Posts Tagged ‘Mr. Lawrence Hostetler’
Common Mistakes
Posted on: May 15, 2012
To wrap up my series on Mr. Lawrence Hostetler and his 1942 book, Walk Your Way to Better Dancing, I will just share here his list of common mistakes in Lindy Hop:
“Common Mistakes:
- Doing the lindy like a fox-trot. The latter is danced primarily from the hips, while the lindy stresses knee action.
- Exaggerating movements. The style of a dance should conform to the surroundings. The lindy can be done in a modified form that is not objectionable.
- Taking steps too long. Especially in the double lindy, steps should be quite short.”
There you have it – words to live by, straight out of dance history.
Now, dance nerds all, may we find, with Mr. Hostetler’s help, that our lindy remains forever “not objectionable”!
(By the way, the full text of this book can be found here.)
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The Double Lindy
Posted on: May 14, 2012
In Mr. Lawrence Hostetler’s 1942 book, Walk Your Way to Better Dancing, in his section on Lindy Hop, he describes both a “single lindy” and a “double lindy.” His single lindy turns out to be very similar to what we would call a single-time Balboa basic. What might double lindy happen to be?
Here he describes it:
“Just as extra steps are added to the single conga to convert it into the double conga, in the same way you can easily transform the single lindy into the double. The general pattern of the basic step remains the same. To account for the extra steps the count of and is used. Whereas the four counts to the measure of the single lindy denote quarter-notes (“Bounce Me Brother with a Solid Four”) the and count indicates an eighth-note (“Beat Me Daddy Eight to the Bar”). The additional steps are made very short and without lifting the feet from the floor.
“The Double Lindy Turning Left:
- Step back L in open position facing the line of dance.
- Step R in place.
- Short step forward L. At the same time turn partner in front of you to the closed position.
And Close with R. - Short step forward L, beginning left turn.
- Step side R, completing quarter-turn left to face center of room.
- Cross L over R.
- Short step to side R.
And Close with L. - Short step to side R.
“While the man is making only a quarter-turn left, the girl makes a three-quarters turn. To repeat the step and complete the turn, swing your partner to the open position facing opposite to the line of dance and step back L.”
So, in other words, the same as the single lindy, but with triple steps. Duh.
But now he goes on to describe something really interesting:
“Thus far we have considered only figures of 8 counts or two measures each. Now, however, we come to an important and much used variation – the double lindy “break” or “throw-out.” Unlike the break of the single lindy, which uses the same pattern as the basic figure, the double lindy break is done in 6 counts or one and a half measures, thus changing the 8 count rhythm of the basic step.
“The Double Lindy Break:
- Lift L knee and step back L in open position.
- Lift R knee and step R in place.
- Short step forward L. At same time swing partner away from you with firm pressure of right hand at her waist.
And Close with R. - Step L approximately in place.
- Short step to side R.
And Close with L. - Step R approximately in place.
“This break figure can be considered as merely the basic step with two counts omitted. Not only is the action thus speeded up, but also an interesting change of rhythm is provided. The counts deleted are counts 5 and 6 of the basic step.
“As in the break of the single lindy, the man keeps the rhythm of the step in place while swinging his partner away from himself. As the girl travels backwards away from her partner, he keeps a firm grasp of her right hand with his left…
“From this throw-out or break position a couple can go into numerous variations… The 6 count rhythm of the break figure can be repeated or they can return to the 8 count basic step.”
So essentially what we have here, if we extend a little tolerance to his “firm pressure on her waist” nonsense, is a six-count sendout. And that, folks, is as close as Mr. Lawrence Hostetler ever gets to describing a lindy swingout.
Tomorrow, I’ll finish up with Mr. Hostetler by sharing his list of common mistakes in Lindy Hop.
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The Throw-Out
Posted on: May 13, 2012
In his 1942 book, Walk Your Way to Better Dancing, Mr. Hostetler describes a form of Lindy Hop that sounds very similar to what we would probably call Balboa. His “single lindy” basic is pretty much just a turning “down-hold” Balboa basic in closed position.
When we think of Lindy today, it’s usually the swingout that we’re thinking of. That’s the signature move that symbolizes to most of us the difference between Lindy Hop and other forms of swing dancing. But Mr. Hostetler doesn’t mention it at all.
Instead, here he describes “one of the most interesting of the lindy variations:”
“It is known as the ‘break’ and also as the ‘throw-out.’ In this figure the leader does the basic step in place while his partner travels away from him with a half-turn left, finishing at arm’s-length. He retains hold of the girl’s right hand with his left.
“From this point there are numerous possibilities. The man may turn the girl to either the right or left by passing clasped hands over her head. While turning, both continue doing the basic step. The leader may or may not turn, at his own discretion. Often, while separated, each does steps of his or her own improvisation.”
I like this mention of improvised steps! But then Mr. Hostetler had to go and lose points by thus describing how this throw-out is to be accomplished:
“The lead for the break is given by a firm push with the right hand at the girl’s waist as she steps forward right to turn away from you.”
Ugh! Don’t push me, Dude!
He never even gets around to telling us how we’re supposed to get back into closed position. Probably with a firm pull, I’d imagine.
Anyway, there you have it. The throw-out. Tomorrow Mr. Hostetler will reveal to us the mysteries of the Double Lindy.
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The Single Lindy
Posted on: May 12, 2012
Have you had enough of Mr. Lawrence Hostetler and his 1942 book, Walk Your Way to Better Dancing? I hope not, because I’m just getting warmed up. Here he teaches us how to do the Single Lindy:
“This is the basic step of the lindy. It requires two measures or eight counts of music. Unlike the jockeying step which is done entirely in the open position, the basic step is invariably done turning. While it is easier to lead into the lindy by swinging your partner into the open position, you must change to the closed position in order to turn. This can be done in two ways – either the leader can bring his partner in front of himself as he steps forward left for a left turn, or he can step around in front of his partner for a right turn.
“The Single Lindy Turning Left:
- Turn your partner to the open position as you step back L. Girl steps back R. You are facing the line of dance.
- Lift R knee and step on ball of foot in place.
- Step L forward with straight knee, making quarter-turn left. At the same time bring your partner in front of you to the closed position.
- Bend L knee.
- Step R to side. You are now facing the center of the room.
- Lift L and cross over R. Girl crosses R over L.
- Step R to side with knee straight.
- Bend R knee.
“You finish in the closed position, having made a quarter-turn left (the girl makes a three-quarters turn left). To repeat the step, turn your partner to the open position and simultaneously make another quarter-turn left as you step back L. You are now facing opposite to the line of dance. By repeating the step you return to your original position.
“Instead of half turns, quarter turns right or left can be made. These are easier to lead than the half turns.”
Well, anyway. Maybe I’m just denser than most, but it took me forever to figure out his instructions. What I finally came up with is that he’s leading a rock-step in open, bringing his partner in front of him on the step, hold, then doing a sort of grapevine to his right in closed, and then repeating as necessary to complete a full turn. It does not appear to me that this step “breaks away” at all.
Does this resemble anything familiar to any dance nerds out there?
If you have sharp eyes you will have noticed that in Mr. Hostetler’s description of lindy, he said that on the West Coast, Lindy was called Balboa. Maybe I’m wrong, but it does seem like what he’s describing here as “single lindy” is sort of an out-and-in Balboa turn.
This is backed up by something he says a little later on in the same section of the book:
“A variation of the single lindy can be made by touching the ball of the foot to the floor without weight on counts 3 and 7, immediately followed by an accenting change of weight on counts 4 and 8. Thus the off-beat effect is produced in a different manner.”
Does this not sound like he’s describing the “up-hold” Balboa basic as opposed to the “down-hold”? In any case, I’m almost certain that what he’s calling lindy is going to turn out a lot closer to what we know as Balboa. But I could be wrong.
Anyway, he goes on from there to discuss something he calls a “break” and also a “throw-out.” I’ll tell you about that tomorrow!
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The Jockeying Step
Posted on: May 10, 2012
I’m fascinated by Mr. Lawrence Hostetler’s 1942 book, Walk Your Way to Better Dancing, and his charming elucidation of lindy hop. Here is what he says about “The Jockeying Step:”
“While this is not the basic lindy step, it is important as a foundation figure, and should be practiced before taking up the single lindy. In fact, the first four counts of this figure form the basis of the single lindy. The jockeying step also develops control of the knees, which is an essential feature of this dance.
“First, practice the following exercise: Step on the L with the knee perfectly straight; hold the other foot off the floor (count 1). Bend the L knee with a quick movement (count 2). Straighten the L knee (count 3). Again bend the knee (count 4). Step on the R while you hold the L off the floor, and repeat the bending and straightening movements. Alternate a number of times until you can do the step smoothly and in perfect rhythm. Then practice with slow fox-trot music played in swing or boogie-woogie style. You can recognize it by the steady, even rhythm of the bass. Give four counts to each measure. Your knee straightens on counts 1 and 3, and bends on counts 2 and 4.
“This knee action was part of the original Charleston movement. Later, two small, quick steps were added, which became a distinguishing feature of the lindy. These are taken on the first two counts as follows:
- Lift L knee and step back on ball of foot.
- Lift R knee and step on ball of foot in place.
- Step L forward with knee straight. Hold R off the floor.
- Bend L knee sharply.
- Straighten L knee.
- Again bend L knee.
- Transfer weight to R with knee straight. Hold L off the floor.
- Bend R knee.
“Repeat a number of times and then reverse the figure by stepping back R. Next practice with a partner. Do the step in the open position – that is, both facing forward. The leader begins by stepping back L while his partner steps back R.
“Many dancers, instead of starting with a backward step, begin this figure on count 3 by stepping forward with a straight knee, and then finish with the two quick steps on counts 7 and 8. While this may be more authentic, it is less practical from the standpoint of learning the lindy in a short time, as it is easier to lead into the dance by first turning your partner into the open position. If the jockeying step is practiced in this manner, it is an easy transition into the basic lindy step, because fundamentally the latter is simply the first four counts of the jockeying step done alternately left and right.”
Alright, dance nerds, I have a question for you all – what the heck is he talking about? I tried for some considerable time this afternoon to follow his instructions, but failed miserably to figure out what this is in reference to. Can anyone help me out here?
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Walk Your Way to Better Dancing
Posted on: May 9, 2012
Came across this old book from 1942 called Walk Your Way to Better Dancing by Lawrence Hostetler.
First of all, I really wish I lived in a world where self-help books were written about social dancing. Mr. Hostetler just assumes that everyone goes out dancing and wants to get better. Sorta like the way self-help books today just assume everyone is trying to lose weight.
Well, anyway.
Chapter Fourteen is about The Lindy Hop. I found it so fascinating, and frankly charming, that I can’t help myself – I’ve gotta copy his introduction verbatim:
“The lindy hop is strictly an American phenomenon. It is a concomitant of swing music, which is likewise a product of this country. As swing and boogie-woogie graduated from ragtime and jazz, so the lindy hop picked up where the Charleston left off. As the latter dance began to fade out in the late twenties, the lindy made its appearance. In fact, a remnant of the old Charleston movement is still seen in the ‘jockeying step’ and in the accenting of the upbeat of music by either hopping or bending the knee.
“While swing music and jitterbug dancing developed in the United States, a study of their background would at the same time provide us with a history of the colored race in this hemisphere. According to Katherine Dunham, young American concert dancer, who has made a study of West Indian and Aftro-American dances, movements characteristic of the lindy and Charleston were brought to the island of Jamaica by African slaves in the sixteenth century.
“Less than fifteen years ago their descendants introduced the modernized rhythms to New York’s Harlem district. As the inaugural of the dance happened to coincide with Charles Lindbergh’s sensational flight to Paris in 1927, Harlem christened the dance the ‘Lindy Hop’ in his honor.
“Since the lindy is but an outgrowth of deeply ingrained rhythms and movements, it is a form of dancing that is subject to wide variations and interpretations. As a result, each locality has its own version of the lindy. Moreover, the same dance may be called by other names in different sections of the country. For example, on the West Coast it is known as the Balboa. In addition, many couples devise semi-routined dances of their own. The elaborate, acrobatic type of a lindy hop number seen on the stage, while giving the impression of being impromptu, is likewise routined and rehearsed.
“Despite many of these wild-appearing, contorted dance figures, the lindy does have basic foundation steps which are not difficult and can be learned by practically anyone. The two commonly recognized forms are the single lindy and the double lindy. If the single is mastered first, you should have little difficulty with the double, as the general pattern is the same for both.
“Swing or boogie-woogie music, which inspires one to break forth into the lindy rhythm, is characterized by a background of steady 4/4 drum beats. Instead of stressing only the first and third beats of a measure, as in the usual fox-trot, and known as ‘common time,’ the four beats of swing rhythm are given nearly the same value. Upon this framework the musician interpolates his own variations of melody. The dancer responds to this style of music by accenting the upbeat with a downward movement – usually by bending the knee.”
Tomorrow, let’s see if we can learn to dance the lindy from Mr. Hostetler’s instructions!
The Dancing Bug 