May I Have This Dance Chicago – LaTasha Barnes dances to tradition with the Lindy Hop: A Jazz dance that originated in Harlem in the 1920s and ended up in small-town Sweden. What happens when black dancers try to bring Lindy Hop home?
LaTasha Barnes is a member of the black social dance tradition, including the Lindy Hop. Cassidy Ariza
May I Have This Dance Chicago
“Let’s take care of this song.” Hear how a dance made its way from Harlem to Sweden and how black dancers revived it as a living tradition.
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Growing up, Barnes spent summers at her family’s home in Winterpock, where her grandmother, Elizabeth Harris, was one of several black chefs who ran her own restaurant in Richmond. At home, he often performed with the voice of Louis Armstrong.
The way Barnes remembers his childhood is that there was always music and dancing in multi-generational families. Kusen visited Washington, DC, New York and Richmond to bring the latest dance trends. Barnes grew up watching her parents enter social clubs and compete in dance competitions.
On a Sunday afternoon, when he was about 4 years old, his grandmother took him by the hand and took him surfing. Barnes still remembers the feeling of being pushed and pulled by his grandmother’s hand. She danced with the “movements and moves” that she saw in the dances of her uncles and aunts at parties.
“It was a basic bond that everyone had, and then I could see it in their personal behavior as well,” he said.
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Barnes took a family photo of her dancing with her father, Thomas Barnes. Her childhood was always about music and dancing. Cassidy Ariza
Barnes took a family photo of her dancing with her father, Thomas Barnes. Her childhood was always about music and dancing.
Lindy Hop is a jazz dance that originated in Harlem in the 1920s and 1930s and has since gained a following around the world, with large communities in Sweden and Korea. This is an African social dance. Barnes and his grandmother were simply known as “Dancing Fast”.
By the time he was 31, Barnes had become a world champion in the floor, a dance style that emerged from underground clubs in Chicago and New York. As he developed his dance practice, he realized a greater understanding of the jazz roots of the street dance that was becoming popular.
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“When I first met Lindy Hope, it was presented as something white people do at weddings,” Barnes says. “It wasn’t presented as a black cultural art form.”
Barnes wanted to go beyond that perception. He went to the Library of Congress to occasionally view archival footage and worked closely with scholar Lindy Hoppers. It was the beginning of a journey to reconnect with the sense of movement she experienced while dancing with her grandmother.
His research and dedication led him to the creators of Lindy Hop. In 2016, he was invited to volunteer with Lindy Hop as The Elders. There were Chester Whitmore, Barbara Blups, Sugar Sullivan and Norma Miller, known as the “Queen of Waves”. Barnes recalled a moment between dances when suddenly all the white dancers seemed to leave the room.
“I somehow became a magnet,” he added, “and I sat in the chair next to Mrs. Norma.” – I looked, he pointed, and they all fell on me.
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Chester leaned over me and asked, “Are you ready?” “You know now why, the level of responsibility has changed completely since then,” he said.
Barnes remembers it as the night the Lindy Hop was declared a tradition by the dance’s foremost experts.
This fall, Barnes joined the faculty of Arizona State University’s School of Music, Dance and Theater, where he mentors young dancers and teaches Black American dance forms and its “jazz continuum.”
Barnes said today that when she teaches and performs Lindy Hop, she relives the joy she had dancing with her grandmother. It is in this spirit that he bears the responsibility of almost 100 years of dance tradition. It’s something to bring to the dance floor, whether it’s hanging out with friends in the studio or performing on stage.
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“Every time you connect and interact, just based on being together, it sparks joy,” she said. “Just this kind of energy exchange gives you something to hold on to and celebrate.”
One, listen to subtitles wherever you get your podcasts, including Apple Podcasts, Google Podcasts, Pocket Papers, Spotify, and RSS. The rapper links up with Francis and the Lights once again, this time in their video for “May 1st.” Own this dance. A beautiful, emotional ballad from the Francis and the Lights original.”
If you’ve only heard one or two of Chance’s songs, you’d expect him to hit No. Chano has some pretty solid vocals of his own, and in a semi-singing style, he dives into this emotional mix as it unfolds throughout Coloring Book.
Chano says in the verse: “You are your mother’s eyes/You are your grandmother’s ring/You are your father’s mind/You have done your daughter’s work”. “One-two, one-two, it always beats / You must have been born with two right feet / I know you’re looking for something special / You must have been born with two right feet.”
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The video sees Chano and Francis dancing on a platform in a really dark room with stage lights shining on them. Much of the video focuses on Chance, with the camera panning between different aspects of the Chicago rapper dancing on a platform. At the end of the film, Francis once again joins the dance floor where they both dance in perfect sync. All are beautiful rings. Every article on this page has been selected by an editor. We may commission some of the items you want to buy.
The opportunistic rapper is America’s favorite boy, and that’s even more on display in the music video for Francis and the Lightsaber’s new single, “Let Me Have This Dance.” Yes, it is possible.
Like the early, great Phil Collins, this song is already great and made even more so by Chance’s verse. But look at those moves! That little spinner that he finally hit! Hit “Rapper” in any music.
I’m a writer and author in New York City who writes about everything from sex to culture to magic. I’m a fan of dressing and Bud Light Lime-A-Ritas, and even though I’m lactose intolerant, I eat cheese whenever I can.
May I Have This Dance
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