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Safety Dance: First Aid for Lindy Hop Events

Obligatory Men Without Hats Joke

This is the first in what will hopefully become a series of posts about safety at swing dance events for community organisers that will focus on various elements of safety, emergency planning and risk management (which are sort of my day job). In this first post I’m going to look at first aid – how it links in with broader safety concerns and occupational health and safety, and then talk about training and kits for your dance events.

Though you should be taking steps to minimise accidents at your venue (through your code of conduct and appropriate instruction during your lessons, for example) falls, collisions and sprains and strains do occur. And though most swing dancers are a healthy lot you need to be ready for other medical emergencies such as asthma attacks, seizures, anaphylaxis, diabetic emergencies, heart attacks and more. First aid will help you meet these emergencies head-on, and having arrangements for first aid create flow on effects such as improving your all-round crisis response ability and helping grow a safety culture in your dance community.

A brief aside on liability

I see a lot of people raise concerns about legal liability when it comes to safety policies. While these may be well-meaning, I believe they’re wrong. To paraphrase some esteemed legal colleagues*:  If we can prevent someone from being harmed we avoid the event that creates liability. That’s where our focus should be, not on avoiding legal action after the fact. We need to be focused on doing the right thing, not avoiding liability. And if you’re letting liability concerns get in the way of doing the right thing, perhaps you need to rethink your involvement as a business owner or community organiser.

Do your WHS homework!

Being a good business means complying with Work Health and Safety (or occupational health and safety) regulations. In Australia if you’re running a dance business or community organisation, you need to comply with the regulations and your volunteers (even if they’re entirely uncompensated) are going to be considered as workers under the law.** I’m not going to go into the specifics of WHS regulations, they’re going to be different depending on the jurisdiction you’re in, but you need to check what your obligations are with regards to first aid (and other safety matters, some of which I’ll address in future posts).

Your WHS regulator where you are should be your first port of call for you to brush up what your requirements are for safety in general and first aid in particular. Even if the WHS regulations in your jurisdiction don’t cover your organisation, compliance with them is generally a good idea. For information specific to first aid check with your local Red Cross, health service, fire department or a reputable first aid organisation (such as St John Ambulance in Australia).

If there’s a non-profit or government organisation in your area that supports arts, sports or recreation businesses and non-profits they might also be a good place to check with. They may have information that’s more relevant to your circumstances. Small business associations, your local chamber of commerce and your municipal council may also have useful information.

First Aid Training

First aid is just like lindy hop – to do it well it needs some learnz. And just like lindy hop – what you see in Hollywood isn’t exactly the right way to do it.

Trained first aiders are the best way of having the right skills and knowledge to help in an emergency. If you’re having events exclusively in venues that are already staffed, you might want to talk to them about whether you can call on them to provide first aid or use their first aid kit in the event of an accident. Talk to your volunteers, teachers, DJs and other staff to find out who has first aid training and whether their certificate is current. As with other safety policies it’s good to have more than one first aider available to ensure an injured or sick person has a choice in who comes to their aid.

Even if you already have first aiders in your organisation – the more the merrier! First aid training is a very good idea to help friends, family or strangers in daily life. Look for a course by a reputable provider that runs for at least two days and includes a practical component.*** I wouldn’t recommend online training, except where it forms a component of a refresher. Whilst these courses can be pricey, there’s no substitute for hands-on experience.**** However there are more affordable options out there. You might be able to get training through your employer if you have a day job, or your municipal council, community association or fire brigade may run cheap or free first aid courses. If you have time on your hands beyond running a dance organisation you might consider volunteering with the Red Cross or other volunteer emergency organisation and receive training that way.

If you’ve taken a course in the past and if you haven’t updated your training, at the very least in the last 3 years, you should do so. Recommendations on the best treatment for various conditions and injuries changes (for example since I first trained in CPR there have been significant changes to how it’s trained in Australia, and the Heimlich manoeuvre, which has never been recommended in Australia is starting to be replaced in the USA). WHS regulations may recommend or mandate a certain frequency of refreshers and re-trainings for the certificate to be valid.

First Aid Kits

There are plenty of first aid kits on the market, and you can easily buy them online. You should consider your needs (such as the number of people you have at your events, where your event is held and whether there’s any special hazards to address) when you’re buying one. I prefer to build my own first aid kits as it helps familiarise myself with their contents and makes it easier to restock them when used*****. I’ve compiled a list below of what I’d include in a dance event kit.

You might want to include a rescue inhaler and epinephrine auto-injector for asthma and anaphylaxis, but these can be expensive, need to be replaced regularly and you may need a prescription depending on the laws in your jurisdiction. You should also only have these if you or your designated first aiders have been trained in how to identify asthma or anaphylaxis and the use of the devices.

Make sure you restock your kit every time it’s used. It’s very easy to run out of things like adhesive strips if you’re often bringing it out for blisters and small cuts. Also check the expiry date on the contents and replace them if they go out of date. It’s a good idea to print a list with the contents of the kit and put it inside to make checking it easier – you can write the expiry dates next to the contents as a handy prompt on when to replace them.

That’s pretty much all I have to say on first aid. Let me know if there’s anything you think I should add, or if I’ve left something out. Next time: Fire Safety.

 

* If you’re interested in the law of disasters, fires and emergencies I highly recommend Michael Eburn’s Australian Emergency Law blog and USA-based Curt Varone’s Firelaw blog.

** As far as I’m aware. This is the case in NSW and in the national model legislation, but I can’t remember if it’s been similarly implemented in all states and territories. If you’re out of Australia YMMV.

*** Ideally, you’re going to want the trainer to cover management of sprains and strains, common dance related injuries, in a practical session so you can get hands on experience in how tight to wrap a compression bandage. Ask them about this when you’re booking the course.

**** This is especially the case with CPR. To perform it properly requires lot of exertion and I’ve had some medics tell me that if you don’t crack a rib you’re probably not doing it right. This is in stark contrast to the fake CPR you see on TV and in movies where they’re not actually compressing the chest (which is for good reason – they’d seriously injure or even kill the actor if they were doing it properly)!

***** I also generally have one at home, my carry bag and in my car so a central supply to restock from is useful

 

First Aid Kit List

This list is based on the list from the Safe Work Australia First Aid in the Workplace: Code of Practice and has been modified to supplies that are more or less needed for a dance event. This is what I would recommend in an urban area for classes or a weekly social. If it’s a larger event, an event held in a rural area, you’re preparing food or hot drinks or where there’s special hazards I’d recommend a more extensive kit.

Item Quantity
Instructions for providing first aid – including Cardio-Pulmonary Resuscitation (CPR) flow chart (although you may want to substitute having a first aid app on you and your volunteers’ phones) 1
Note book and pen 1
Resuscitation face mask or face shield 1
Disposable nitrile examination gloves 5 pairs
Gauze pieces 7.5 x 7.5 cm, sterile 3 packs of 5
Saline tubes (15 ml) 8
Wound cleaning wipes (% Cetrimide BP) 10 single wipe sachets
Adhesive dressing strips (“Band Aids”) – plastic or fabric (if you have kids at your events get some Batman ones too) Large packet of assorted shapes and sizes
Splinter probes (single use, disposable) 5
Tweezers 1
Scissors 1
Antiseptic liquid/spray (50 ml) 1
Non-adherent wound dressing/pad 5 x 5 cm (small) 6
Non-adherent wound dressing/pad 7.5 x 10 cm (medium) 3
Non-adherent wound dressing/pad 10 x 10 cm (large) 1
Sanitary pads and tampons (in addition to being handy if someone’s run out they can be useful for treating wounds) Assorted
Conforming cotton bandage, 5 cm width 6
Conforming cotton bandage, 7.5 cm width 6
Crepe bandage 10 cm 3
Non-stretch, hypoallergenic adhesive tape – 2.5 cm wide roll 1
Safety pins Pack of 20
Plastic bags – clip seal (small) 3
Triangular bandage (calico or cotton minimum width 90 cm) 5
Emergency rescue blanket (for shock or hypothermia) 1
Eye pad (single use) 4
Instant ice pack 3
Ibuprofen 1 small packet 200mg tablets
Thermometer 1

Codes of Conduct: Who’s using them now?

TL;DR – Many events in North America, Australia, the UK and even Asia have Codes of Conduct. Those in continental Europe, however have very few.

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Codes of Conduct: Who’s Using Them?

A redditor asked about anti-harassment codes of conduct, prompted by Lindy Focus putting up their policy. It reminded me of a recent post on dogpossum that touched on the subject.

And it got me wondering – just how many swing dance events actually have codes of conduct that address things like discrimination and harassment?

Let me point out that while codes of conduct are great, they’re not sufficient on their own  – they need to be part of a broader commitment to creating a safe space for dancers, organisers, volunteers and the community at large and part of a plan for dealing with actual cases of harassment, unacceptable behaviour and safety issues. Thus the events using them shouldn’t necessarily be seen as examples of best practice, but rather on the road there.

But even without that additional action, with all the information that’s out there online (and many codes of conduct are made available to use under creative commons licenses), there’s really no excuse for events not to put one up on their website. It’s an important statement that places everyone’s safety first and clearly communicates that harassment is not tolerated. More event organisers need to take a proactive stand against the sort of bullshit that occurred at the last CSC (and for which they were very publicly called out on) and continues to occur in our community.

There’s a tonne of resources out there, much of the stuff in the nerd/geek convention community is quite good such as this 101/FAQ and the stuff on Geek Feminism. Mobtown Ballroom in Baltimore has a great CoC (that addresses liquor consumption as well as harassment). There’s also the Safety Dance Facebook Group.

Events using Codes of Conduct

I have also found a number of fusion and blues events with CoC and other policies. I was also going to make a list of events that don’t yet have a code of conduct, but it turns out that would be everyone else including pretty much all the major lindy hop events worldwide.

As far as I can tell it’s just the two listed above (though a number of regular venues/dance schools also have policies). I think this needs to change – and will be writing to events I plan to attend encouraging them to develop a code of conduct as a first step towards broader policies and practices to ensure dance events are safe welcoming spaces for all. I ask you to join me.

A Lindy Hop Bibliography

[Updated for works published to June 2017]

SwingNation featured a new thesis on the Savoy Ballroom on a recent show and it led me to wonder what other scholarly work on Lindy Hop is out there. So I went looking.

It turns out that there’s a surprising amount of scholarship out there about or using Lindy Hop. Much of it is by key figures in the community who were important during the ‘revival’ period or are active in scenes across the world today.

Many of these are behind the paywalls of academic journals, so unless you’re a university student or academic or are willing to fork over exorbitant fees you’re probably not going to be able to access them.* I’ve added hyperlinks where a work is publicly available.

I’ve mainly concentrated on scholarly works and books, generally more reliable in terms of their accuracy. I’ve steered clear of blogs, but I should include Jerry Almonte’s Artistry In Rhythm series which I would say probably has the same (or more) amount of work found in a typical masters thesis.

I’ve grouped the works into some basic categories and ordered them alphabetically by author.

If you’re aware of any other works I haven’t included, or you have published one yourself, please let me know in the comments and I’ll update it.

General

Fuhrer, Margaret. 2014. American Dance: The Complete Illustrated History. Voyageur Press.
Giordano, Ralph G. 2006. Social Dancing in America: A History and Reference, Volume 2, Lindy Hop to Hip Hop, 1901-2000. Westport, Conn: Greenwood.
Kealiinohomoku, Joann. 1970. “An Anthropologist Looks at Ballet as a Form of Ethnic Dance.” Impulse 20: 24–33.

Manning, Frankie, and Cynthia R. Millman. 2007. Frankie Manning: Ambassador of Lindy Hop. Temple University Press.

Miller, Norma. 2009. SWING, BABY SWING!. Self published. http://www.blurb.com/b/1160083-swing-baby-swing.

Miller, Norma, and Evette Jensen. 2001. Swingin’ at the Savoy: The Memoir of a Jazz Dancer. Temple University Press.

Nott, James. 2015. Going to the Palais: A Social and Cultural History of Dancing and Dance Halls in Britain, 1918-1960. Oxford University Press.

Pugh, Megan. 2015. America Dancing: From the Cakewalk to the Moonwalk. Yale University Press.

Stevens, Tamara, and Erin Stevens. 2011. Swing Dancing. ABC-CLIO.

Willis, Cheryl M. 2016. Tappin’ at the Apollo: The African American Female Tap Dance Duo Salt and Pepper. McFarland.

X, Malcolm. 1966. The Autobiography of Malcolm X. London: Hutchinson.

African American Dance History

Anderson, Jervis. 1983. This Was Harlem: A Cultural Portrait, 1900-1950. Farrar, Straus, Giroux.

DeFrantz, Thomas. 1996. “Simmering Passivity: The Black Male Body in Concert Dance.” In Moving Words: Re-Writing Dance, edited by Gay Morris, 107–20. London and New York: Routledge.

Dinerstein, Joel. 2003. Swinging the Machine: Modernity, Technology, and African American Culture Between the World Wars. Univ of Massachusetts Press.

Emery, Lynne. 1972. Black Dance in the US from 1619 to 1970. Palo Alto, CA: National Press Books.

Gilroy, Paul. 1997. “Exer (or) Cising Power: Black Bodies in the Black Public Sphere.” In Dance in the City, edited by Helen Thomas, 21–34. London: Macmillan.
Gottschild, Brenda Dixon. 1996. Digging the Africanist Presence in American Performance: Dance and Other Contexts. Greenwood Press Westport, CT.
Gottschild, Brenda Dixon. 1995. “Stripping the Emperor: The Africanist Presence in American Concert Dance.” In Looking Out: Perspectives on Dance and Criticism in a Multicultural World, edited by David Gere, 44:95–121. New York: Schirmer Books.
Gottschild, Brenda Dixon. 2002. Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era. 1st Palgrave paperback ed edition. New York: Palgrave Macmillan.
Gottschild, Brenda Dixon. 2005. The Black Dancing Body: A Geography from Coon to Cool. 1st edition. New York: Palgrave Macmillan.
Griffin, Sean. 2002. “The Gang’s All Here: Generic versus Racial Integration in the 1940s Musical by Sean Griffin.” Cinema Journal 42 (1): 21–45. doi:10.1353/cj.2002.0021.
Hazzard-Gordon, Katrina. 1985. “African-American Vernacular Dance Core Culture and Meaning Operatives.” Journal of Black Studies 15 (4): 427–45. doi:10.1177/002193478501500405.
Hazzard-Gordon, Katrina. 2010. Jookin’: The Rise of Social Dance Formations in African-American Culture. Temple University Press.
Humphries, Skye. 2006. “Liberating and Regimenting the Body: Taming the ‘Animal’ Dances.” Washington DC: George Washington University

Jackson, Jonathan David. 2001. “Improvisation in African-American Vernacular Dancing.” Dance Research Journal, 40–53.

Knight, Arthur. 2002. Disintegrating the Musical: Black Performance and American Musical Film. Duke University Press.

Malnig, Julie. 2009. Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader. University of Illinois Press.

Malone, Jacqui. 1996. Steppin’on the Blues: The Visible Rhythms of African American Dance. University of Illinois Press.

Marsh, Lucile. 1935. “A Survey of the Social Dance in America.” The Journal of Health and Physical Education 6 (9): 34–62. doi:10.1080/23267240.1935.10625734.

Martin, Carol J. 1994. Dance Marathons: Performing American Culture of the 1920s and 1930s. Univ. Press of Mississippi.

Stearns, Marshall, and Jean Stearns. 1994. Jazz Dance: The Story Of American Vernacular Dance. 2nd edition. New York: Da Capo Press.

Stovall, Maya. 2015. “African American Cultural Technology: The Lindy Hop, the King of Pop, and the Factory Worker’s Experience.” Journal of the Association of Black Anthropolgists 23(1): 1-13. doi:10.1111/traa.1204

History of Lindy Hop

Back, Les. 1997. “Nazism and the Call of the Jitterbug.” In Dance in the City, edited by Helen Thomas, 175–97. London: Macmillan.

Batchelor, Christian. 1997. This Thing Called Swing: A Study of Swing Music and the Lindy Hop: The Original Swing Dance. London, UK: Original Lindy Hop Collection.

Batiuchok, Margaret. 1988. “The Lindy.” New York: NYU. http://www.scribd.com/doc/36181005/The-Lindy-by-Margaret-Batiuchok-NYU-Masters-Thesis-16-May-1988-History-of-Swing-Dancing.

Brown, Tamara. 1998. “It Don’t Mean a Thing If It Ain’t Got That Harlem Swing: Social Dance and the Harlem Renaissance.” Afro-Americans in New York Life and History 22 (1): 41.

Card, Amanda. 1998. “The ‘great Articulation of the Inarticulate’: Reading the Jazz Body in Australian and American Popular Culture in the 1960s.” Journal of Australian Studies 22 (58): 18–28.

Crease, Robert P. 1988. “The Lindy Hop.” Proceedings of the International Early Dance Institute 1 (1): 1–11.

Crease, Robert P. 1995. “Divine Frivolity: Hollywood Representations of the Lindy Hop, 1937-1942.” In Representing Jazz, by Krin Gabbard. Duke University Press.

Given, William. 2015. “Lindy Hop, Community, and the Isolation of Appropriation.” In The Oxford Handbook of Dance and Theater, edited by Nadine George-Graves. Oxford University Press.

Jones, Chris. 2001. “The Lindy Hops the Atlantic: The Jitterbug and Jive in Britain.” In Cord 2001: Transmigratory Moves: Dance in Global Circulation: Conference Proceedings, 174. New York University, New York, New York: Congress on Research in Dance.

MacDonald, J. Frederick. 1972. “‘Hot Jazz,’ the Jitterbug, and Misunderstanding: The Generation Gap in Swing 1935–1945.” Popular Music and Society 2 (1): 43–55. doi:10.1080/03007767208591000.
Milkowski, Bill, and Tim Hauser. 2003. Swing It: An Annotated History of Jive. Diane Pub Co.

Miller, David, Nicole Zonnenberg, and Rebecca Strickland. 2013. “Lindy Hop and Jitterbug: The Development of American Swing Dance in the United Kingdom.” Showcase of Undergraduate Research Excellence, January. http://diginole.lib.fsu.edu/undergradresearch/33.

Monaghan, Terry. 2004. “Remembering ‘Shorty’ – A Few Thoughts on the Beginnings of Jive and Lindy Hop on George Snowden’s Centenary.” Dancing Times 94 (1127): 49 – +.

Monaghan, Terry, and Mo Dodson. 2003. “Fractured Legacy: Why Did the Irish Contribute So Much to American Tap Dance and So Little to the Lindy Hop?” In 2003 Society of Dance History Scholars Conference. University of Limerick, Limerick, Ireland: Society of Dance History Scholars Conference.

Skinner, Jonathan. 2012. “Globalization and the Dance Import-Export Business: The Jive Story.” In Dancing Cultures: Globalization, Tourism and Identity in the Anthropology of Dance, edited by Helene Neveu Kringelbach and Jonathan Skinner, 29–45. Berghahn Books.

Spring, Howard. 1997. “Swing and the Lindy Hop: Dance, Venue, Media, and Tradition.” American Music 15 (2): 183–207. doi:10.2307/3052731.

Tucker, Sherrie. 2014. Dance Floor Democracy: The Social Geography of Memory at the Hollywood Canteen. Durham: Duke University Press Books.
Unruh, Kendra. 2011. “From Kitchen Mechanics to‘ Jubilant Spirits of Freedom’: Black, Working-Class Women Dancing the Lindy Hop.” Journal of Pan African Studies 4 (6).
Unruh, Kendra. 2012. “‘Jubilant Spirits of Freedom’: Representations of the Lindy Hop in Literature and Film from the Swing Era to the Swing Revival.” Purdue University. http://docs.lib.purdue.edu/dissertations/AAI3544546.

Wallace, Claire, and Raimund Alt. 2001. “Youth Cultures under Authoritarian Regimes The Case of the Swings Against the Nazis.” Youth & Society 32 (3): 275–302. doi:10.1177/0044118X01032003001.

The Savoy

Abdoulaev, Alexandre. 2014. “Savoy: Reassessing the Role of the ‘World’s Finest Ballroom’ in Music and Culture, 1926–1958.” BOSTON UNIVERSITY

Engelbrecht, Barbara. 1983. “Swinging at the Savoy.” Dance Research Journal 15 (2): 3–10. doi:10.2307/1478672.

Monaghan, Terry. 2005. “The Chicago and Harlem Savoy Ballrooms.” In Proceedings: Twenty-Seventh Annual Conference, Duke University, Durham, North Carolina, 17-20 June, 2004; Twenty-Eight Annual Conference, Northwestern University, Evanston, Illinois, 9-12 June, 2005, 155. Society of Dance History Scholars.

Moran, Delaney. 2014. “‘Never Looking at Your Face, Only at Your Feet’: Race Relations at the Savoy Ballroom: 1926-1958.” Concord Review 24 (3): 13–38.

The Rendezvous Ballroom

Delaney, Jeff. 2007. Newport Beach’s Balboa and Balboa Island. Arcadia Publishing.

The ‘Revival’ and Contemporary Lindy Hop Culture

Carroll, Samantha. 2006. “The Lindy Binge: The Social and Cultural Functions of Lindy Exchanges.” Continuum 20 (4): 447–56. doi:10.1080/10304310600987262.

Carroll, Samantha. 2006. “Hepfidelity: Swing Dance and the Role of Digital Media in Embodied Practice.” La Trobe University.

Carroll, Samantha. 2007. “Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture.” Media International Australia, no. 123 (May): 138–49.

Carroll, Samantha. 2008. “The Practical Politics of Step-Stealing and Textual Poaching: YouTube, Audio-Visual Media and Contemporary Swing Dancers Online.” Convergence 14 (2): 183–204. doi:10.1177/1354856507087943.

Doane, Randal. 2006. “The Habitus of Dancing Notes on the Swing Dance Revival in New York City.” Journal of Contemporary Ethnography 35 (1): 84–116. doi:10.1177/0891241605280585.

Hancock, Black Hawk. 2007. “Learning How to Make Life Swing.” Qualitative Sociology 30 (2): 113–33. doi:10.1007/s11133-007-9059-8.

Hancock, Black Hawk. 2008. “Put a Little Color on That!” Sociological Perspectives 51 (4): 783–802. doi:10.1525/sop.2008.51.4.783.

Hancock, Black Hawk. 2013. American Allegory: Lindy Hop and the Racial Imagination. University of Chicago Press.

Humphries, Skye. 2007. “Progressive era progressions: dancing and parading in a modern imperial age” Washington DC: George Washington University

Lakes, Kimberley D., Shesha Marvin, Jessica Rowley, Malia San Nicolas, Sara Arastoo, Leo Viray, Amanda Orozco, and Frances Jurnak. 2016. ‘Dancer Perceptions of the Cognitive, Social, Emotional, and Physical Benefits of Modern Styles of Partnered Dancing’. Complementary Therapies in Medicine 26 (June): 117–22. doi:10.1016/j.ctim.2016.03.007.
Lin, Han-Wei. 2014. “Exploring Relationships between Happiness and Stickiness: Swing Dance as an Example.” Masters Thesis, Taipei: National Taiwan University of Science and Technology.

Michalowski, Raymond Joseph. 1997. “Swing Dance as Subculture: Managing Symbolic Crisis in a (post)modern Age.” Arizona State University.

Monaghan, Terry. 1999. “New-York Celebrates Lindy-Hop and Tap (Highlights of Performances at National-Tap-Day Commemorating the Birthday of the Late Bill ‘Bojangles’ Robinson While Frankie Manning’s Birthday Was Marked by Lindy Enthusiasts).” Dancing Times 89 (1067): 1004–5.

Monaghan, Terry. 2001. “Why Study the Lindy Hop?” Dance Research Journal 33 (2): 124–27. doi:10.2307/1477810.

Monaghan, Terry. 2002. “Stompin’at the Savoy–Remembering, Re-Enacting and Researching the Lindy Hop’s Relationship to Harlem’s Savoy Ballroom.” In Dancing at the Crossroads: African Diasporic Dances in Britain: Conference Proceedings. London, UK: London Metropolitan University.

Monaghan, Terry. 2003. “British Dance Company Lindy Hop All the Way to the USA (Jiving Lindy Hoppers).” Dancing Times 93 (1112): 39–39.

Monaghan, Terry, and Mo Dodson. 2001. “Fusion: Globalising the Local and Localising the Global – The Case of the Lindy and Other Fusion Dances/Musics.” In Cord 2001: Transmigratory Moves: Dance in Global Circulation: Conference Proceedings, 220. New York University, New York, New York: Congress on Research in Dance.

Parish, P. 1999. “The Lindy-Hop – A Revival in Full Swing (The Signature Dance of the 1930s Is Back in Style).” Dance Magazine 73 (9): 50–52.

Park, JB. 2014. “Dressing the Alter Ego: Swing Dancers with Day Jobs.” International Journal of Costume and Fasion 14 (1): 47–62.

Renshaw, Scott W. 2002. “Postmodern Swing Dance and the Presentation of the Unique Self.” In Postmodern Existential Sociology, by Joseph A. Kotarba and John M. Johnson, 63–85. Rowman Altamira.

Renshaw, Scott W. 2006. “Postmodern Swing Dance and Secondary Adjustment: Identity as Process.” Symbolic Interaction 29 (1): 83–94. doi:10.1525/si.2006.29.1.83.

Samuels, S. 2001. “Love, Life and the Lindy Hop (Jenny Thomas and Ryan Francois).” Dance Magazine 75 (2): 53–53.

Sekine, Anais. 2011. “T’ain’t What You Do It’s the Way That You Do It – Body Representations and Transculturality in Lindy Hop Dance.” In International Conference on Body Image and Identity in Contemporary Society. CUNY, New York, USA.
Sekine, Anais. 2013. “In the Footsteps of the Jazz Patriarchs: An Intersectional Analysis of the Lindy Hop and Jazz Dance Revival as Interpreted by Women.” In NWSA 34th Annual Conference. Cincinnati, OH.
Sekine, Anais. 2013. “The Worlds of Lindy Hop—Cultural Appropriations and the Politics of Joy.” In NOFOD/SDHS 2013 Proceedings. Norwegian University of Science and Technology: Society of Dance History Scholars.
Strickland, Michael. 2014. “Swing Dancing: How Dance Effectiveness May Influence Music Preference.” Florida State University. http://diginole.lib.fsu.edu/etd/9253.

Tiegel, E. 1997. “Steps from a Bygone Era + Lindy Hop and Jitterbug.” Down Beat 64 (12): 60–60.

Unruh, Kendra. 2009. “Swingin ‘Out White: How the Lindy Hop Became White.” West Lafayette, Indiana. https://www.cla.purdue.edu/academic/idis/american-studies/documents/unruh_603_paper.pdf

Usner, Eric Martin. 2001. “Dancing in the Past, Living in the Present: Nostalgia and Race in Southern California Neo-Swing Dance Culture.” Dance Research Journal, 87–101.

Vale, V., and Marian Wallace. 1998. Swing!: The New Retro Renaissance. V/Search.

Wade, Lisa. 2011. “The Emancipatory Promise of the Habitus: Lindy Hop, the Body, and Social Change.” Ethnography 12 (2): 224–46. doi:10.1177/1466138111398231.

Teaching

Bennett, B. Cole. 2011. “Swing Out, Studios, and Safety: Writing as Dance.” Academic Exchange Quarterly 15 (4): 83.

Broth, M., and L. Keevallik. 2014. “Getting Ready to Move as a Couple: Accomplishing Mobile Formations in a Dance Class.” Space and Culture 17 (2): 107–21. doi:10.1177/1206331213508483.

DeMers, Joseph Daniel. 2012. “Frame Matching and ΔPTED: A Framework for Teaching Swing and Blues Dance Partner Connection.” Research in Dance Education 14 (1): 71–80. doi:10.1080/14647893.2012.688943.

Research Utilising Lindy Hop

Gentry, Sommer. 2005. “Dancing Cheek to Cheek : Haptic Communication between Partner Dancers and Swing as a Finite State Machine.” Thesis, Massachusetts Institute of Technology. http://dspace.mit.edu/handle/1721.1/33207.

Gentry, Sommer, and E. Feron. 2004. “Modeling Musically Meaningful Choreography.” In 2004 IEEE International Conference on Systems, Man and Cybernetics, 4:3880–85 vol.4. doi:10.1109/ICSMC.2004.1400950.

Gentry, Sommer, and E. Feron. 2004. “Musicality Experiments in Lead and Follow Dance.” In 2004 IEEE International Conference on Systems, Man and Cybernetics, 1:984–88 vol.1. doi:10.1109/ICSMC.2004.1398432.

Hsu, Eugene, Sommer Gentry, and Jovan Popović. 2004. “Example-Based Control of Human Motion.” In Proceedings of the 2004 ACM SIGGRAPH/Eurographics Symposium on Computer Animation, 69–77. SCA ’04. Aire-la-Ville, Switzerland, Switzerland: Eurographics Association. doi:10.1145/1028523.1028534. and video here

Lukšys, Donatas, and Julius Griškevičius. 2017. ‘Quantitative Assessment of Dance Therapy Infulence on the Parkinson’s Disease Patients’ Lower Limb Biomechanics’. Science – Future of Lithuania / Mokslas – Lietuvos Ateitis 8 (6): 583–86. doi:10.3846/mla.2016.978.

Selbach-Allen, Megan, Kevin McIlhany, and Sommer Gentry. 2011. “Optimization and Pose Selection for a Lindy Hop Partnered Spin.” In 2011 American Control Conference, 3831–36. New York: Ieee.

* Though there are other means such as using #ICanHazPDF on twitter, emailing the author or asking a friend at uni that you could have luck with, though book chapters might be more tricky.

Classic Lindy Hop Music – The Hottest 100

User Shadowpoga on reddit asked about classic songs for DJing at a lindy hop dance. Whilst I gave my two cents in the comments, I didn’t actually post any song suggestions.

That’s what this post is for.

I went through my own collection and picked out the 100 best tracks from the 30s through to the early 60s. I may get around to picking out a top 10 or something and talking a bit about each, but given my track record it’s not likely. 🙂

I’m not claiming that this represents any sort of objective top 100, which would require some sort of voting system – and some way of resolving what to do about all the covers, alternate takes and recordings of the same song by the same artist in different sessions. There’s a number of notable exceptions (such as Willie Bryant – A Viper’s Moan and Roy Eldrige – Jump Through the Window) missing from this list. Despite having a collection that would take 3 weeks of continuous listening to get through, there’s still some ridiculously popular songs that I don’t have.*

In order of artist they are:

Name Artist BPM Year Duration
Davenport Blues Adrian Rollini & His Orchestra 139 1934 3:17
Wham (Wham, Re, Bop, Boom, Bam) Andy Kirk and His Twelve Coulds of Joy 198 1940 3:05
Back Bay Shuffle Art Shaw and His Orchestra 190 1938 3:16
Hop, Skip and Jump Artie Shaw and His Gramercy 5 177 1945 2:58
Just Kiddin’ Around Artie Shaw and His Orchestra 153 1941 3:24
The Grabtown Grapple Artie Shaw and His Orchestra 192 1945 2:57
Traffic Jam Artie Shaw and His Orchestra 261 1939 2:17
Big John’s Special Benny Goodman 185 1938 3:08
Goody, Goody Benny Goodman 194 1936 2:32
Swingtime in The Rockies Benny Goodman 231 1936 3:10
King Porter Stomp Benny Goodman and His Orchestra 184 1951 3:08
Let’s Dance Benny Goodman and His Orchestra 203 1939 2:34
Stompin’ at the Savoy Benny Goodman Orchestra 153 1954 3:15
Forty Cups of Coffee Betty Miller with Sid Phillips & His Band 134 3:04
Are You All Reet? Cab Calloway 155 1941 3:04
A Chicken Ain’t Nothin’ but a Bird Cab Calloway 161 1940 2:53
The Jumpin’ Jive Cab Calloway and His Orchestra 176 1939 2:51
Boo-Wah Boo-Wah Cab Calloway and His Orchestra 199 1940 2:52
Afternoon Of A Moax (Shake, Rattle ‘n’ Roll) Charlie Barnet 131 1940 3:23
Wild Mob Of The Fish Pond Charlie Barnet 133 1940 3:15
Cherokee Charlie Barnet 174 1939 3:20
Flying Home Charlie Barnet 183 1940 2:55
The Last Jump (A Jump To End All Jumps) Charlie Barnet 244 1939 2:41
The Dipsy Doodle Chick Webb and His Orchestra 188 1937 3:10
Splanky Count Basie and His Orchestra 121 1957 3:36
Georgianna Count Basie and His Orchestra 165 1938 2:35
Shorty George Count Basie and His Orchestra 206 1938 2:46
Jumpin’ At the Woodside Count Basie and His Orchestra 237 1938 3:10
All Right, Ok, You Win Count Basie – Joe Williams 133 1955 3:05
Roll ‘Em Pete Count Basie – Joe Williams 178 1955 3:12
Corner Pocket Count Basie and His Orchestra 139 1955 5:17
Blues in Hoss Flat Count Basie and His Orchestra 140 1959 3:14
Four, Five, Six Count Basie and His Orchestra 142 1962 4:39
Swing, Brother, Swing Count Basie and His Orchestra 154 1937 1:50
9:20 Special Count Basie and His Orchestra 196 1941 3:12
Swingin’ the Blues Count Basie and His Orchestra 223 1960 3:15
Every Day I Have the Blues Count Basie Big Band 109 1956 5:11
One O’Clock Jump Count Basie Octet 192 1950 2:53
Take the ‘A’ Train Duke Ellington and His Famous Orchestra 166 1941 2:57
The Gal From Joe’s Duke Ellington and His Famous Orchestra 166 1938 2:58
Exposition Swing Duke Ellington and His Famous Orchestra 219 1936 3:12
Ridin’ and Jivin’ Earl Hines and His Orchestra 154 1939 2:42
Smooth Sailing Ella Fitzgerald 118 1951 3:06
Mack the Knife Ella Fitzgerald 139 1960 4:39
Lindy Hopper’s Delight Ella Fitzgerald 195 1939 2:45
On the Sunny Side of the Street Ella Fitzgerald and Count Basie 105 1963 3:44
Shiny Stockings Ella Fitzgerald and Count Basie 126 1963 3:34
The Frim Fram Sauce Ella Fitzgerald and Louis Armstrong 106 1946 3:13
Solid as a Rock Ella Fitzgerald with Sy Oliver and His Orchestra 149 1950 2:59
Tuxedo Junction Erskine Hawkins and His Orchestra 155 1939 3:14
Your Feets Too Big Fats Waller 119 1931 2:58
Dark Eyes Fats Waller 163 1931 3:22
The Yacht Club Swing Fats Waller 172 1938 3:11
Christopher Columbus Fletcher Henderson and His Orchestra 186 1936 3:08
Pennsylvania 6-5000 Glenn Miller 148 1940 3:15
Jeep Jockey Jump Glenn Miller & The Army Air Force Band 204 1943 2:15
Little Brown Jug Glenn Miller and The Andrews Sisters 170 1939 3:11
Two O’Clock Jump Harry James 154 1955 3:00
Bottom’s Up Illinois Jacquet and his All Stars 198 1945 2:58
Jacquet in the Box Illinois Jacquet Sextet 157 1946 2:56
For Dancers Only Jimmie Lunceford And His Orchestra 149 1937 2:43
‘Tain’t What You Do (It’s The Way That You Do It) Jimmie Lunceford And His Orchestra 158 1939 3:05
Posin’ Jimmie Lunceford And His Orchestra 191 1937 3:01
Harlem Shout Jimmie Lunceford and His Orchestra 197 1936 2:56
Kansas City Jimmy Witherspoon 128 1959 3:10
Good Rockin’ Tonight Jimmy Witherspoon 150 1963 2:43
Bucket’s Got A Hole In It Kid Ory’s Creole Jazz Band 121 1953 2:51
On Revival Day LaVern Baker 142 1958 3:16
Hey, Ba-Ba-Re-Bop Lionel Hampton and His Orchestra 132 1945 3:21
Drinkin’ Wine Spo-Dee-O-Dee Lionel Hampton and His Orchestra 132 1949 3:24
Lavendar Coffin Lionel Hampton and His Orchestra 137 1949 2:47
Flying Home, No. 2 Lionel Hampton and His Orchestra 162 1944 3:07
Ain’t Misbehavin’ Louis Armstrong 171 1955 4:01
Don’t Get Around Much Anymore Louis Armstrong & Duke Ellington 109 1961 3:35
I’m Beginning To See The Light Louis Armstrong & Duke Ellington 148 1961 3:39
A Fine Romance Louis Armstrong with Ella Fitzgerald 174 1957 3:51
Caldonia Louis Jordan and His Tympany Five 165 1945 2:43
Choo Choo Ch’boogie Louis Jordan and His Tympany Five 171 1946 2:44
Just a Gigolo / I Ain’t Got Nobody Louis Prima 127 1956 4:44
Jump, Jive An’ Wail Louis Prima 208 1956 3:29
Let It Roll Again Lucky Millinder and his Orchestra 125 1950 2:58
Shout, Sister, Shout Lucky Millinder and his Orchestra 141 1941 2:44
Apollo Jump Lucky Millinder and his Orchestra 147 1941 3:26
Who Threw the Whiskey in the Well? Lucky Millinder and his Orchestra 163 1944 3:00
Savoy Lucky Millinder and his Orchestra 191 1943 3:26
Bugle Call Rag Metronome All Stars 262 1941 3:16
The Fox Ray Anthony and His Orchestra 162 1951 2:33
All the Cats Join In Roy Eldridge and His Orchestra 182 1946 2:40
Viper Mad Sidney “Pops” Bechet with Noble Sissle Swingsters 178 1938 3:05
Joshua Fit the Battle of Jericho Sidney Bechet and His Blue Note Jazzmen 178 1949 3:20
Blues My Naughty Sweetie Gives to Me Sidney Bechet and His Hot Six 142 1951 5:44
The Ball Game Sister Wynona Carr 140 1952 3:06
Look Out Slim Gaillard & Slam Stewart 195 1939 2:55
Jump Session Slim Gaillard & Slam Stewart 163 1938 2:37
We Cats Will Swing for You The Cats and The Fiddle 182 1939 2:38
Gang Busters The Cats and The Fiddle 192 1939 3:07
Yes Indeed Tommy Dorsey 131 1941 3:29
Opus One Tommy Dorsey 169 1944 2:57
Well, Get It Tommy Dorsey 189 1942 3:03
Keep On Churnin’ Wynonie Harris with Todd Rhodes Orchestra 144 1952 2:54

* And given my current self-imposed music buying restrictions isn’t likely to be corrected anytime soon.

How Many Lindy Hoppers are There

I’ve been wondering about this question for a while but with a little free time I finally got around to having a decent crack at working it out with some GIS and statistics.The short answer: by my estimation about 120,000. Read on for the longer answer.

Where are people Lindy Hopping?

This is actually a somewhat difficult question. Scenes are constantly starting and folding – such as scenes in college towns in the US and those where expats are the primary drivers and consumers.* Plus the advent of the travelling lindy hopper has led to many camps being held in places that don’t have a regular scene. For this purpose a “scene” is a location that actually has some form of regular Lindy hop be that classes, social dancing or some other organising activity.

Herrang only has dancing 5 weeks out of the year – that doesn’t count. (photo by Rikomatic)

My starting point was the World Lindy Hop Map which I supplemented with maps for countries and smaller scenes including the LA Lindy Hop Map, The Lindy Hop Map Australia, Lindy Hop and Swing Dance in Italy, and the UK Lindy Map.

Next was quality control.

I ended up removing a whole bunch of points. There were plenty with incorrect geocoding (e.g. suburbs of cities that were coded to small towns, country entries sitting in the middle of nowhere etc.), I also did a fair bit of checking to ensure currency of schools, events, etc.** Finally I did a bunch of research to add new venues, website links and cover as broad a geography as possible.

The final result was 827 organisations, dance schools or other evidence of regular lindy hop activity in a particular location. I’m sure I’ve missed plenty of organisations in local areas – but my mission was to see if a location had lindy hop, not how many dance schools/societies were there.

Guess the map projection and you get a gold star.

As I don’t plan on keeping this updated I’m not going to put it on google maps. However here is the data in kmz and shapefile format for those who wish to use the data in your own projects and maps. I’ve made my best effort with this data, but it’s necessarily incomplete and the locations are rather approximate – don’t use this for driving directions or holiday planning without further research!

How many Lindy Hop scenes are there?

Obviously, these locations aren’t all individual scenes. Recognising that some scenes are supported by 1 large organisation and others by many smaller ones I wanted to get at the number of geographically independent scenes.

First I gathered venues to the nearest urban locality (using data from Geonames) – all those that were within about 15-20km I considered to be part of that locality. I merged a number of these together where the localities were separated by less than 30km – considering that this is probably the maximum distance (as the crow flies) for there to be enough mixing amongst venues for them to be

The answer – 463 scenes spread across 58 countries (or 59 depending on how you count Taiwan) and a range of self governing territories (e.g. New Caledonia, Hong Kong and the Åland Islands).

From this we can see that Lindy Hop is an activity for the relatively wealthy in the world – here is a chart of lindy hop prescene graphed against the Human Development Index***:

How many lindy hoppers are there?

Given the data I’ve generated here’s a related question: How many people could lindy hop if they wanted to? To assess geographic access (leaving aside demographic and cultural factors that affect access) to the above listed venues I applied the World Population Layer to determine the number of people living within 15km of a lindy hop venue. The result: about 308 million people.

Now onto the number of lindy hoppers. Rather than try and guess the average scene size (which can be tricky) I’ve applied some fancier statistics and a Monte Carlo simulation to get a bounded guess. There’s a more complete explanation and the code I used in a short R script I wrote here.

The assumptions I made are:

  • The size of lindy hop scenes are lognormally distributed. (Not bad – but without any data on actual scene sizes is untested)
  • The largest scene size is 5000. (This has been oft quoted in relation to the size of Seoul‘s lindy hop scene but London and LA/Orange County could also have sizes somewhere in this vicinity)
  • The median scene size is somewhere between 50 and 150.
  • The total number of scenes are 463.

The Monte Carlo simulation generated a stochastic set of 50,000 international lindy hop communities by randomly sampling the median scene size (from a uniform distribution) and then randomly sampling individual scene sizes (from the lognormal distribution) to get a total population of each. This then allowed statistics to be generated

This gives a median of 118,000 and a 90% chance of the “true” number being being between 82,000 and 153,000.****

Only 2% of lindy hoppers made it to Frankie 100. (Photo by hoptothebeat)

So now it’s over to you. Can anyone else come up with a better answer?

_____________________________________________________
* South Asia is a great example. I know of Lindy Hop being taught at one stage or another in Kathmandu, Mumbai, Dhaka, Chittagong, Bangalore, Dharamsala and Delhi at one time or another but combining short ex-pat contracts with a culture where partnered dancing is highly unusual it typically hasn’t stuck around.

**It doesn’t help that there are literally hundreds of dance schools and other organisations out there whose websites seem to have been created back when geocities was popular and left unchanged (except for content updates). Seriously people, if wordpress is too hard for you spend the money on a web designer.

*** And in those countries with Medium Human Development the lindy hop tends to be located in wealthier cities. This is probably also the case with lindy hop in countries with High and Very High Human Development.

**** The average and the mode were also about 118,000.

The Twenty Most Watched Lindy Hop Videos

Next year will be the 10th anniversary of YouTube and lindy hop on the platform has certainly come a long way since this.* By my estimation lindy hop videos have been watched somewhere between 70 million and 200 million times on YouTube.** I thought I’d compile a list of the most watched swing dancing videos on YouTube.

I chose the top 20 videos by views (including aggregating the views from more than one copy of the film) that feature a reasonable amount of lindy hop or authentic jazz dance content (i.e. if it’s “the swing”, it ain’t included). All these videos can be considered ‘popular’*** to some extent given their large audience.

There’ll be plenty on this list that’s familiar – and maybe some that aren’t:

1. Fast Swing Dancing – ULHS 2006 – 6.9 million views

The first video in YouTube search results for lindy hop comes from 2006 edition of the most influential lindy hop competitions in the contemporary scene. This is far from the only badass ULHS video on YouTube (ULHS also features two other videos in the top twenty) but it has been up there for 8 years and sure accumulated a lot of views over that time.

2. Denver Airport Holiday Flash Mob – 4.0 million views

This was the most viral lindy hop video of 2011. This was part of a big PR campaign by Denver Airport and the power of a marketing machine has helped push this into the number 2 spot.

3. Hooked On Swing Dancing – 2.7 million views

The music here is kind of square and the poster has basically cut together a whole series of classic B&W film clips of mostly white dancers (though it does finish with highlights from Hellzapoppin’).

4. Whiteys Lindy Hoppers .. Hellzapoppin – 2.6 million views

The greatest lindy hop routine on film performed by Whitey’s Lindy Hoppers and choreographed by Frankie Manning. This clip has inspired recreations and competitions and it remains the most referenced and loved clip of contemporary lindy hoppers.

5. Charleston — Original Al & Leon Style!! – 1.9 million views 

Demonstration of classic Charleston steps by Al Minns and Leon James at the Savoy Ballroom. This was filmed by Mura Dehn as part of her legendary Spirit Moves documentary. Only small excerpts of this exist online – the full documentary is almost six hours long and only viewable at a small number of institutions. This video’s popularity probably has something to do with the numerous remix videos (typically with modern electronica overdubbed) that have been made – note that I haven’t included these in the view count.

6. Swing Dancing from the Movie Twiced Blessed (1945) – 1.8 million views

This film features some of the best swing dancers from Southern California during the 40s many of whom continued to dance and teach Balboa and Lindy Hop during the revival. The dancers are Hal Takier & Alice Scott, Lenny & Kay Smith, Wally & Mousie Albright, Freda Angela Wyckoff, Bob Ashley, Chuck Saggau.

7. Lindy Hop funny instructional video : Groovie Movie (1944) – 1.6 million views

This short film shot in 1942 again features great Southern California swing dancers (including many of those in the clip in the number 6 position). It’s well known for its comical style and spoof of dance instruction techniques.

8. Lindy Hop Dance – Charleston meets Lindy Hop – 1.5 million views

From the 2007 Jump Session Show (put on as part of Camp Jitterbug, it is the best annual revue of authentic jazz dance) Annie Trudeau and Max Pitruzzella perform a fantastic routine of Charleston and Lindy Hop.

9. 1920s Charleston – 1.2 million views

The wonderful Sharon Davis compiled this video of vintage clips of people dancing Charleston. Though it’s been online since 2009 I’d guess that it’s views have shot up recently thanks to the Gatsby effect.

10. Shim Sham – 1.2 million views

Frankie Manning demonstrates the Shim Sham with Erin Stevens. This is by far the most watched Shim Sham video on YouTube, though there are many, many other videos out there.

11. Swing Dancing to Bill Haley and the Comets (1956) – 1.2 million views

Although this one is definitely getting into boogie and rock and roll there’s still enough recognisable Lindy content that makes this the only 50s film to make the top twenty.

12. Caravan Palace – Dramophone [OFFICIAL VIDEO] – 1.1 million views

I debated about including this one as it is electro-swing music. However Caravan Palace does work quite a lot with Lindy Hoppers and there’s some of the best featured in this music video. With the popularity of electro-swing in Europe it’s odd that this video doesn’t have many more views.

13. Gap Commercial – Khaki Swing – 1.0 million views

Air Steps, bullet time and neo-swing – the pinnacle of the 90s revival. Gap made a whole series of commercials featuring its khakis in the late 90s (including Soul, Go-Go, Country, Rock and Hip Hop) but this one has seen more YouTube views since its 2006 upload than the rest of them combined.

14. Slow Club – Two Cousins – 1.0 million views

Reminiscent of the Spirit Moves this 2011 music video features Ryan François and Remy Kouakou Kouame. It was one of the most popular videos for 2011 and remains in the top 20.

15. Tricks & Airsteps for Swing – Dance Clip – 800,000 views

Though this is just a promo video for an instructional DVD on aerials it features 5 minutes of various air steps. Nearly all of the videos in this list feature some sort of air time so that might be why this film has so many views.

16. ULHS 2006 Charleston Finals Dance-Off  – 800,000 views

ULHS represents again with the 2006 (the same year as the Liberation finals which hold the number 1 spot) finals of the Charleston competition.

17. ILHC 2013 – Invitational Strictly Lindy Hop Finals – 700,000 views

This film got picked up on 9GAG and has since accumulated many views. I didn’t realise this one had gone viral that way until Mikey mentioned it during the Frankie 100 livestream.

18. ILHC 2011 – Champions Strictly Lindy – Finals – Spotlights – 700,000 views

ILHC again, this time coming in with slightly fewer views in a much longer time span.

19. The Basics of Lindy Hop – 700,000 views

I’m surprised an instructional video has made it’s way into the top 20 (and one with pretty poor production values – which the maker does admit!) but here it is.

20. ULHS 2005 – awsome!!! charleston-finals – 700,000 views

Rounding out the list is yet more bad-assery from ULHS and the fourth Charleston video in the top 20. Just goes to show that the world thinks solo dancing is pretty awesome too.

* YouTube doesn’t make it terribly easy to search for old videos. This was the first one that I could find that hasn’t subsequently been deleted. Yehoodi’s 7th Anniversary Red Carpet celebrations was a close second.

** I worked this out by gathering data on youtube views of “Lindy Hop” videos of the top 10 search results and then the 20*k th search result (for k=1:25) fitting a power law function (R^2=0.99) and integrating this function between 1 and 200,000 (approximately the number of search results). The 70 million is the mean number whilst the upper bound was based on the standard errors. I figure that the loss of videos without “lindy hop” in the title or description will be made up for by the false inclusion of “the swing” videos.

*** As I noted above the distribution of views of lindy hop videos appears to follow a power law (at least for videos with more than 10,000 views) so there doesn’t appear to be be any sort of threshold, above which one can call the video popular. I also use the term popular here rather than viral, which typically denotes a rapid accumulation of views.

Who’s on first? Performance order and judging bias in Lindy Hop contests

Making decisions is hard. Judging in contests is a hard form of decision making – there’s so much to consider. What’s worse is that your own brain will try and prevent you from making the best decision. For example every time someone has to decide on information being presented to them, the order of the presentation of that information can change their decision.

A variety of studies have found this ‘performance order’ bias in everything from the Idol series, Eurovision and figure skating and music competitions. This bias isn’t inconsequential either, in events where careers can rest on the outcome performance order bias can have a significant impacts.

So what about Lindy Hop competitions? Does the order of appearance matter?

Judging – an unenviable task (photo by Jerry Almonte)

In the spirit of my previous post on electoral methods I’ve delved into the data so you don’t have to. My source: results from the 2013 and 2011 European Swing Dance Championships (most of the other major contests I’ve looked at don’t provide the performance order with the official results – if anyone has the data and wants to send it to me to include in the analysis I’d be happy to expand it). This provides a dataset of 30 contests with between 4 and 15 individuals, couples or groups in each contest.

For analysis I’ve converted all the placings into standardised scores to enable comparison between contests of varying lengths.

Here’s what the data looks like:

You can see that the number of competitors in gets rather smaller for the larger events, but you can visually see a slight rising trend even when you discount the results in larger divisions.

To test whether this was just a statistical quirk I set up a multi-linear regression model with an order variable and two additional variables to see if there were any effect of appearing first or last in addition to to the performance order effect.

Here’s the model statistics:

Estimate Standard Error T Statistic Pr(>|t|)
(Intercept) -0.35908 0.15729 -2.283 0.0234
First 0.29989 0.22564 1.329 0.1852
Last 0.08663 0.21062 0.411 0.6813
Order 0.06666 0.02848 2.34 0.0202
This table is only for statistics nerds – otherwise you can ignore it.

These data show that there appears to be a small performance order bias in these results – but though it’s at the level of significance that could get you published in certain social science journals I’d be hesitant to say that it exists for sure.

On the other hand, beyond the performance order bias there appears to be nothing special about appearing first or last.

Converting out of standardised scores let’s look at what these results could mean in an actual contest or let’s say 12 people. If the differences between everyone’s score is similar (which is not really realistic, unless there’s a tight contest) – this effect could mean the difference two places if you appeared first instead of last.

From xkcd – full comic here

What could be going on here? Firstly it could very well be nothing. The order bias is only just within the normal 95% p value – which is not nearly as impressive as you might think. More data could cause the effect to disappear.

EDIT: But, not so fast, remember how there were only a handful of divisions with large numbers in them? There was only a single division with 15 competitors and only a single one with 12. What happens if we repeat the analysis with them removed? (and thanks to one of my FB friends for suggesting this analysis) Here’s the results:

Max size Estimate Standard Error T Statistic Pr(>|t|)
15 0.06666 0.02848 2.34 0.0202
12 0.085237 0.034704 2.456 0.0149
11 0.07006 0.03885 1.803 0.0729
10 0.06518 0.05556 1.173 0.243
9 0.08808 0.06351 1.387 0.168
8 0.06139 0.07081 0.867 0.388
6 0.005641 0.124636 0.045 0.964
5 0.333 0.2568 1.297 0.202
 Again – tune out of this table if you’re not a statistics nerd

Remove the two largest divisions and the order bias effect quickly disappears. So we can be reasonably confident that there is no performance order bias for competitions smaller than 10 or so entrants. For larger divisions we’ve really only got two contests to go off – this is really not enough data to be able to say one way or the other.
 
It’s reasonable that if judges are affected by a recency bias then this may only appear in larger contests. But there are also other explanations besides a recency bias on the part of the judges. Audience reaction could change throughout an individual contest and this could subtly bias the evaluations of the judges.

So how could we find out if there is an order bias? More data on the largest divisions could help but the ultimate would be a controlled experiment. Judges would watch performances on video and in different orders for each group of judges. You could also implement this in actual competitions which would effectively control for any performance order bias present, but such a radical change to judging practices is unlikely to catch on.

If you’re a competition organiser and you don’t randomise the performance order of your competitors, you really should. If an order bias does exist then it’s easily something that could build up over time and give some people (for example with names at the end of the alphabet) an edge in landing that all elusive international teaching gig. Releasing judge scores may also help – some research suggests that increased transparency, the idea of someone looking over your shoulder, can help reduce unconscious biases.

Sadly the major international lindy competitions aren’t consistent in this practice, both ILHC and ESDC have posted individual judges scores previously but not for every year (and the ILHC results do not contain performance order – and appear to have been taken down), the National Jitterbug Championships, the US Open, the American Lindy Hop Championships, the Canadian Swing Dance Championships, The Snowball and Lindy Shock do not.

I’m not talking about that sort of bias

There are potentially a range of other biases that could be relevant to Lindy Hop competitions such as reference bias (where a judge gives a higher score to a person they are familiar with – though it’s unlikely to occur at the highest levels where the competitors are all familiar to the judges), difficulty bias (where more difficult routines are scored higher, even if difficulty is scored separately), in-group bias (a close relative of reference bias – where a person is judged more favourably because they share the same dance school/city/country/race etc. with the judge), the halo effect (where one element of a persons character, such as attractiveness, influences assessments of other elements of their character), memory-influenced bias (where past performance influences current assessments) and groupthink (where a group of judges reaches a false consensus – this isn’t a problem when each judge scores independently, which appears to be the practice for most international comps).

Finally I want to emphasise that I’m not suggesting that judges are behaving unprofessionally. The problem with cognitive biases is that we all have them, they can’t be switched off and thus require a lot of cognitive energy to overcome. Awareness and acknowledgement of potential bias can go a fair way to moderating their influence.

For further reading check out this article “Natural Bias, the Hidden Controversy in Judging Sports” or if you’re interested in cognitive biases and the psychology of decision making grab a copy of Daniel Kahneman’s “Thinking Fast and Slow”.

If you’ve read this far congratulations! Have a picture of an echidna:

5 Ways to put the Äwesome in Your Herräng

So registrations are open and it’s crunch time (for HDC’s servers at least – depending on what you want to go there to do there’s still time to make a decision for yourself). In my last post I set out some of the reasons why you might want to reconsider going. I’m not going to rebut myself here (let’s be honest, pretty much everyone else will tell you why you should go to Herräng) – I’m really more interested in how your time in Herräng can go off like a frog in a sock.

Image by Warky

So here’s a few ideas both on and off the beaten path that might make your Herräng more Awesome.

1 – Research and Planning 

Ralf Brown: Herrang 2010 &emdash; Kuggen grocery store
There is no ATM (and occasionally other essentials) at the Kuggen (photo by Ralf Brown)

Do your homework. As Herräng is stuck out in (almost) the middle of nowhere being unprepared for your time there can really cramp your enjoyment. A good place to start is my list of Herräng resources. Also make sure you check out the Friday Night Parties for costume ideas. A great resource are friends and people in your scene who have been recently, there’s also the forums and the facebook group.

Even if you’ve been before don’t assume that important things. Things get changed every year, particularly with things like registration, camp facilities, safety and security. Make sure you have a good look through the materials on the website, read the booklet you get on arrival and attend the first Saturday night meeting.

Armed with your research, it’s time to start planning. Friday party costumes is the big one that everyone works on prior, but if you’ve got an idea for something cool (like break-away stripper pants) you may need to bring materials (like velcro) or even start scheming with fellow collaborators (if you want a full all-male revue).

2 – Volunteer

The 2013 Crashdown crew (photo by Herrang)

There are many people who keep going back to Herräng and volunteering. I did three weeks last year and can’t recommend it highly enough. It’s a great way to meet people, learn how the camp works and find out some of the inside information on what’s happening around camp (like secret blues parties). If you’re the kind of person who likes to get involved and give back, it can be incredibly rewarding. It can also make your time at Herräng much more affordable.

In addition to HDC volunteering you can volunteer for a week in Heaven’s Kitchen/Bar Bedlam/Blue Moon Cafe, help out with Mission Impossible (rumour has it that the floating dancefloor will make its long awaited début this year) or the decorations and planning for the Friday Night parties, other random happenings in camp or just generally helping out when there’s opportunity.

3 – Take Private Lessons

Finding somewhere to do your private lesson could also prove challenging (photo by Lloyd)

Herräng has one of the largest concentrations of the best lindy hoppers and the best lindy hop teachers of any event in the world. But whilst they might be there, that doesn’t mean they’re teaching you. You might be in a different class track, unable to be there the full week or just not have those teachers in your stream. If the lindyverse doesn’t align in your favour, take matters into your own hands and arrange a private lesson with your favourite teacher(s).

Besides, if you really want to supercharge your lindy hop, then private lessons are a great way to help make that happen.

Private lessons are something you arrange yourself with the teachers – and fair warning they might say no. But hey, you got nothing to lose by asking.

4 – Bring your creative side

People making art of people making music – illustration by Jimbino Vegan

Do you play a musical instrument, dance (something other than Lindy hop), act, paint, do puppetry, sketch, stand up comedy, make films, write, or any one of zillions of other creative pursuits? Then you’re in good company. Herräng is replete with tonnes of creative individuals having jam sessions, making movies, doing photoshoots, painting, circus and more.

Collaborate with like-minded creative people, who knows where it might take you. If you need tools, instruments or materials for your craft then make sure you bring them along.

5 – Do something awesome

Ask someone who has been in the last couple of years about the goats (photo by Niko Huttunen)

Herräng seems to be more famous for all the shenanigans that go on there than the dancing. From All of the “This one time at Herräng” and “Only in Herräng” stories need people to make them happen. Sure a lot of the crazy is done by staff, volunteers or in association with the Friday Night parties, but that shouldn’t stop you. In fact one of the complaints I heard from a few old-hands at the camp is that regular campers aren’t bringing the shenanigans like they used to.

So make something awesome happen – it could be as simple as fixing random posters around the camp;

We never figured out who was doing these (photo by Lloyd)

Borrowing a costume from the prop shop and wearing it for pretty much the entire camp; or something more complicated, requiring a group of people and some planning; like random performances from an ‘all-male revue’.

But you should figure something out for yourself. Herräng is a place where you can make ideas happen – enlist the help of some other campers, ask if you can borrow tools and materials from the No-No Box, or even get Mission Impossible involved. If you’re idea’s good enough you might even be able to get an announcement in the camp newsletter or the evening meeting. And I wouldn’t be too concerned about doing something that’s already been done – even if it has, only a small number of folk there will have experienced it.

Jazz and Lindy Hop are all about improvisation, well so is Herräng. So do whatcha wanna and have an awesome time.

5 Reasons Why You Shouldn’t Go To Herräng

The opening of registrations for the Herräng Dance Camp are just around the corner. Many people are getting ready to sign-up for their summer and plenty more are wondering if for the first time: “Should I go to Herräng?”

There’s plenty of articles on the internet telling you why you should go to Herräng (especially if you’ve never been before) and most lindy hoppers you’ll meet who have been there will tell you that you “must go”.

But, though it’s one of the (if not the) major events in the international Lindy Hop calendar, Herräng is not for everyone. I loved my time there and can’t wait to go back, but if you’re not going to have an awesome time there’s not really much point in going – despite many people’s regular (and somewhat culturally insensitive) comparisons of Herräng to Mecca.

So besides all the usual reasons (money, time, family/work commitments, a deep aversion to meatballs etc.) here’s why you shouldn’t go to Herräng.

1 – It’s a Camp

With the growing number of hotel events Lindy hoppers seem to be becoming accustomed to living in the lap of luxury. Herräng isn’t a hotel event – it’s a camp.

Lloyd explores the exciting accommodation options at Herräng

You dance in a tent, eat in a tent and you may very well sleep in a tent.* Much of the common space is outside and despite mosquito countermeasures the bugs feast on many of the camps residents (I suspect that this year with Sweden’s rather warm winter will make them particularly bad this year). Herräng can also become rather unpleasant when it rains, as there’s little undercover area and mud gets everywhere (including on the dancefloors which make them very dusty). Most of the facilities are set up for just 5 weeks of the year and whilst their temporary nature adds a certain level of charm they don’t necessarily function terribly well. Many of the facilities that are found in a city aren’t present in a small village in country Sweden like an ATM, somewhere to buy liquor or even at times soap.
If the idea of roughing it for a week or more is not appealing to you, you may not find Herräng so much fun.

2 – It’s Ridiculously Social

Free love and pancakes!

Communal showers, communal accommodation*, communal kitchen, communal common space. Herräng is a place where you’re around other people all the time. Sure Lindy hoppers have reputations as socially awkward nerds, but that’s not evident at Herräng (well the socially awkward part anyway) nor are you dancing all the time (see #4). It’s a very social experience and not always easy to get some personal time. If it’s sunny it’s quite possible to head for the beach or the lake for some quiet alone time, but in inclement weather that’s a near impossibility. If you’re not a people person or you actually experience social anxiety, and especially if you’re not coming with a group of friends, Herräng can be an incredibly intimidating place.

After my 6 weeks there I didn’t really want to have anything to do with people for about a month afterwards, which certainly made my travelling through Europe a somewhat tricky business.

3 – The Herräng Flu


HAND SANITIZER from Tor Helmstein on Vimeo.
Everyone knows about Swing Flu – the illness you pick up at a weekend event because close contact with sick people + not eating well + sleep deprivation + disturbed circadian rhythms. These factors are generally worse at Herräng. But there’s an additional factor in play at Herräng: When tonnes of people stay there for more than one week the resident viruses get established in the general population, meaning there’s way more people who can infect you than at a shorter event.

Now the Herräng Flu (which in reality is probably a collection of sicknesses – i.e. you can get it more than once) may be mild or it may confine you to your bunk in general accommodation. If you’re the type of person who normally gets laid out by the flu – this is unlikely to be a fun way to spend Herräng.

4 – You can’t actually dance 24/7

Lloyd explores the many things that have been done for 24 hours at Herräng

Although Herräng itself is a 24/7 operation and there are things to be doing for pretty much all hours of the day dancing is not one of those. The evening dances run from 10pm to whenever they finish (somewhere between 4am and 9am) and classes only go for 3 or 4 hours a day. The other hours contain the Evening meetings, Friday party activities, shows, competitions, cultural activities, jam sessions and plenty of random shenanigans. Dance floors are often and regularly co-opted for other activities like cabaret, party activities, talks etc. Now it’s all this craziness that makes Herräng Herräng and quite possible to be there doing stuff for a week and not even dance, but if you’re the kind of lindy hopper who just wants to dance that could be a bit of a bummer.

5 – The Classes

Stock photo – Nothing implied about this class

Now this one’s probably a bit controversial (and was not my experience – but I have heard it enough from others) but not all teaching couples will bring their A-game to Herräng, particularly if they’ve been there mulitple weeks and its at the end of the camp.

An alternative explanation is that if you’ve been there for much of the camp, you might be totally exhausted and not be bringing your A-game to classes either. This happened to me at the end of one of my volunteer weeks which was backing onto a class week – exhausted from volunteering I pulled an all-nighter at the Friday party, had a very long volunteer day Saturday and thus performed rather poorly in the peer auditions that evening. I was still happy with the class I ended up in but want to point out that it’s difficult for teachers to be enthused when the students are all members of the walking dead.

In Conclusion

Herräng is really quite an amazing place – check out the links in my previous post for a better idea of the craziness. If you like camping, being social, doing all sorts of crazy shenanigans besides dancing, are strangely attracted to sick people (or have a strong immune system) and aren’t there solely for the learnz then you’re probably going to have an awesome time. If not, then it’s totally okay to not go. Either way, make it your decision – not someone else’s.

* I’ve had a number of people point out that you can stay in private accommodation which can offer significant improvements in comfort over general accommodation or camping (at a much higher cost too – and it’s worth noting that not all private accommodation is created equal, if you’re cramming people into your house/flat/cabin it may not be much more private than general accommodation. Also some private accommodation can be a significant distance from the camp and its facilities), but even if you’re camping ‘in a cabin’ the rest of the camp experience is still there.