dance culture can be briefly explained beforehand. Then after the film leave room for discussion and Q&A afterwards. Or – maybe – allow for commentary during the
film, pausing here and there to clear up anything or explain more in a bit of
detail. We are not saying to totally spoon
feed the information, but in a sense we feel this needs to be done to some
extent.
Ebony Magazine: August 2015
See you must understand
that the history of the US is loaded with appropriation and capitalizing off of
Black culture. Children would not pick
up on this viewing the film BUT they will pick up that they don’t see
themselves – as in their color. Older tweens/teens would be more vocal on this appropriation topic due to knowledge and exposure of social media and
videos. With that - and for all ages with people of
color who are not in the know (or loop) - they especially need that prior movie dialogue.
To us it is a “must” from our perspective for certain people to accept watching or
even finishing the film. They simply
have no idea what they are in for and need to be prepped.
This is not a cut against
anyone’s intelligence, it is just the facts.
And we firmly believe the Alive and Kicking can be a spark in
conversation and movement forward for this dance culture in African
American/Black communities. The film is
85% accurate of what is going on in the Lindy Hop Scene (it just couldn’t cover
it all, that would be at least another 2 hrs!).
You see how some dancers think, and then their challenges and sacrifices
for a dance culture that they treasure. Anyone who has a love for jazz dance,
or its variations, offsprings and evolutions (Chicago Steppin’, Philly Bop, Hand Dance, etc.) should be motivated or encouraged to see this film. And then to get something
going in their home region.
For The Harlem Swing Dance
Society (THSDS) its always been about building – and rebuilding. So we will take all the steps to make it
easier and more receptive for our folks of color – especially in Harlem - to
appreciate the film and its message.
________________________________________________
The late great Lindy Hop
Legend Frankie Manning before he passed wanted to see more of Harlem’s dance in
Harlem, and he was glad when The Harlem Swing Dance Society was eventually formed. Before THSDS and
after there was always someone or some group trying to keep the dance culture
going in their own way. By any means
they were aware of the deficit and did their part; this a fact proving that Lindy Hop didn’t
die in Harlem. Even while Frankie was in the post
office there were folks doing their due diligence in the Harlem area, contrary to the bad
rumors that are afloat in certain circles.
However we just “don’t
feel” WE KNOW Frankie Manning wouldn’t be happy with a few of the current trends that are
currently happening in Harlem (and outside of the area) that are helping to discourage growth in Harlem. This is whether this is being done purposely or not.
Huh?
Well you’ll have to see
and read the final post on this Alive and Kicking series, where one person expressed that they didn’t know what could be done about Harlem’s dilemma.
We are going to attempt to answer their
outcry – stay tuned for the fireworks in July :>)
L8R
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