This workshop is offered as preparation for the Art Deco Society of Los Angeles's "Avalon Ball". While this is not an ADSLA sponsored event, it is presented by Walter Nelson, who co-founded the original Avalon Ball and is running the Avalon Ball this year for the ADSLA. It will also be useful to those not attending the ball, since the dances are usable for any 1920s-40s dance event.
This is part two of two: the classes complement each other, though attending the first is not a prerequisite for attending the second.
This class will focus on the social dances of the 1920s & 30s as they were really danced - using old movies as documentation and teaching aids. Beginners will find these dances extremely accessible, and experienced dancers will learn how to add a bit of Jazz Age flair to the dances they may already know.
We will begin with the most popular dance of the Jazz Age, the foundation of all the social dances of the 20th Century and the most popular dance in the galaxy for half a century: the Fox Trot in its original Jazz Age form - quite different from what is taught today.
It's easy to learn, free wheeling and infinitely adaptable: at home as smooth and romantic or wild and jazzy or even as a Latin dance.
Also covered will be the Jazz Age Waltz and Tango: also very different from their current forms. We will also talk about the Rumba, Charleston and the hybrid Swing-Foxtrot.
This class is VERY beginner friendly - Walter is something of a "dance whisperer" when it comes to people, especially men, who are hesitant, discouraged or unsure they can dance.
Beginners should be there by 12:45 for a review of basic fundamentals.
More advanced techniques (optional step patterns, lead-follow, styling) will be covered after that, and there will be ample opportunity for "free dancing".
$20 by cash or check, payable at the door. You can pay $30 for both classes together, if you do so at the first class.
Jazz Age style ('20s,'30s) attire encouraged but in no way required.
RSVP on Facebook: https://www.facebook.com/events/1825200154395918/
In the Jazz Age, nearly everyone danced, so they did dances almost anyone could do.
Generally, when people think about the dances of the Jazz Age (the 1920s & 30s), they bring to mind exuberant youth dances like the Charleston or Lindy Hop, or the theatrical dances of Fred and Ginger.
What Fred & Ginger did was theater and spectacle, and was never intended to be an accurate representation of how ordinary folks danced. Countless examples of normal, workaday social dancing can be seen in movies of the period but not being done by exhibition dancers like Fred and Ginger. If you want to see how it was really done, look at the folks in the background or characters who are dancing to move the story along rather than to show off their skills.
The most common misconception however is our tendency to assume that everyone, regardless of age, social status, ethnicity or geography was dancing the latest fad youth dance of the moment: be it the Charleston, the Black Bottom, Collegiate Shag or Lindy Hop. Given the complexity and physical demands of these dances, this defies simple logic; and any review of the films of the time will show that these youth dances had a definite place, but they were danced by a minority of the total dancing population - and even those who danced them did not limit themselves to those dances (unlike many current dancers).
The signature dance of the gigolo, as depicted in a selection of old movies. A nice review of what a polished Tango looked like in the '30s and '40s.
Dancing in a London dive from the Anna May Wong film "Piccadilly" from 1929.
It opens with a bunch of women doing a Charleston and then moves to general, lively social dancing to include a scandalous inter-racial dance. I cut the bit where the landlord throws the black man out as it detracted from my general purpose of showing the dances of the time.
Fashion or Health?
Bareback or Decency?
by Jane Dixon
The question of clothes is really becoming a serious matter.
Or perhaps it is better to say the matter of NO clothes is really becoming serious.
Whichever way you put itâ€”the issue remains the sameâ€”it is better to pay the merchant a couple of hundreds for a few extra yards of material and keep in health or to pay the physician a couple of hundreds for few extra treatments to stay in fashion?
â€śOne must make oneâ€™s choicesâ€ť as they would say in dear old Mayfair.
There are any number of women who are frank to confess â€śthey would rather be dead than out of fashionâ€ť
Well, it looks now as if they are going to be dead anyhow.
The woman is not extant whose physique can withstand the rigors of the North American climate with nothing between her and a snow storm but a wisp of material and dab or two of trimming.
The lady from the Rue de la Paix was swathed in black satin.
There was not very much to the satin. In fact, there was nothing to it below the kneeâ€”nothing except a row of fringe that flopped dismally along the silk sheathed limbs like the water soaked grass wardrobe of a native Hawaiian hula dancer.
Also, the lady wore sans sleeves,. There was a tissue trifle that began at the armpits and stopped abruptly half way to the elbow, as if ashamed of even this small concession to the conventions.
Here endeth the chapter, so far as the frock is concerned.
A word more of silk-sheathed limbs. The sheathing was of an extraordinary web known in the parlance of the trade as â€śfishnetâ€ť. This term is self-explanatory. At a distance of ten feet it would take a trained observer to distinguish anything but the holes in the net.
With this â€śstriking outfitâ€ť which might more truthfully be called a â€ścomedy makeupâ€ť, went a pair of those funny little snub-nosed slippers we once introduced in Paris and of which the Parisienne has never been able to cure herself. You know the kind I meanâ€”with the ends describing a half circle, the vamp hitting the tops of the toes and the six-inch heels giving the wearer the continued appearance of a toe-dancer who had outlived her art.
At this moment there is no "vintage dance" in the San Fernando Valley. There's barely any Swing dancing. I will try to do a little bit to remedy that.
The "Dancing in the Valley" project will involve recurring, inexpensive, informal vintage dance gatherings here in my neighborhood.
I understand that much of Southern California regards the Valley as a sort of Siberia - a distant, strange and inaccessible land, so I have, with the generous support of the Episcopal Church of Saint-Martin-in-the-Fields and Vicar Gabriel Ferrer (son of Jose Ferrer BTW), set up a program that does not depend on huge numbers to cover the costs.
I have also chosen a time that works for the Church and also competes with very few other programs - Sunday evening 6-9 PM. For Valley residents, it is conveniently close and for those from other areas, you can brave the less-bad-than-most-times Sunday afternoon traffic, dine at one of our inexpensive local establishments, and then partake of free and convenient parking with a low-key, friendly evening of dance and socializing. It then ends in time for folks with jobs to get home and get to bed.
Each event, happening more or less once a month, will have a different theme. The first will focus on dancing in Weimar Berlin in the '20s and '30s. Future ones will mostly be Jazz Age, but I reserve the option to divert into other eras, from the Regency to Victorian to Ragtime, depending on my mood and the level of demand.
The first hour will be instruction, with the following two hours dancing to recorded music with yours truly as the DJ. If we start getting sufficient numbers, we can hire some live music.
Here's a link to the first event: http://www.walternelson.com/dr/berlin-tanzen
I hope to see you soon here, in the San Fernando Valley, my home (cue Bing Crosby).
Here's the link to the PDF
The proper title is:
MODELING CIVIL WAR IRONCLAD SHIPS
Steven Lund and William Hathaway
Editor's note: I post this to address questions I have received from time to time about the topic. Unlike much of what I post, I do not advocate its return. I think this a bad custom, and am delighted that it has fallen into disuse. The annoyance of having an already brief dance cut short, its tendency to add further evidence of popularity to a few and lack of it to many more, and the fact that the lady has no option of refusing make it entirely obnoxious. However, for purposes of education here it is.
From "Modern Ballroom Dancing" by Lillian Ray, 1930.
Program dances have gone out almost entirely. Cutting in during dances has become a recognized practice. The man who wishes to cut in taps the girl's partner on the shoulder quietly. The dancer must relinquish his partner courteously and cheerfully. The girl has no choice in the matter.
The custom has its drawbacks as it is often annoying to leave a partner whom you particularly like, to dance with one for whom you may not care in the least. However, it is not good form to refuse to dance with a man who cuts in. Nor can the first partner of the girl cut in on the man who took her from him. He can cut in on her next partner though. A man must not continue to cut in on the same man when he dances with another partner. For example if John Bart cuts in on Harry Gray when the latter is dancing with Janet Stone, John cannot cut in on Harry when he dances with Helen Barclay. If he did so, Harry would think, and rightly, that John was deliberately trying to spoil his evening and take all his partners from him.
From "Bernice Bobs Her Hair" by F. Scott Fitzgerald, 1920
No matter how beautiful or brilliant a girl may be, the reputation of not being frequently cut in on makes her position at a dance unfortunate. Perhaps boys prefer her company to that of the butterflies with whom they dance a dozen times an evening, but youth in this jazz-nourished generation is temperamentally restless, and the idea of fox-trotting more than one full fox trot with the same girl is distasteful, not to say odious. When it comes to several dances and the intermissions between she can be quite sure that a young man, once relieved, will never tread on her wayward toes again.