Mike Daniele

You can't miss Mike Daniele on the dance floor. Just look for the shock of silver-white hair, the sparkling eyes and the smooth moves. Mike is a life-long dancer and student of the dance and an active supporter of swing dance in all forms. He's also an amazing cook and gardener. When I asked Mike if he would share his dance history with me I had no idea how extensive it is. I know you'll enjoy it as much as I did. Here's Mike in his own words. Oh, and by the way, don't forget to say "hello" when you see him and ask him to dance (or ask him about those amazing syncopations. He's just as fun to talk to as he is to dance with.)


"I was born September 3, 1940 and raised in San Francisco. In 1946 I was a very small part of a very large Sicilian family. My Aunts and Uncles were all Swing Dancers during the 1930's and 1940's. Most of them danced five times a week.
I was six years old when it was my turn to learn how to Swing Dance. I went into the dance room where my aunt was playing Big Band music. She told me to pick one instrument playing the music. I told her I liked the Trombone. She told me to "express" myself as the Trombone. I did my best to do what she told me to do. (Please remember I was only six)
As my lessons went on she asked me to express myself to the other instruments playing the music and to "express myself with attitude". I can only imagine with I may have looked like. I'm glad there are no pictures.
After a time my aunt would "dance", expressing herself as a different instrument playing the music. I had to watch her and listen to the music to find what instrument she was "dancing". Once I thought I had it I would "dance" expressing myself using the same instrument. The moment I had it she would change and "dance" to a different instrument. She repeated this process and every time "I had it" she, with that smile on her face, would change her selected instrument.
Holding hands and moving in various ways, she now began to "express herself" and danced the melody. As she danced, I was taught that I could either dance the melody with her, or better yet, I could dance the base and support her dancing the melody. There were no counts, as in six counts for this move or eight counts for that move, to what we danced. We danced using the composition of the instruments and overall timing of the music to provide our timing in the dance. We did focus on dancing "composed phrases" which were usually 32 counts of music.
I should note here that my Mother put me in tap dancing lessons when I was five. With this year of tap experience I had some advantage to "expressing" myself to the rhythms of the music.
I competed in my first Jack and Jill when I was eight. I won a hot dog! Just thought I would share that WOW moment.
Between the ages of six and thirteen, my family took me swing dancing at least once a week. I had some girl swing dancing cousins, some older, some younger. My aunts and cousins, and many other ladies, gave me the opportunity to experience the dance. Looking back, I am so grateful for all of those gracious ladies who helped a little boy swing dance.
I remember dancing in the back room of the Club New Yorker, obviously way under age. Josephine, the mother of Frankie Mannion (World Swing Dance Hall of Fame and beloved Bay Area dancer and teacher) and her daughter Joan would for years always take the time to dance with me.
My uncles, some of who were in the Merchant Marines during WW2, shipped out of LA. While in LA. they would swing dance at the Palladium. They brought home what they learned there and shared it with the rest of the family. When the war was over my uncles were able to give me some swing dance lessons.
I was a "Swing Dancer". The dance was not East Coast, Lindy, Jive nor Jitterbug. West Coast did not exist during those years.An example of what my uncles taught me was a movement they called the LA Whip. It began in open dance but with an attitude stance. We came together and I led a 720 degree "accelerated" turn. The idea was to accelerate the turn to a speed where when the lady was "thrown out to open dance" she did so with her feet airborne. When she landed she would face away from me and then, with a snap of her head, she looked back at me at the end count. When she snapped her head back at me I would "slam" the floor with my foot. The movement was akin to the snap and sound a whip makes when it pops.
I did a lot of swing dancing in the 1950's, somewhat less in the 1960's and 1970's. "Free Style" seemed to be the dance of the time. Swing Dance opportunities improved through the 1980's.
In the early 1990's I lived in Tracy and I joined a group of friends who danced West Coast. My method of Swing Dancing did not work well with some West Coast followers. They expected me to use very defined patterns of movement, no matter if the movement went with the music or not. I kept listening for the Ta-Ta-Te-Te-Te-Ta-Ta-Te-Te-Te repeated for 32 counts. I must admit, I could not hear it. I was lost.
I decided to take West Coast Swing private lessons from Phil Trau, a recent four time US Open Champion. I think I first took private lessons every Saturday along with his Beardsley's Wednesday night group lessons. I also took my daughters, Ninette at 7 years old and Rachelle at 5 years old, to Phil for their own private lessons. I was doing my best to keep up with the family swing dance tradition. I believe we did two years of privates with Phil. I continue to dance at Beardsley's every Wednesday night.
We then moved to West Coast private lessons with Randy and Stephanie Krul of Two Left Feet. They are both great instructors who were dedicated to making us all better dancers. We stayed with them for about two years.
Ninette and Rachelle were in 4H. I was the 4H dance project leader for San Joaquin and San Mateo counties. I had about 50 children in the dance projects ages 12 to 18. I taught them how to dance West Coast Swing and Cowboy Two Step. Every Friday night we would go dancing. It was a caravan of vans. We danced at various venues including Two Left Feet and the Cowboy Country Club. We choreographed swing routines and performed at various clubs and fairs.
In 2001, Rachelle, uncomfortable with how the West Coast followers were using "sex" to sell their dance, asked me to take Lindy with her. I said "yes". I lost 47 lbs. in the first year! I was dancing to the same music in which I had expressed myself as a boy. I was dancing with enthusiastic, creative followers full of musicality. Lindy dancers continue to express themselves with EXCITEMENT and FUN!
One morning in December 2005 I was looking in the mirror and I thought, "I need a last hoo-rah". "Hoo-rah?" you may ask. "Hoo-rah" as in, I need to do something, one thing, in these later years of my life to try to better myself and be all I can be in that one endeavor.
I chose Swing Dancing!
I called Buddy Schwimmer and explained what I wanted to do. We talked and he liked the idea AND he made me a deal I could not refuse! Once a month I would take six hours of private lessons from Buddy. Buddy's studio is in Redlands, California. This called for air travel and would be an adventure to say the least.
On January 5, 2006 I began my swing dance lessons with Buddy. The lessons were scheduled from Saturday morning 10 am to noon, we would go to lunch and then back to the studio for one more hour. We repeated the same on Sunday. I was fortunate in there were many followers who were more than willing to help me with my lessons. My first six hours of lessons included: 11 Underarm Turn variations, 4 variations of Tuck Turns, 5 different Sugar Pushes, 6 variations of Left Side Passes, 14 different Whips and 8 variations of Right Side Passes.
I have a complete video history of ALL of Buddy's lessons. I further documented in writing All the lead and follower's movements for each pattern. I included each pattern's rhythm options, syncopation variations, various hand positions, along with applied technique and styling applications for both the leader and the follower. I have LOTS OF STUFF!!
In June 2006, Buddy opened his Father's Swing Dance Book (a compilation of his moves). Buddy told us that his father had competed against Shorty George and WON! My daughter Rachelle and I looked forward to dancing Buddy's "Dad's Stuff".
Rachelle and I were instructed in approximately 100 of Buddy's dad's swing patterns. Some of the movements and patterns included: The New York Style Lindy, Flying Lindy, Dad's Shag, Chorus Girl, Off Beat, Savoy, Flying Feet, Sling Shot, Neck Drops and the Death Drop to name a few. Buddy choreographed a routine for Rachelle and I.The routine was 1/3 West Coast to Tom Jones' If You Only Knew and 2/3 Lindy to Bette Midler's Boogie Woogie Bugle Boy. The only competition division we, as a young lady of 19 and her Daddy at 66, could enter was Showcase. Buddy put the required "lifts" into the routine (little easy ones). Rachelle and I demonstrated the routine at six venues including the Atomic Ballroom. We performed the routine once in a Showcase competition at Buddy's World Swing Dance Event. Rachelle's college schedule conflicted with our plans to perform a more advanced version of the routine but I, as Daddy, had danced with my daughter in a Showcase Competition. What a memorable life's moment. Unforgettable!
In his lessons, Buddy explained that Swing Dancing has three basic rhythms. They are: triple-triple (as in the starter step), double-triple-triple (as in six count movements) and double-triple-double-triple (as in eight count movements). There are countless ways to dance these rhythms without violating the basic rhythms. Any double may be danced with your Feet as a two or four. Any triple may be danced with your FEET as a one, three or five count. There are many options selecting a one count in the triple. The five count is & 3 & 4 &. Weight down on any one count or weight on the first & and hold for the other four is still only one weighted step. Likewise, there are many options for stepping a triple. You may select 3 & 4, & 3-4, 3-4 &, for example. There are endless variations to dancing the 5 count.
I have in my swing files six hundred syncopations which do not violate the basic rhythms. The dancers may add these syncopations to any of the above selected rhythms. These syncopations are basically applied in three categories. The first category of syncopations may be applied in the beginning of a pattern. The second category may be applied to the middle of the patterns and the third category may be applied to the endings of a pattern.
Other variations which may be added to the dance patterns are hand positions. These options are: leader's left to follower's right, left to left, right to right, right to left, two hand, left over right, right over left. Now add the option of all those rhythms, the mix of 600 syncopations and apply all the hand variations to 800 different defined patterns and you have the "Swing Dance" I know and now study. Be it Lindy or West Coast Swing, makes no difference, it's all Swing!
Buddy Schwimmer choreographed another routine for me and my partner that we competed with at Dallas Dance and the U.S. Open. I continued taking six hour monthly privates from Buddy for 5 and half years. This doesn't mean that I am a great Swing Dancer but it does mean I know a lot of "stuff"!
I'm grateful at 71 years old that I can continue to be a student of the dance I call Swing."


Besides his intensive study and practice of Swing Dance, Mike, as a board member of the California Swing Dance Hall of Fame, has also been instrumental in honoring people and organizations who have made significant contributions to the California Swing Dance community. Here is the concept paper he submitted to the board and the awards that were given as a result of his work.

"In August 2009 I was appointed by the California Swing Dance Hall of Fame as a member of their Board of Directors. I was motivated to become a director by my long held desire to somehow say "thank you" to the various dance venues that serve our swing dance community. In December 2009, I submitted a "Concept Paper" to the Board of Directors. I titled the paper, "In Recognition of an Outstanding Contribution to the California Swing Dance Community". I included the following definitions and criteria for the entries to be considered for recognition and award:

1. The Business Organization: The establishment and continuation of a business organization which has offered, for a minimum of twenty five years, swing dancing and swing dance lessons which are open to the community at large. The minimum requirement of one swing dance, with it's associated swing dance lesson per month, or one swing dance convention/exchange per year. If the originating principles continue to operate the business at the time of the awards, their names shall be engraved on the award plaques.

2. The Dance Club: (A 'Club' with elected officials and voting members). The establishment and continuation of an Official Swing Dance Club which has offered, for a minimum of twenty five years, swing dancing and swing dance lessons, which are open to the community at large. The minimum requirement of one swing dance, and it's associated swing dance lessons per month, or one swing dance convention/exchange per year.

3. The Volunteer Organization: The establishment and continuation of a volunteer organization which offers, for a minimum of ten years without financial compensation, free swing dancing and free swing dance lessons.

4. The Volunteer Individual: Three categories of awards for the 'Recognition of an Outstanding Contribution to the Californian Swing Dance Community'.

a. A Fifteen Year 'Plaque Award': in recognition of the volunteer individual who has established on or about fifteen continuous years of volunteer service to the Swing Dance Community.

b. A Ten Year 'Plaque Award': in recognition of the volunteer individual who has established on or about ten continuous years of volunteer service to the Swing Dance Community.

c. A Five Year 'Plaque Award': in recognition of the volunteer individual who has established on or about five continuous years of service to the Swing Dance Community.

In January 2010 the Board appointed me to form a committee to investigate the feasibility of the concept.

In February 2010, the Board adopted my concept as policy to be immediately implemented by the CSDHOF.

I surveyed nineteen business's, seven Clubs, three Volunteer organizations and three Volunteer individuals. In November 2010, at the CSDHOF Awards Event, it was my honor to present the Plaque Awards in Recognition of an Outstanding Contribution to the California Swing Dance Community. The 2010 winners of the awards were as follows:

Business category: Top of Beardsleys, 100 North B St., San Mateo, CA. Founded June 1978 and continuously serving the swing dance community for 32 years. Note: April 29th I attended their 34th anniversary.

Club category: Los Angeles Swing Dance Club, 6285 E. Pacific Coast Highway, Long Beach, CA. Founded November 1970 and continuously serving the swing dance community for 40 years.

Volunteer Organization category: Lindy in the Park, Golden Gate Park, San Francisco, CA. Founded August 1996 and continuously serving the swing dance community for 14 years. Note: Dancing at Lindy in the Park is truly a unique experience. LITP continues every Sunday. See you there!

Volunteer Individuals category:

Ken Watanabe, Lindy in the Park, served continuously from August 1996 to date.

Naomi Walenta, Lindy in the Park, served continuously from 1999 to date.

Jennifer A. Holland, Lindy in the Park, served continuously from 2004 to date.

Note: I solicited the help of Rebecca Shannon and David Blood to establish a fundraiser to send Ken, Naomi and Jennifer, 'all expenses paid' to the HOF awards event in Los Angeles. At the fundraiser dance we also recognized and presented 'Plaques' to the originators of Lindy in the Park, Chad Kubo and Ken Watanabe.

Rebecca and David were instrumental in making the fundraiser dance a success. Their contribution to our swing dance community has always been and continues to be invaluable.

In addition to the above, I ,as Director, nominated for induction into the California Hall of Fame, Carla Heiney, Nick Williams, Buddy Schwimmer, Lacy Schwimmer, Torri Smith and Hannah and Nicole Clonch. All except Hannah and Nicole were inducted into the Hall of Fame.

I was instrumental in the Hall of Fame specifically including "Lindy" categories for nomination and induction into the Hall of Fame. Our Lindy 2010 inductions into the Hall of Fame were an overwhelming success!

I am grateful for the opportunity to serve our Swing Dance Community.

The only thing greater than the dance is the people who make it happen!"

Mike Daniele

I have to add that it was a real pleasure working with Mike and David on the LITP fundraiser. Mike was so passionate about having LITP and Lindy Hop categories recognized that his enthusiasm was infectious. He has made a very real and important contribution to swing dancers and swing dance organizations in the the state of California.
Thank you Mike!

Dancing History

Most of us start learning Lindy Hop because we love the music or the happy movement and free looking form. It usually takes a little time before we start to understand that we are actually dancing history. Someone might mention Frankie Manning or Hellzapoppin and we stare blankly until someone steers us toward Youtube and that eye opening video. I think Hellzapoppin is the best gateway drug to Lindy addiction. If we are Lindycurious we'll spend a good deal of our none dancing free time looking at old videos trying to pick apart what makes great Lindy Hop great, listening to scads of vintage music and maybe even exploring vintage fashions and hair styles. What we are doing is learning history.

The period of time when Lindy Hop was being invented was a rich one in our country and the world. It's worth digging in deep to understand what was happening in politics, social culture, music and art during that time. For many of the people who first danced Lindy it was a dance of freedom. It was freedom of expression and creativity. It was freedom from racial repression and low paying dead end jobs. It was freedom from the daily grind, the constant struggle to make ends meet, and the crowded living conditions. Understanding that brings a bigger dimension to what we now do on the dance floor. Perhaps some of us still dance Lindy for those very same reasons.

We are lucky that there are still a few people who were there from the beginning who can still tell us personally what their experience was like. If you get the chance to meet them and hear their stories, do it! There is nothing sweeter than hearing those stories first hand. They can open a different world to you and illuminate some of the when's,where's and why's. Grab the treasure while you still can.

Some of the history is lost or can be somewhat pieced together from tantalizing clues. My favorite Swing Dance historian is the dancer Bobby White. He writes a terrific blog called Swungover, chock full of juicy history and antidotes among other things. You can find it here:http://swungover.wordpress.com/

When you understand the beginning of something it's easier to understand it's evolution. Lindy Hop continues to evolve as a dance but for it to continue to be Lindy Hop it's important that it's roots are always showing.

Cheat Sheet

I always say you most definitely can teach an old dog new tricks but I didn't say he would always remember them. There can be all kinds of reasons your memory sometimes becomes less reliable as you age but even younger people can be forgetful. I don't think of it so much as an age thing-more of a busy person thing.

When it comes to dancing the added stress of working with the music and a partner in a roomful of people can add to that feeling that you aren't really dancing what you know. Does this sound familiar? You've taken lots of classes and learned lots of new skills and yet it seems that every time you hit the dance floor you keep doing the same old moves and styling you always do. You are getting bored with yourself and your dancing and it just doesn't feel like fun anymore.

When you took those classes (or private lessons) did you take notes? Yes, I know it seems like a nuisance to scribble something down right after a class but if you find you aren't retaining what you've learned, writing it down could help. Eventually you will have your very own dance move/technique library to reference. Write it down in your own words-it's for your eyes only anyway right? Draw pictures or diagrams or put it down any way that will make sense to you when you look at it later. Once you've compiled a fair amount of dance information you are ready to make a cheat sheet.

Before you go out for the evening, choose a couple of moves or styling choices that you haven't been practicing and write them down on a small piece of paper that you will take to the dance with you. You can practice a little bit at home by yourself before you go too. When you are at the dance, try to include those moves in as many dances as you can when appropriate. The moves you are so bored with right now are the ones you've done the most often and practice makes perfect. The more you include the new or forgotten moves the faster they will become automatic when the pressure is on.

Both Leaders and Followers can do this. It's true that Leaders initiate the movement but Followers have plenty to "say" both stylistically and through subtle suggestion and writing those ideas down for yourself can be a great reminder to explore your own "voice" more.

Aiming High...Creating Dance Goals

It's that time of year when many us are thinking about making New Year's Resolutions. High on the list are usually things like lose weight and work out more, get a new job, finally clean out the junk closet, etc. but for the dancers in the group I suggest making some dance goals too. Making dance goals will help you to focus on the things you want to improve and kick start the things you promise yourself you will try. Here are some ideas for how to create and achieve your goals.

Randomly list things you want to improve on in your dancing like "work on swivels" or "work on not pulling with my arms in the swing out" Don't make such a big list that you are overwhelmed. Dance goals can change and be added to as your dance year progresses.

Next, think of ways to achieve those goals and write this down where you can come back to it.

Work on swivels.....take a private focused on swivel technique, ask followers I admire about their swivel technique, practice different swivel styles on my own and with a dance friend or two, get feedback from teachers, partners

Work on not pulling....work with a dance friend or two who can point out when the pulling happens, try to be more aware of my own body and why I feel I have to pull, work on changes and ask feedback from dancer friends, private lesson?

Besides technique, have some fun dance challenges for yourself too.

Learn the Shim Sham....take a lesson if one is offered, jump in the back during the Shim Sham and do what I can pick up or remember, ask a dance friend to show me some of the steps, check it out on Youtube

Enter a Jack and Jill....do it with a friend for support, remember to have fun

Think about practice goals too.

Try to increase stamina....run or do fast walking several times a week, solo dance to fast music on my own, find a workout buddy

Go social dancing at least twice a week....investigate local venues, create a carpool to have people to go with.

Some of your goals may be ongoing or constantly evolving around a particular subject-Swingout technique for example-and some of them can be achieved and crossed off the list-learned Fall-Off-the-Log! Do check your list and revise it from time to time. Having something to reference your progress can be really helpful during those frustrating times of hitting that dance plateau we all can experience.

Happy New Year and Happy Dancing!

Dry Bones...The evolution of a dance

I'm always fascinated by the creative process. What is it that compels an artist to paint, write, sing, dance, make music? What are the triggers and how does that person go about congering up the finished piece? I had the inspiration to put together a little choreography for Halloween recently and thought I would take you on my journey. Perhaps it will spark something in you and send you on your own creative quest.

Sometime during the summer Autumn LaVarta was djing at the 9:20 Special here in San Francisco and towards the end of the evening he played Fats Waller's version of Dem Bones. Fats calls it Dry Bones. I connected to it immediately. I went home that night and downloaded it and listened to it over and over again. I realized something in that song was reaching to me from my childhood. Luckily for me, Alabama in the 1960's wasn't up on current children's programming and what I got to see on TV were all of the terrific old cartoons from the 30's and 40's with their hand drawn images and great musical scores. There were The Little Rascals and Our Gang and Frances the Talking Mule and a healthy dose of Gene Autry too.

I realized that Dry Bones made me think of this performance in The Little Rascals.



That performance actually scared me so that's why I probably remembered it. It also made me think of this cartoon.



It's pretty scary too.

I always say, if it's scary then do it! Why not take my skeletons out of the closet and make them dance! I contacted some dance friends and told them my idea and asked them if they wanted to join me. I have to say I have some wonderful indulgent friends and 10 brave souls signed on to learn my danse macabre.

When I listen to certain music-and I never know when this is going to happen-I see vague dancing images in my head. Particular places in the music will jump up in my minds eye and dance. I can usually turn this off when I'm dancing with a partner but when it happens and I'm not occupied it can be rather fun. Dry Bones was one of those pieces of music and a good deal of the choreography jumped up for me that way. The opening moves, the joining of the arms and weaving side to side, the grapevines and the ring-around-the rosy for example. I also knew I wanted to put in a few "dance jokes". I think the "Thriller" dance is probably the most performed Halloween dance these days and I wanted to add a little nod to that. The Hand Jive just fit perfectly in that little section and the Macarena was a happy accident that came from desperation. That section of music would only "appear" dark to me. It turned out the Macarena fit the music perfectly and was one of the funnier bits in the choreography.

Practice space is hard to come by in San Francisco and expensive so my band of merry skeletons practiced in Golden Gate Park and on an empty playground near my apartment. Not having mirrors to work with had one big advantage-we all learned the movement through our bodies and less through our eyes. With only four meetings to learn the choreography it was crucial that we get it all down before or first performance at the 9:20 and not leaning on the mirrors as a way to check our movement turned out to be a good thing. Our masks also obscured our peripheral vision so watching our neighbor for dance cues wasn't possible.

Costumes had to be inexpensive. I wanted us to wear masks to make us unrecognizable and add some mystery, gloves to emphasize the hands and bones on our clothes. The masks and gloves were a quick click on the internet but the rest of the costume had to be just as quick and cheap. Painting bones on would take too long and would be permanent so I came up with the idea of using masking tape on the black clothes. We had a costume making day at my place and the costumes came out even better than I thought they would. Did I mention that my indulgent dance friends are also very creative?

Here's the finished product. I had a great time creating it but it would have never come to life without the help of Alan and Linda Lau, Eva Louie, Eva Chau, Louisa Song, Jennifer Tinonga, Letha Cox-Dolowitz, David Elhami, Gordon Dang, and "Ocean" Matt. I love you guys!

This performance was at San Francisco City College



This performance was at a fundraiser for the 24 hour Danceathon for Cancer Research in OC that some of the performers were raising money for.



Special thanks to the 9:20 Special, Cat's Corner, City College of SF, Lindy in the Park and the Mystery Dance for letting us perform!

Going Solo

"I'm skipping the solo Charleston/jazz/blues/movement class because...I'm not good at that...I don't see the point...I just want to learn moves I can use with a partner...I hate line dances...I never see anyone doing that...it's boring."

Sound familiar?

I'm pretty sure I've given at least one of those excuses in the past. To be truthful, I think I was just insecure about dancing by myself. When you dance with a partner there is some comfort in the feeling that you are in it together. If you think you are going to look foolish at least there is someone else to look foolish with you. When you do solo movement you are all alone up there and it can seem like all of the eyes in the room are focused right on you. The reality is so different but first let me address those excuses.

"I'm not good at that." I don't know about you but I can truthfully say that I am very seldom good at something the first time. If I am, it's bound to be a fluke. I usually have to work at something new over and over again to get to a point where I feel fairly comfortable with it. There are lots of "fails" and plenty of "almost have its" in the process. If I know why I'm making the effort, why what I'm doing makes sense on my quest towards a goal, I'm more likely to put in the extra time and sweat equity it takes to practice something that is initially uncomfortable. Which leads me to...

"I don't see the point" Dancing solo is part of our nature as humans. We all do it whether we want to admit to that secret booty shake when we hear a danceable beat or not. Learning solo jazz, Charleston or blues moves helps us to clarify our movement and learn better overall dancing skills. Doing solo moves helps us to identify the areas where we shine and the places that need more work in a very direct way. Because all solo movement is directed and generated by your self you will quickly find out how well you balance, turn, create pleasing lines, handle fast or slow footwork, articulate or isolate different parts of your body and incorporate your arms. All of that is valuable information for a dancer. If we become adept at dancing well solo, our partner dancing will be elevated, enhanced and more precise which leads me to...

"I just want to learn moves I can use with a partner" Ever do a kick-ball-change in your swing out? How about low-downs or breeze-the-knees? Well then, you are already adding solo movements into your dancing but now you've invited your partner to explore them too. I think of those little extras in the dance the same way I think of adding sprinkles to ice cream. The ice cream is going to taste just as good without them but definitely won't be as festive. Why limit yourself?! There's a big wide world of solo moves that you can incorporate into your dancing and-Surprise!-they are only solo if you do them by yourself. Now you have to figure out a way to learn more which leads me to...

"I hate line dances" One of the quickest ways to get some solo movement under your belt is to learn some of the classic Swing "line dances". The Shim Sham in it's many variations, the Tranky-doo and the Jitterbug Stroll are the most frequently done. You don't have to know the whole routine to be able to have fun with it. If you make a point of jumping in the back whenever the crowd gathers you will eventually pick up enough of the routine to feel comfortable. When you do a routine in a whole room full of people it's hard to feel self conscious. To help refine your skills, take a Shim Sham or Tranky-doo class when they are offered. And about that feeling that all eyes are on your very own stumbling feet in one of those classes-believe me, the other people in the class are so focused on improving their own movement they aren't going to track your every mistake. If you've got a competent and enthusiastic teacher you are going to walk out of that class more informed and with sharper skills.

I'm going to use some visuals to address the last two excuses but before I do, I want to suggest some ways to work on solo movement on your own.

Play some music you are familiar with and like to partner dance to and dance to it on your own. Let your body move in any way the music suggests to you. Now play it again and try to add some of the solo movement steps you know into the mix. Play a different familiar song with a different tempo and do the same.

Choose one or two solo steps you would like to incorporate into your social dancing and practice adding them without a partner at home. Grab a friendly partner your next night of dancing and give them a go. The more you practice on your own and with a dance friend the more successful you'll be.

Don't have a partner and a terrific tune starts playing? Start practicing your solo movement off to the side of the dance floor. Why let a good tune go to waste and others might be inspired to join in your fun!

Check out youtube for solo Charleston, jazz and blues moves. "Pay per move" sites like iDance.net or Rhythmjuice.com can also be helpful.

Here are some videos that illustrate just how awesome and non-boring solo dancing can be. There are plenty more out there to be inspired by.

Here is Sister Kate doing a great routine with Tranky-doo and Shim Sham moves sprinkled in.



These guys make me squeal every time I watch this. Dax and Max showing us how it's done.



Here is some hot solo blues.



Look for the smart use of solo movement in this terrific routine by Skye and Frida.



Your turn!

Lena Vitalie-Dancing Queen

I first saw Lena Vitalie five years ago at one of my first visits to Tuesday Night Jump. I couldn't take my eyes off of this adorable lady who was just a fireball of fun and energy. Even though she was obviously older than most of the other followers at the club she was leaving most of them in the dust. I just had to meet her and that introduction has lead to a friendship I cherish. I will tell her outright that she is one of my dance idols-and for so many reasons! Her charm, her style, her strength and her dedication to Lindy Hop are a continuing source of inspiration to me. When I asked her if she would be my first interview for this blog she not only obliged me but wrote this wonderful personal dance history for me. I'm posting it just as she wrote it. Her personal history parallels the resurgence of Lindy Hop in the Bay Area and she's full of great stories about those times. Next time you spot her on the dance floor be sure to introduce yourself-you'll be glad you did. And Gentlemen, ask her to dance. You'll be in for a treat.

Lena in her own words:

Here is my personal experience of how I became involved in the Swing Dance World at an age when most dancers are slowing down.

I began dancing later than most, due to a medical condition called Hyperhydrosis which is a condition having to do with over active sweat glands, which in my case manifested in my hands. My hands were always dripping wet making for a very uncomfortable and embarrassing situation when having to hold someone's hand for the duration of a dance. This only happened when I felt nervous. The only dances I attended were my Junior and Senior Proms because the dress of the period included gloves.

One day my daughter came across an article that mentioned this condition and that there was a corrective surgery procedure. I couldn't wait to get to Stanford to have this surgery. It's called Simpathecomy. Two incisions were made, one on each side of my throat, and the nerves were cut that controlled the sweat glands to stop the sweat from both hands. Prior to the procedure I was warned about possible side effects, but I didn't care. I was in my 50's and wanted to dance and was willing to chance the surgery and the possible side effects.

My very first dance class was at The Avenue Ballroom on Taravel Street in S.F. My very first dance lesson was a Jitter Bug class taught by Kelly Buckwalder. She also taught WCS there. It was also at the Avenue Ballroom where I met someone who has become my longtime friend and dance partner. The Avenue, as we called it, was the rebirth of the ballrooms of S.F. that had faded away due to the times. Dancers came from all over the Bay Area to dance at the Avenue. The Avenue caught on and soon other ballrooms opened their doors and the selection of places to dance grew.

West Coast Swing was the dominate swing dance at the time and it was all I knew and did for about 8 years until 1993 when I discovered Lindy Hop, Frankie Manning, Norma Miller, Betty Wood, Fayard Nicholas, and so many other survivors of the Swing Dance world of the 30's and 40's. Due to the Frankie Manning Workshop assignments, my dance partner and I developed a very close relationship with Frankie and it is a friendship, the memory of I will cherish forever.

At this point I joined other Lindy Enthusiasts and in 1994 we founded the Northern California Lindy Society. We had our first Bay Area Lindy Workshop in February of 1995 which was an experience that changed my life. My experience with the beginning of the Lindy community is another relationship I will cherish forever. All of us involved feel the same way. It was a threshold to a once in a lifetime experience. I danced at every opportunity and venue that I could get to.

In 1999, to my surprise, I won the Intergenerational Competition (at Satin Ballroom) in Los Angeles with Johnny Lee, beating out dancers who I considered to be far better than myself and a lot more experienced. Before that contest I had won a small contest with my friend Bernie doing Balboa at the Claremont Hotel and in Mendocino during one of Frankie's Birthday celebrations with the NCLS (Northern California Lindy Society) my partner and I won a dance contest. The biggest surprise was when I won not once but two years in a row at Stanford College in a Swing contest with someone I had just met and had never danced with before that night. I had no intentions of entering a dance contest. I was there to take some pictures of Rob VanHarron and Diane who were teaching a lesson that night. These memories I will treasure for as long as I live. I went from a gal who couldn't dance due to a medical disorder to someone who actually won some dance contests! I truly feel I have made up for all those years I couldn't dance.

I was once told by a champion swing dancer who watched me doing the Lindy in Berkeley, and I quote, "Lena, this is your dance!" and it sure is. When I am dancing on the floor I light up like a Xmas tree and I grin from ear to ear. The aches and pains related to aging go away, along with any stress I may feel.

Don't get me wrong, I loved being a housewife and a mother to three beautiful children, but my world became smaller when they didn't need me any longer. I needed something for me. Dancing, especially Lindy, opened my world to a point I could never imagine.

In my generation, women did not ask guys to dance. That just was not done, it was not proper. That is something that is hard for me to do. I am not comfortable asking a guy to dance. Today when I am at a dance without my dance partner, I don't get to dance as much as I would like because of my age. Let's face it, guys want to dance with younger sexier gals, and I don't blame them. I just wish there were more older people doing Swing Dancing. I have had a few experiences where a guy just said "no" when I asked them to dance, or they would make some excuse why they couldn't dance with me at the moment. That makes me feel awful. I wished I had never asked. Of course, that has not stopped me from going out where the young kids go and dance because I do get a little dancing in now and then. You can't do anything about the numbers, it is what it is. There are a lot more women than guys and when you are an older lady it makes it that much harder to get on the dance floor.

I'm just thankful that I can still do some swing dancing. As long as I can boogie I'm happy. I have certainly made up for all of those years I didn't dance. I have gone beyond my expectations and have become a dancer. I feel I will live longer because of dancing.

Lena Vitalie

Lena cutting a rug with her dance partner.