If you’ve read some of my posts about Swing, Sister, Swing or my recent projects you’ll already know that I’m at a point in my dance career where I want to expand my skill set and present more work for theatre and non-lindy hop audiences. In particular, I’m really interested in immersive experiences and how lindy hop could be the primary movement language. It’s fundamentally inclusive, joyous and connective – what stories could I or others tell?!
In October I attended the Future of Storytelling Summit and it was clarifying. I wanted to try and develop and design a lindy hop experience that was ‘theme’ based rather than ‘class based’. Now what would that look like? And how on earth do I even start? In conversation with a friend and mentor, Alberto Denis I decided to apply to Canada Council for the Arts for a Professional Development grant and shockingly – I got it! This is the third time I’ve applied to Canada Council for a personal artistic project and I’ve been recommended but not awarded funding. A demonstration that persistence is key.
Thanks to their support, I’m spending time with Alberto this week in New York and planning to workshop and share something in May 2019 in London. The focus of our work together is around the themes, methodology and stories I could tell through narrative dance and feels like such a treasured and rare opportunity.
If you’re curious and want to keep tabs on what I’m experiencing and working on – watch my Instagram stories for an informal video journal (@nothingbuthitz). Thank you Canada Council for investing in me and my practice. I can’t wait to see what comes from this!!!
As I’ve mentioned in the past, I dance and enjoy both roles, but I really love following. At many moments in my lindy hop career, I have felt small, invaluable and disposable. It’s taken a lot to get to a place where I care less what others think of me and my dancing and more about what I think. The thing that keeps me in the ballroom is my overwhelming love for the music, the people and the human connection I help to curate alongside hundreds (many thousands) of teachers and scene leaders.
It was reflecting on my own feelings of ‘enough-ness’ that drove me to seek opportunities to a story through lindy hop in a theatre setting. I am blessed to work with one of my favourite collaborators, Cat Foley, and together we wanted to tell a story about what it means to be a female follow and express the public and private face you feel on and off the dance floor. We wanted to explore who we are when we put our best foot forward on the floor, and who we are when we face ourselves in our bedroom or bathroom mirror. It’s with these things in mind that Cat and I embark on a new project entitled Swing, Sister, Swing. On 29 July, through a cabaret-inspired show, we’ll explore what it is to be in partnership, what is it to be alone and how you find self-acceptance. It’s the most ambitious project we’ve ever undertaken and self-producing is wildly scary. We are surrounded by some amazing talent and we are proud to be making a show for all people and curated and choreographed by women. If you’re curious and want to learn more or buy a ticket to the show click here. I think it’s going to be a very special night.
I started learning to lead in the first few months of my lindy hop journey. It was totally selfish. I was one of the youngest members of the Toronto swing dance scene and I wanted to bring friends along and didn’t want them to have to dance with members of the community who held you too close and gave you pointers on the social dance floor (always bad form!).
I gotta tell you, I really enjoy leading, but have always enjoyed following more. I’m competent at both, but I simply prefer following in a performance setting. Social dancing-wise, it depends on my mood. Recently, I have been making an effort to up my leading game. I’ve taken on teaching both lead and follow roles at many Swing Patrol events and teaching my first term for JazzMAD with their innovative 12-week beginners course. Participants learn to lead and follow – AT THE SAME TIME. Classes are 1.5 hours and the learning journey is so so different to a weekly drop in class. It has absolutely kicked my leading ability in the butt. Students learn lindy hop is a 2-count dance made of up kick-tucks, triples and steps – their skill progression is so different then what I’m used too. When it clicks in their minds and their feet in week 6/7, it’s like magic and everyone knows how to do both sides. I don’t think it’s better or worse than a drop in class, it’s just a different method and appeals to a different kind of student.
I have to tell you – my leading has improved ten-fold from teaching this course as well as my overall dancing. It’s been terrifying at times – worrying about how to lead, demonstrate and break down a break on 6 (when I’ve never ‘learned’ it or lead it). And ending a course having taught my students the component pieces of the California Routine that they can happily lead and follow well with their peers. It feels liberating. When Sharon Davis, the school Director and a world champ dancer, asked me teach this curriculum, she told me she designed it with hard-working local organisers and instructors in mind. A course taught by one instructor that allows participants the opportunity to understand and empathize with both roles – from the beginning. So cool…especially when we can get stuck in a vision of the dance with a male leader and female follower – which is helpful particularly for men who have never danced before, but isn’t always the easiest to organise in small scenes.
I often like to think when I teach I get to model the kind of world I want to live in and I’m so pleased to get to grow my teaching practice like this. I leave class feeling empowered and proud of myself. I highly recommend going out of your comfort zone and elevating both your dance roles. I’ve noticed such a different.
If you’re in a place where you want to go back to basics or know someone who’d love a different lindy hop journey – seriously, check it out. If you want equally delicious classes but of a drop-in and role-specific flavour, I’m always found at Old Street on Monday nights with the fab Matt Cochrane.
What are your goals for the coming year? Do you have specific dance goals for 2018? Would you like some coaching or help? I’d love to work with you. I would be delighted to offer advice and coaching on video or to take on a few days of practice and in person coaching in the New Year. If you wanted to support my creative endeavours and give a private lesson to a friend for Christmas I can make homemade gift certificates. Your support in a local class, a workshop, a video coaching or a private lesson setting, directly enables me to financially and artistically invest in my own dancing in the coming year. How do you start setting goals? I’ve included a few of my own below so you can see how I’ve approached it.
My mid-term (12 months) goals for dance, by December 2018:
-I invest dedicated time to my partnered and solo dancing technique each and every week (I have a schedule to match this).
-I build robust training and performance partnerships where I practice my partnered lindy hop each and every week (also on the schedule).
-I perform quarterly (4x per year) either solo, in a partnership and/or in choreographed teams to build my performance and precision skills.
-I have the confidence to ask for strategic teaching opportunities that either build my teaching skills – working with more established pro teachers, build the skills of the partner I’m working with whether they are a regional local and/or they are unique workshops and formats that others are not offering and deserve to be explored and tested.
-I have one partnered lindy hop or solo jazz workshop booked per month in the 2018 calendar year and three of these gigs are in international (be it regional or further afield).
-I am asked to participate in cool or interesting projects by friends, peers and those I admire.
Since moving to England, I have taught over 15,000 people. I have had many kind and generous messages from students about the impact lindy hop has had on their life. I am abundantly supported by exceptional dancers and teachers in and outside of London. I wish to do more and to get more people dancing. If you’d like to work on your dancing in 2018 and to book me and/or one of my teaching partners. I’d love to hear from you. Get in touch and let’s make a plan. I can be reached at nancyhitzig[@]gmail.com.
Dance is difficult. You are the work. I have had some moments in the past few years where I’ve thought – ‘ugh, why do I even bother, it would be simpler if I didn’t push, make and teach’. I wrote down some words reflecting on ‘why I bother’ yesterday and as others prepare for competitions and showcases in and outside lindy hop I wanted to share them.
For when I ask, ‘why I bother’
This is my most ambitious undertaking.
I have never had a core of dancers who were as gifted and inspiring to work with and choreograph for.
At the end of August, I get a video log of my canon of work. Also, I have a canon of work!
These pieces and ideas are collaborated on and co-crafted with other bright minds.
I have stared at my fear of failure and questions of self-worth and thought this simply isn’t true.
I have faced impossibility head on and moved like a river around it.
I have been my own buoy.
I accept I am artist. Because.
I love this process, and it is so uncomfortable and still there will be proof.
Proof that I will harness to give me more space to make.
To dream more vividly.
To put myself on home turf – where I belong.
Many people read and shared my post about my search for a partner for the International Lindy Hop Championships. I was slightly overwhelmed by the response.
I had dozens of followers email me to say that would never have the courage to ask publicly for a dance partner. I received the most thoughtful emails and Facebook messages from male and female leaders wanting to push their dancing and declaring their willingness to train and put some art out there in August. Some sounded like job applications (which was surprising) and some caused me to tear up from their thoughtfulness and kindness.
And where did I get too…
1. I had several offers from some leads I LOVE dancing with and some good conversations about working together.
2. I thought about pursuing a Pro-Am because it would challenge me to work on my own dancing and get expert input.
3. I thought really long and hard about what I want to offer the lindy hop community and what my strengths are in the short to medium term and beyond.
But it looks like I may not going to go to ILHC this year and even if I did, I’d probably only do the Jack and Jill and Strictly.
The money, the time and the resources I would have put into ILHC this year went into securing my future in a country and city I love.
When you want to live somewhere and don’t have the legal grounds to stay beyond are a certain time in that place you feel constantly ill at ease. Unsettled. In flux. I spent many hours trying for a goal that seemed wild and somewhat unrealistic. I spent more money then I expected, more time then I expected and missed a flight or two in the process (talk about #lindyhoplife).
I earned an Exceptional Talent (Promise, really) visa and it was for lindy hop. It gives me 5 years here in England and counts towards residency, if I want that. It gives me options and choices. It also solidified how much I love this community and the sense of ownership I feel to challenge my personal dance practice, to build my skills as a dancer and teacher and to create a pathway that suits me.
If I make it to ILHC this year, it will be a year of reflection and celebration. If I don’t, you better believe I’ll be there with bells on next year with a posse of my best friends and most inspiring colleagues from London. I just thought an update was in order especially since I felt so very supported. Thank you friends for supporting dreams I didn’t even dream for myself. I am exactly where I need to be, doing exactly what I need to be doing. I hope you are too.
Competition season has kicked off with the newest kid to the block, the Savoy Cup. I wanted to cover a couple of ideas around what it means (to me) to be a good competitor and audience member.
People enter competitions for all sorts of reasons. It might be a personal goal to focus on improving their dancing, it might be that they love to perform and we don’t have enough opportunities to do that in lindy hop, or it might be that it scares them and they want to push through that fear.
Whatever the reason they are competing, be supportive.
As an audience member – for the love of all that is holy – CLAP! CHEER! GIVE THEM ENERGY! Whether or not you know them. Whether or not it’s perfect. It’s part of the audience/performer contract. If people are nervous, having the crowd behind them can be so uplifting.
Be aware that sometimes we are so moved by a performance, or so distracted by watching that it’s hard to clap along, but do your best.
Smile at the performers, if feels so much nicer to perform for people who are interested and supportive.
Acknowledge them after the performance and congratulate them, or ask how it felt. When you see them in the hallway, at the nearby restaurant or on the dance floor. Competitions bring up all sorts of emotions – a kind word goes a long way.
If you’ve never competed before, try it sometime (it is often fun) and decide what success means for you going in. Often, ‘winning’ is just having the courage to share something you love with a group of people who also love that thing. It can be such a thrill. Best of luck to those competing at events across Europe this summer and to those hitting up ILHC and Camp Hollywood last this summer.