alain’s dance blog

In my previous post on the upcoming Québec Swing Rendez-Vous, I mentioned Adam Boehmer whom I really admire, not only for his dancing skills but also for his attitude towards the dance and towards people in the community. He is open, warm and authentic. I got a chance to interview him this past month, and he gave me some interesting insights on his background, his dancing and his inspirations.

1. What’s your story? How did you start dancing?

When I was sixteen, I worked at a theme park called Adventure Landing. I was a laser tag “Explorer” named Mowgli. I know…kind of lame-sounding, but it was a fun first job! My best friend Alison, who also worked there, heard there was swing dancing going on in downtown Jacksonville, at a rockabilly bar called The Moto Lounge. This was 1998, at the height of the swing craze, so we had seen some dancing (mostly crazy aerials) on commercials and music videos. So, we lied to our moms and went. This was very frightening for me, I was a pretty good kid, and the bar was an hour drive, and in a shady part of town. But once that door opened, I knew I was home! There was already a huge scene at the time, and I took to east coast swing pretty easily. My friends and I became obsessed and ended up at that bar 3-4 times a week for the next year until eventually, I was the only one still into it! Now, they all think I’m crazy for spending the last decade dancing…(but I also think they’re a little sad they didn’t keep up with it too!)

2. One reason I love watching you dance is that you exude positive vibes. Where do you get all that crazy energy?

I think rhythm gives you energy. Especially the rhythm in really solid swing. It’s funny how I can almost have more energy at the end of the night if the band has been kicking ass. Or maybe I’m totally dragging and drunk at the end of the night, but then my friend Matt DJ’s an awesome tune and all of a sudden, I can dance through the floor! Becoming a vessel for the music was a big step in my learning process in swing, how to open up and let the music fill you like a sail. Then, the rhythm is doing all the work and you’re just along for the ride! As far as being positive, how can you not smile when you’re dancing? It floors me when I see how serious people get: a furrowed brow, this intensity that says “work” not “play.” Dance is my joy and I can’t not show it!

3. I remember you saying during a class at QSRV in 2006 that you found it easy thinking in Charleston, and that you could come up with tons of sh*t on the fly. What tips would you have for dancers who are just starting to discover the solo stuff?

I feel like everyone accesses dance differently. Some folks like to analyze and pick apart moves and tinker with them, presenting a new “suzy-q” or a fully embellished charleston basic. For those that think that way, I feel the best thing to do is take one jazz step and question the hell out of it. What makes this move an inherent “fall off the log” or whatever. How much can you change the rhythm, timing, the arm movements, the body positioning, and still consider it that same move. This is a really fun exercise I still return to when I need some inspiration. Why does a “shorty george” have to go forward? What else can I do with my upper body that contrasts or compliments my lower body movement? For those who think in a more ethereal way, less in sections and chunks, I suggest just rockin’ it out to music and just keeping rhythm, shaking your ass, and see what happens. My favorite dancers have an attitude, a character, that separates them from other dancers. Look at someone like Ramona. If I had to imitate a move she did, I don’t think I could. Because she has a character, a stage presence that is her joy, not just a bunch of clever moves and variations on a theme. Spending time with a song and just shaking, moving, losing fear of “what move do I do next” will present to you your character, your root movement that is inherently yours.

4. Each year you come up with new ways to express yourself. Where do you draw inspiration for your dance?

Everywhere! A few years ago I got caught up in the term “authentic.” What moves were I doing that were true Lindy Hop? Charleston? It became a mess in my head and really affected my confidence as a dancer. The more reading I did though, esp. the biographies of Norma and Frankie, the more I realized that every dancer from that time had to have influences that weren’t jazz dance. That was a really freeing realization. You are your own dancer, your own editor in your dance, the one who decides what Lindy Hop is to you, etc. I really get a kick out of seeing how far I can push swing dance without losing the spirit of the dance. My last year of dancing was really influenced by a Congolese dance class I took, also cheerleaders from University of Michigan, modern dance, my partner Erin’s “favorites” list on youtube (she loves ‘So You Think You Can Dance’ as well as random footage of people dancing to MIA songs). I’m not interested in being a historical reinactor, I want to be an artist. I try to decide what my limitations are and be honest with myself about how I’m limiting myself subconsciously in my dance. Sometimes going out on the floor and saying “I will not do any move I’ve ever done” is a huge inspiration for me (although I always end up doing a lot of my favorite moves…)

5. What’s next for you as a dancer? what are you working on/ trying to achieve?

This sort of feeds off the last question. I want to be a dancer in a way that is continually fulfilling. This means for now, taking dance classes that challenge me (oh god, tap is hard….) and also integrating swing dance into more socially acceptable places here in the Midwest. It’s still very much something people do in university spaces, gymnasiums, etc. where as I would like it on the stage through performances, in night clubs with actual atmosphere and presence, and at parties in people’s homes. That’s kind of where I’m at right now: yearning to make partner dancing an involved part of people’s lives instead of treating it like a survey course, and finding new ways to express myself as an artist in dance.

Adam Boehmer is one of our guest teachers at the upcoming Cat’s Corner tenth year anniversary celebration on Oct.31 to Nov.2, 2008 in Montreal, Canada. He lives in Ann Arbor, Michigan and is hoping to start an MFA in poetry in the spring. Watch him in the Solo Charleston finals at Ultimate Lindy Hop Showdown 2007.

Dancers working hard on their skills can sometimes get too caught up in the whole “getting better” business.

I’ve seen many friends anxious or stressed out because they cared too much about getting better. These people have a hard time enjoying the fact that they are healthy and can dance at all. That shouldn’t happen.

I’m saying this, but I’ve found myself guilty of it on more than one occasion. In the same manner that sickness reminds us that we should be grateful for our health, we need to be aware of the gift we have that is the dance, the gift we have that is the music. One way I’ve found to deal with the “not good enough” syndrome is to remind myself why I dance. Is it to have fun or to show off?

Dance to express, not to impress.

I’m not saying don’t work on your dancing or don’t set goals. Whether it be to win in a competition or to find adulation among your peers, setting objectives is a good way to stay motivated. Just don’t lose track of why you dance in the first place.

Gina Helfrich from Atlanta wrote a revealing post to this effect, from her weekend at Camp Jitterbug 2007:

From more than one person, but particularly from Ramona and Andy & Nina, I got the message loud and clear that when you get to the top of the heap, the next place you go is back to the beginning. Forget every fancy footwork variation you ever learned. Forget what you’re supposed to do with your left arm. Forget looking pretty all the time and concentrating so hard on how you’re moving your body. Instead: Relax, relax, relax. Only use what you really need. The dance is supposed to be about joy, and you can’t let the joy in if you’re too busy thinking about exactly how your swivel looks or if you’ve got your arm in a nice line or how you’re going to get back on the proper foot after this crazy footwork pattern you’re about to whip out.

- read more on Gina’s myspace blog.

So next time you step on the dance floor, enjoy yourself. Be grateful for the music, for the dance, for your dancer friends.

This weekend, hundreds of dancers will congregate for three days of dancing during Smackdown.

Organized by Aidan Fisher, the Montreal Smackdown has now become an annual event, drawing dancers from the North-East and beyond to celebrate swing dancing in my lovely hometown. Some people come to visit the city, some come for the workshop classes, and some come for the amazing musicians we bring into town for the weekend.

This year, the event is going to be huge. We’ve even added a free Thursday night dance at Cat’s just for the occasion. Echoes of Harlem will include a solo jazz class with Ann Mony, and will be DJ’ed by the two Alain’s from Montreal.

For the Friday dance, Cat’s Corner is moving its Downtown Stomp Uptown. We are bringing in the Cangelosi Cards and Gordon Webster from New York City, huge favorites among Lindy Hoppers. For Saturday night, Aidan is bringing in Barbara Morrison from the West Coast for a special edition of Le Jazz Hot, accompanied by an all-star band of accomplished Montreal musicians. Both Gordon and Barbara played at the Albany Chill this year, and they were great!

The guest teachers this year are Skye Humphries & Frida Segerdahl, along with Max Pitruzzella and Annie Trudeau. I’ve had the chance to learn from each of these teachers in the past and they are worth the trip! Last year I was too tired/sick to attend the master classes, but maybe this year I’ll wake up on time. There’s also a DVD review for sale for those who are going to miss the event.

Espace Dell’Arte
40 Jean-Talon Est, at the corner of St-Laurent
Closest metros are De Castelnau and Jean-Talon on the blue line

Yay to amazing local dance events! I hope to see you all out and dancing.

If you’ve ever been to our Friday night dance, you’ve probably seen dancers do a line dance at some point in the evening. This line dance is called the Shim Sham, and Lindy Hoppers dance it the world over.

Originally a tap routine created by Leonard Reed in 1927, the Lindy Hop Shim Sham is danced to any 32 bar tune. At Cat’s, we usually play T’aint What You Do (It’s the way that you do it) by Jimmie Lunceford, or Tuxedo Junction by either Erskine Hawkins or Ken Hips Johnson.

Shim Sham (for Lindy Hoppers)

Shim Sham right
Shim Sham left
Shim Sham right
Shim Sham break “Break time”

Pushes and crossovers x 3
Double crossover

Tacky Annie’s x 3
Break Time

Half Break x 2
Shim Sham break (Break time)
Half Break x 2
Shim Sham Break (Break time)

(Repeat and replace the Shim Sham break with a freeze)

Boogie Back
Boogie Forward
Boogie Back
Boogie Forward

Boogie Back
Shorty George
Boogie Back
Shorty George

See a full transcription of the Lindy and Tap Shim Sham routines.

Videos: the original tap routine by Leonard Reed (near the end of the clip); Frankie Manning leading the Lindy Hop Shim Sham at LindyFest; Mike and Nina doing the Al & Leon Shim Sham.

Other jazz routines: The Big Apple.

You know you’re a dancer when… you walk into a classy shoe store and don’t even bother looking at the design of the shoes, nor the price. You first flip the shoe over and look at the sole.

Here are pictures of different dance shoe soles that you might want to explore, in order of least to most slippery:

1. Sticky rubber soles. Ouch!  Only when I need to match a costume. These will hurt your knees.

2. Flat rubber sole shoes. My favorite for fast dancing. The flatness of the shoe means there is less grip, and so they are more forgiving on the knees than the sticky rubber soles.

3. Fuzzy rubber shoes. A mix of rubber and some fuzzy material. These shoes seem to be a hit among female swing dancers in Montreal. You can find them at discount chain stores like Wal-Mart, Payless Shoes and Zellers.

4. Suede soles (also known as “chromed”). I hope Francys doesn’t mind me taking picture of his shoe. You need to use a wire brush to maintain the suede hair, or else over time, they become as slippery as soft leather soles.

5. Soft leather soles. Less friction than suede, but not as slippery as hard leather.

6. Hard leather soles. The classic dance shoe. They are unfortunately harder and harder to find in Montreal. Most dress shoes today have a rubber heel. What you can do is get a cobbler to replace the rubber heel by a hard leather one.

Which sole do you prefer?