Blues dance
Encyclopedia
Blues dancing is a modern term used to describe a family of historical dances that developed alongside and were danced to blues music, or the contemporary dances that are danced in that aesthetic. Amateur Dancer carried an article titled "Blues and Rhythm and Blues Dancing" in a July/August 1991 issue.
Mura Dehn
used the term The Blues in The Spirit Moves
, Part 1, as the sub section title of Chapter II, referencing different dance styles.
African American essayist and novelist Albert Murray used the term "blues-idiom dance" and "blues-idiom dance movement" in his book "Stomping the Blues".
In the United States the dances of white Americans were being adapted and transformed over time. As dance evolved, the Afro-American elements became more formal and diluted, the British-European elements more fluid and rhythmic.
Dance moves passed down through generations were revised, recombined, and given new flourishes. The cyclical re-emergence of similar elements marks the African-American dance vocabulary."
During the post Reconstruction period (1875–1900), as Jim Crow Laws
were passed in the South, dance steps once linked to ritualistic or religious dancing also acquired a more secular identity. Where by and large slavery had inhibited the retention of specific African tribal culture, the dances of working class and lower class blacks relinquished some of their Euro-American characteristics in during this time. Meanwhile, "dances became more upright and less flat-footed. As dance became more associated with sexuality and the free consumption of pleasure, which in the jook still had some communal ties to group dancing, the partnering relationship became more isolated and individualized. The "sport" and the "good-time gal" were people of the moment. Hip shaking and pelvic innuendo were now more of a statement to one's partner than to one's community."
W.C. Handy, who wrote some of the first published blues songs, documented his earliest experience with what may have been blues, and dancers reaction to it, at a dance circa 1905 in Cleveland, Mississippi. At one point Handy was asked to "play some of our native music". Although "baffled" he had his band played "an old-time Southern melody", after which he was asked if a local band could play a few numbers. That group consisted of "just three pieces, a battered guitar, a mandolin and a worn-out bass" (Handy described the group as "a Mississippi string band") and played "one of those over-and-over again strains that seem to have no very clear beginning and certainly no ending at all...It was not really annoying or unpleasant. Perhaps "haunting" is a better word for it...The dancers went wild."
Handy also described the reaction to his band, which included violin, guitar, string bass, clarinet, tenor saxophone, trombone, and trumpet, playing his song "Mr. Crump" in 1909. "We were all settled into our chairs. I flashed the sign and the boys gave. Feet commenced to pat. A moment later there was dancing on the sideways below. Hands went in the air, bodies swayed like reeds on the banks of the Congo...In the office buildings about, white folks pricked up their ears. Stenographers danced with their bosses. Everybody shouted for more."
While playing mostly one-steps, polkas, schottishes and waltzes for colored patrons at Dixie Park in Memphis, Handy noted a reaction to the habanera rhythm included in Will H. Tyler's "Maori". "I observed that there was a sudden, proud and graceful reaction to the rhythm...White dancers, as I had observed them, took the number in stride. I began to suspect that there was something Negroid in that beat." After noting a similar reaction to the same beat in "La Paloma", Handy included this rhythm in his St. Louis Blues, the instrumental copy of Memphis Blues, the chorus of Beale Street Blues, and other compositions."
Handy also elicited an enthusiastic reaction from colored dancers at the old K. of P. Hall with "a sort of Italian climax with a tricky rhythm" at the end of the first four bars of his "Memphis Blues". "During the playing I noticed periodic shouting from the floor, and a great roar of voices broke out when we came to a certain point in the piece. "Set in it", I heard them say. "Set in it!". Others told me of hearing happy little squeals among the Negro dancers for whom they played the piece."."
Writing about the first time St Louis Blues was played (1914), Handy notes that "The one-step and other dances had been done to the tempo of Memphis Blues...When St Louis Blues was written the tango was in vogue. I tricked the dancers by arranging a tango introduction, breaking abruptly into a low-down blues. My eyes swept the floor anxiously, then suddenly I saw lightning strike. The dancers seemed electrified. Something within them came suddenly to life. An instinct that wanted so much to live, to fling its arms to spread joy, took them by the heels."
The great Delta blues player Johnny Shines
, who was born in 1915, recalled that "mostly you played for the dancers... They were doing two-steps and quite a few waltzes in those days."
"So far as what was called blues, that didn't come till 'round 1917...What we had in my coming up days was music for dancing, and it was of all different sorts" - Mance Lipscomb, Texas guitarist and singer
A tune called "Slow Drag Blues", composed by Snowden, was recorded circa 1915-1919 by Dabney's Band.
Black dancers in Chicago continued to use the term "Slow Dragging" through the 1940s. By the 1960s, however, the term Belly-Rubbing gained acceptance. In the 70s both blacks and whites referred to very close slow dancing as Slow Dancing. The degree of affection the partners had for each other generally determined how closely the partners danced, and there were widely varying levels of proficiency and styles of footwork.
'Blues dancing' - continued in African American communities throughout the United States.
According to Albert Murray, blues idiom-dance movement has nothing to do with sensual abandonment. "Being always a matter of elegance [it] is necessarily a matter of getting oneself together." Practitioners of this style do not throw their bodies around; they do not cut completely loose. A loss of coolness and control places one squarely outside the tradition.
In fact, the very nature of a vernacular dance culture ensures the survival of socially and culturally useful or valuable dances. Many of the steps specific to dances associated with popular blues songs of the 1920s were adapted for new musical structures in jazz, and new dance forms like the lindy hop
. Early African American blues dances were very simple in their core movement and allowed for a wide variety of musical interpretation, embodying a black aesthetic approach to rhythm, movement and melody which permeated black music. They were often a simple one-step or two-step
and though some movements may have been adapted and integrated into some mainstream popular dances, blues dancing as a distinct dance genre and social practice never became a specific focus for white America in the way that dances such as the Lindy Hop
and Charleston
have.
The Fish Tail is a movement in which the buttocks form a variety of figure eights by weaving out, back, and up. Although the Fish Tail came from Africa, it was considered obscene when dancing in the European fashion with one arm around a partner's waist. The African dance disdains bodily contact.
The Funky Butt, Squat, Fish Tail, and Mooche are all performed with hip movements. Similar dances were popular in New York City by 1913. When dancers at the Jungles Casino-"officially a dancing school" "got tired of two-steps and schottiches...they'd yell: 'let's go back home!'...'Let's do a set'...or 'Now put us in the alley!' I did my Mule Walk
or 'Gut Stomp' for these country dances.", according to pianist James P. Johnson http://www.redhotjazz.com/jpjohnson.html. "The dancers were from the Deep South."
Funky Butt - "Well, you know the women sometimes pulled up their dresses to show their pretty petticoats-fine linen with crocheted edges-and that's what happened in the Funky Butt...When (Big)Sue arrived at my father's tonk, people would yell..."Do the Funky Butt, Baby!" As soon a she got high and happy, that's what she'd do, pulling up her skirts and grinding her rear end like an alligator crawling up a bank."
The Slow Drag
in its various forms was first documented during, and danced to the music of, the ragtime
era.
Snake Hips is a movement in which the knees are moved forward and back, first one knee then the other, while keeping the feet together. As in Ball the Jack, in which the knees are held together, this results in a rotation of the hips.
The Strut resembles a basic dance of the Negro folk, part of the African American vernacular, similar to, or even "virtually indistinguishable" from dances seen in South Africa, Ghana, and Nigeria. Strutting was often associated with cakewalking.
"You had a lot of strut in the Cakewalk-lots of fellows walked like that just for notoriety-and they could really show off." "George "Bon Bon" Walker http://www.si.umich.edu/CHICO/Harlem/text/williams_walker.html was the greatest of the strutters, and the way he promenaded and pranced was something to see," and was "the man who turned the Strut into the Cakewalk
."
Blues dances as a genre have been said to share a certain aesthetic:
in the 1980s and 1990s has prompted complementary interests in other dances from Black vernacular dance traditions of the 1920s, 1930s and 1940s. In America Lindy Hop
today, after the revival, Lindy exchange
s, with their emphasis on late night programs of social dance events, saw the introduction of 'blues rooms' to these events in the late 1990s. While the amount of Blues music played at these events varied widely the name and what Blues music was being played led to dancers patronizing blues music clubs and holding house parties that played a varying amounts of blues and blues-rooted music. In the late 1980s the Herräng Dance Camp
began featuring an all-night "Blues Night" dancing party on Wednesday nights (later Tuesdays), which exposed swing dancers from all over the world to the idea of slow dancing
to blues, jazz, and early rhythm & blues.
There are now blues dancing communities throughout the international swing dancing community, though local communities vary, reflecting local social and cultural values and contexts. The spread of blues dancing has been largely a result of individual dancers traveling between local communities and establishing blues scenes, individual teachers holding blues dance workshops in different cities and countries, and through the on-line community of blues dancers facilitating the spread of knowledge and music and encouraging dancers to found local blues dancing communities.
There are ongoing debates within blues dancing and swing dancing culture today about what constitutes 'authentic' or 'part of the tradition of' blues dancing. Some hold the position that a blues dance that does not possess the stylistic, aesthetic and rhythmic qualities of Africanist dance cannot qualify as blues dance. Others argue that a blues dance which has had very little creative contribution from black dancers or draw from the base of movement they created, does not qualify either. Yet a third position might hold that a blues dance is simply dancing to blues music, regardless of the steps performed or whether they involved partnered or solo steps, or whether the steps and movement are aesthetically tied. There are dancers, moving to music which is not blues, performing steps which have no Africanist features or historical tradition who call what they do 'blues dancing'. There are many variations and positions on these debates about what is and is not blues dancing within the tradition of the original dances among the contemporary dancers.
Mura Dehn
Mura Dehn
Mura Dehn documented African-American social jazz dancing at the Savoy Ballroom in New York between 1920 and 1940, a time that she referred to as the "Golden Age of Jazz." She also worked as a producer and documenter up until her death, and was co-artistic director of Traditional Jazz Dance...
used the term The Blues in The Spirit Moves
The Spirit Moves
-External links:**...
, Part 1, as the sub section title of Chapter II, referencing different dance styles.
African American essayist and novelist Albert Murray used the term "blues-idiom dance" and "blues-idiom dance movement" in his book "Stomping the Blues".
History of blues dancing
Early commentators on dance from sub-Saharan Africa consistently commented on the absence of close couple dancing, and such dancing was thought to be immoral in many traditional African societies. In all the vast riches of sub Saharan African dance heritage there seems to be no evidence for sustained one-on-one male-female partnering anywhere before the late colonial era, when it was apparently considered in distinctly poor taste.In the United States the dances of white Americans were being adapted and transformed over time. As dance evolved, the Afro-American elements became more formal and diluted, the British-European elements more fluid and rhythmic.
Dance moves passed down through generations were revised, recombined, and given new flourishes. The cyclical re-emergence of similar elements marks the African-American dance vocabulary."
During the post Reconstruction period (1875–1900), as Jim Crow Laws
Jim Crow laws
The Jim Crow laws were state and local laws in the United States enacted between 1876 and 1965. They mandated de jure racial segregation in all public facilities, with a supposedly "separate but equal" status for black Americans...
were passed in the South, dance steps once linked to ritualistic or religious dancing also acquired a more secular identity. Where by and large slavery had inhibited the retention of specific African tribal culture, the dances of working class and lower class blacks relinquished some of their Euro-American characteristics in during this time. Meanwhile, "dances became more upright and less flat-footed. As dance became more associated with sexuality and the free consumption of pleasure, which in the jook still had some communal ties to group dancing, the partnering relationship became more isolated and individualized. The "sport" and the "good-time gal" were people of the moment. Hip shaking and pelvic innuendo were now more of a statement to one's partner than to one's community."
W.C. Handy, who wrote some of the first published blues songs, documented his earliest experience with what may have been blues, and dancers reaction to it, at a dance circa 1905 in Cleveland, Mississippi. At one point Handy was asked to "play some of our native music". Although "baffled" he had his band played "an old-time Southern melody", after which he was asked if a local band could play a few numbers. That group consisted of "just three pieces, a battered guitar, a mandolin and a worn-out bass" (Handy described the group as "a Mississippi string band") and played "one of those over-and-over again strains that seem to have no very clear beginning and certainly no ending at all...It was not really annoying or unpleasant. Perhaps "haunting" is a better word for it...The dancers went wild."
Handy also described the reaction to his band, which included violin, guitar, string bass, clarinet, tenor saxophone, trombone, and trumpet, playing his song "Mr. Crump" in 1909. "We were all settled into our chairs. I flashed the sign and the boys gave. Feet commenced to pat. A moment later there was dancing on the sideways below. Hands went in the air, bodies swayed like reeds on the banks of the Congo...In the office buildings about, white folks pricked up their ears. Stenographers danced with their bosses. Everybody shouted for more."
While playing mostly one-steps, polkas, schottishes and waltzes for colored patrons at Dixie Park in Memphis, Handy noted a reaction to the habanera rhythm included in Will H. Tyler's "Maori". "I observed that there was a sudden, proud and graceful reaction to the rhythm...White dancers, as I had observed them, took the number in stride. I began to suspect that there was something Negroid in that beat." After noting a similar reaction to the same beat in "La Paloma", Handy included this rhythm in his St. Louis Blues, the instrumental copy of Memphis Blues, the chorus of Beale Street Blues, and other compositions."
Handy also elicited an enthusiastic reaction from colored dancers at the old K. of P. Hall with "a sort of Italian climax with a tricky rhythm" at the end of the first four bars of his "Memphis Blues". "During the playing I noticed periodic shouting from the floor, and a great roar of voices broke out when we came to a certain point in the piece. "Set in it", I heard them say. "Set in it!". Others told me of hearing happy little squeals among the Negro dancers for whom they played the piece."."
Writing about the first time St Louis Blues was played (1914), Handy notes that "The one-step and other dances had been done to the tempo of Memphis Blues...When St Louis Blues was written the tango was in vogue. I tricked the dancers by arranging a tango introduction, breaking abruptly into a low-down blues. My eyes swept the floor anxiously, then suddenly I saw lightning strike. The dancers seemed electrified. Something within them came suddenly to life. An instinct that wanted so much to live, to fling its arms to spread joy, took them by the heels."
The great Delta blues player Johnny Shines
Johnny Shines
Johnny Shines was an American blues singer and guitarist. According to the music journalist Tony Russell, "Shines was that rare being, a blues artist who overcame age and rustiness to make music that stood up beside the work of his youth...
, who was born in 1915, recalled that "mostly you played for the dancers... They were doing two-steps and quite a few waltzes in those days."
"So far as what was called blues, that didn't come till 'round 1917...What we had in my coming up days was music for dancing, and it was of all different sorts" - Mance Lipscomb, Texas guitarist and singer
A tune called "Slow Drag Blues", composed by Snowden, was recorded circa 1915-1919 by Dabney's Band.
Black dancers in Chicago continued to use the term "Slow Dragging" through the 1940s. By the 1960s, however, the term Belly-Rubbing gained acceptance. In the 70s both blacks and whites referred to very close slow dancing as Slow Dancing. The degree of affection the partners had for each other generally determined how closely the partners danced, and there were widely varying levels of proficiency and styles of footwork.
'Blues dancing' - continued in African American communities throughout the United States.
According to Albert Murray, blues idiom-dance movement has nothing to do with sensual abandonment. "Being always a matter of elegance [it] is necessarily a matter of getting oneself together." Practitioners of this style do not throw their bodies around; they do not cut completely loose. A loss of coolness and control places one squarely outside the tradition.
In fact, the very nature of a vernacular dance culture ensures the survival of socially and culturally useful or valuable dances. Many of the steps specific to dances associated with popular blues songs of the 1920s were adapted for new musical structures in jazz, and new dance forms like the lindy hop
Lindy Hop
The Lindy Hop is an American social dance, from the swing dance family. It evolved in Harlem, New York City in the 1920s and '30s and originally evolved with the jazz music of that time. Lindy was a fusion of many dances that preceded it or were popular during its development but is mainly based...
. Early African American blues dances were very simple in their core movement and allowed for a wide variety of musical interpretation, embodying a black aesthetic approach to rhythm, movement and melody which permeated black music. They were often a simple one-step or two-step
Two-step
Two-step or Two Step may refer to:In dance*Two-step , a dance move used in a wide range of dancing genres*Country-western two-step, also known as the Texas Two-step*Nightclub Two Step, also known as the California Two-step...
and though some movements may have been adapted and integrated into some mainstream popular dances, blues dancing as a distinct dance genre and social practice never became a specific focus for white America in the way that dances such as the Lindy Hop
Lindy Hop
The Lindy Hop is an American social dance, from the swing dance family. It evolved in Harlem, New York City in the 1920s and '30s and originally evolved with the jazz music of that time. Lindy was a fusion of many dances that preceded it or were popular during its development but is mainly based...
and Charleston
Charleston (dance)
The Charleston is a dance named for the harbor city of Charleston, South Carolina. The rhythm was popularized in mainstream dance music in the United States by a 1923 tune called "The Charleston" by composer/pianist James P. Johnson which originated in the Broadway show Runnin' Wild and became one...
have.
African American vernacular and other dances
The Ballroom as named by Mura Dehn in her documentary (today referred to as Ballrooming) was a slow dance done by Lindy Hoppers at the Savoy Ballroom to Blues music. It satisfied a Harlem need for a slower, fluid, but highly rhythmic dance with expressive body movements which could not be facilitated by the upright stance of European ballroom dances.The Fish Tail is a movement in which the buttocks form a variety of figure eights by weaving out, back, and up. Although the Fish Tail came from Africa, it was considered obscene when dancing in the European fashion with one arm around a partner's waist. The African dance disdains bodily contact.
The Funky Butt, Squat, Fish Tail, and Mooche are all performed with hip movements. Similar dances were popular in New York City by 1913. When dancers at the Jungles Casino-"officially a dancing school" "got tired of two-steps and schottiches...they'd yell: 'let's go back home!'...'Let's do a set'...or 'Now put us in the alley!' I did my Mule Walk
The Mule (dance)
The Mule was a dance fad created in 1966 by famed dance instructor Killer Joe Piro based on the earlier "Mule Walk" which was popular in the 1910s.- The Mule Walk :...
or 'Gut Stomp' for these country dances.", according to pianist James P. Johnson http://www.redhotjazz.com/jpjohnson.html. "The dancers were from the Deep South."
Funky Butt - "Well, you know the women sometimes pulled up their dresses to show their pretty petticoats-fine linen with crocheted edges-and that's what happened in the Funky Butt...When (Big)Sue arrived at my father's tonk, people would yell..."Do the Funky Butt, Baby!" As soon a she got high and happy, that's what she'd do, pulling up her skirts and grinding her rear end like an alligator crawling up a bank."
The Slow Drag
Slow drag (dance)
The Slow drag is an American social dance originally performed to ragtime music, and has been resurrected as part of blues dancing.-History:Ragtime composers, including Scott Joplin, wrote a number of slow-tempo tunes appropriate for the dance...
in its various forms was first documented during, and danced to the music of, the ragtime
Ragtime
Ragtime is an original musical genre which enjoyed its peak popularity between 1897 and 1918. Its main characteristic trait is its syncopated, or "ragged," rhythm. It began as dance music in the red-light districts of American cities such as St. Louis and New Orleans years before being published...
era.
Snake Hips is a movement in which the knees are moved forward and back, first one knee then the other, while keeping the feet together. As in Ball the Jack, in which the knees are held together, this results in a rotation of the hips.
The Strut resembles a basic dance of the Negro folk, part of the African American vernacular, similar to, or even "virtually indistinguishable" from dances seen in South Africa, Ghana, and Nigeria. Strutting was often associated with cakewalking.
"You had a lot of strut in the Cakewalk-lots of fellows walked like that just for notoriety-and they could really show off." "George "Bon Bon" Walker http://www.si.umich.edu/CHICO/Harlem/text/williams_walker.html was the greatest of the strutters, and the way he promenaded and pranced was something to see," and was "the man who turned the Strut into the Cakewalk
Cakewalk
The Cakewalk dance was developed from a "Prize Walk" done in the days of slavery, generally at get-togethers on plantations in the Southern United States. Alternative names for the original form of the dance were "chalkline-walk", and the "walk-around"...
."
Blues dances as a genre have been said to share a certain aesthetic:
- An athletic and grounded body posture and movement, characterized by the weight being held on the balls of the feet, the knees bent, the hips pushed back, and the chest forward.
- An asymmetry and polyphonic look/feel to the body, characterized by an equality of body parts. No limb or part has precedence, but they all work together both in a simultaneous and serialized fashion. The focus and weight shifting moves through various parts of the body; poly-centric.
- Rhythmic movement. Not just a single rhythm being used in/with the body, multiple meters or rhythms are used. Articulated movement in the torso (chest, rib cage, pelvis, butt) identifying and emphasizing different rhythms.
- Improvisation between dancers and on their own movements. Based on the rhythm section of the band.
- A drawing of the beats, dancing in the space between the beats, pushing and pulling creating a sense of tension both in the body and the body moving through space, while remaining loose and relaxed.
Blues dancing in the contemporary swing dance community
The revival of Lindy HopLindy Hop
The Lindy Hop is an American social dance, from the swing dance family. It evolved in Harlem, New York City in the 1920s and '30s and originally evolved with the jazz music of that time. Lindy was a fusion of many dances that preceded it or were popular during its development but is mainly based...
in the 1980s and 1990s has prompted complementary interests in other dances from Black vernacular dance traditions of the 1920s, 1930s and 1940s. In America Lindy Hop
Lindy Hop
The Lindy Hop is an American social dance, from the swing dance family. It evolved in Harlem, New York City in the 1920s and '30s and originally evolved with the jazz music of that time. Lindy was a fusion of many dances that preceded it or were popular during its development but is mainly based...
today, after the revival, Lindy exchange
Lindy exchange
A lindy exchange is a gathering of lindy hop dancers in one city for several days to experience the dance venues and styles of that local community and to dance with visitors and locals alike...
s, with their emphasis on late night programs of social dance events, saw the introduction of 'blues rooms' to these events in the late 1990s. While the amount of Blues music played at these events varied widely the name and what Blues music was being played led to dancers patronizing blues music clubs and holding house parties that played a varying amounts of blues and blues-rooted music. In the late 1980s the Herräng Dance Camp
Herräng Dance Camp
Herräng Dance Camp is the largest annual dance camp that focuses on African American jazz dances such as Lindy Hop, boogie woogie, tap, authentic jazz, and balboa...
began featuring an all-night "Blues Night" dancing party on Wednesday nights (later Tuesdays), which exposed swing dancers from all over the world to the idea of slow dancing
Slow dance
A slow dance is a type of partner dance in which a couple dance slowly, swaying to the music. This is usually done to very slow-beat songs."Slow dancing" can refer to any slow couple dance , but is often associated with a particular, simple style of dance performed by middle school and high school...
to blues, jazz, and early rhythm & blues.
There are now blues dancing communities throughout the international swing dancing community, though local communities vary, reflecting local social and cultural values and contexts. The spread of blues dancing has been largely a result of individual dancers traveling between local communities and establishing blues scenes, individual teachers holding blues dance workshops in different cities and countries, and through the on-line community of blues dancers facilitating the spread of knowledge and music and encouraging dancers to found local blues dancing communities.
There are ongoing debates within blues dancing and swing dancing culture today about what constitutes 'authentic' or 'part of the tradition of' blues dancing. Some hold the position that a blues dance that does not possess the stylistic, aesthetic and rhythmic qualities of Africanist dance cannot qualify as blues dance. Others argue that a blues dance which has had very little creative contribution from black dancers or draw from the base of movement they created, does not qualify either. Yet a third position might hold that a blues dance is simply dancing to blues music, regardless of the steps performed or whether they involved partnered or solo steps, or whether the steps and movement are aesthetically tied. There are dancers, moving to music which is not blues, performing steps which have no Africanist features or historical tradition who call what they do 'blues dancing'. There are many variations and positions on these debates about what is and is not blues dancing within the tradition of the original dances among the contemporary dancers.
Inspirational Artists
- Etta JamesEtta JamesEtta James is an American blues, soul, rhythm and blues , rock and roll, gospel and jazz singer. In the 1950s and 1960s, she had her biggest success as a blues and R&B singer...
- Bobby "Blue" Bland
- Muddy WatersMuddy WatersMcKinley Morganfield , known as Muddy Waters, was an American blues musician, generally considered the "father of modern Chicago blues"...
- Sidney BechetSidney BechetSidney Bechet was an American jazz saxophonist, clarinetist, and composer.He was one of the first important soloists in jazz , and was perhaps the first notable jazz saxophonist...
- Nina SimoneNina SimoneEunice Kathleen Waymon , better known by her stage name Nina Simone , was an American singer, songwriter, pianist, arranger, and civil rights activist widely associated with jazz music...
- Dinah WashingtonDinah WashingtonDinah Washington, born Ruth Lee Jones , was an American blues, R&B and jazz singer. She has been cited as "the most popular black female recording artist of the '50s", and called "The Queen of the Blues"...
Further reading
- DeFrantz, Thomas. Dancing Many Drums: Excavations in African American Dance. Wisconsin: University of Wisconsin Press, 2001.
- Friedland, LeeEllen. "Social Commentary in African American Movement Performance." Human Action Signs in Cultural Context: The Visible and the Invisible in Movement and Dance. Ed. Brenda Farnell. London: Scarecrow Press, 1995. 136 - 57.
- Gottschild, Brenda Dixon. Digging the Africanist Presence in American Performance. Connecticut and London: Greenwood Press, 1996.
- Jackson, Jonathan David. "Improvisation in African American Vernacular Dancing." Dance Research Journal 33.2 (2001/2002): 40 - 53.
- Malone, Jacqui. Steppin' on the Blues: The Visible Rhythms of Black Dance. Urbana and Chicago: University of Illinois Press, 1996.
- Szwed, John F., and Morton Marks. "The Afro-American Transformation of European Set Dances and Dance Suites." Dance Research Journal 20.1 (1988): 29 - 36.
External links
- Blues-Dance.com Website with information on blues dancing.
- BluesSHOUT.com Website of one of the largest blues dance festivals in the world.
- BluesCal.com Calendar for blues dance events around the world.
- ConfessingTheBlues.com Blues dance podcast for blues dancers by blues dance deejays.
- SeattleBluesDance.com Local resource page for blues dance events in the Seattle, WA area.