This page summarises contents available in French regarding synopsis, DVD specs, treatment, etc

Production schedule

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• 200410-200411 shooting (Grenoble - Lyon)
• 200411 release of a 7min trailer to accompany a script addressed to production houses likely to co-produce the documentary project
• 200412 on-line release of a 26min essay 'A Glimpse of Lindy Hop by French Frogs'
• 200508-200806 shooting (Eauze - La Grande Motte - Grenoble - Herrang - Lyon - Montpellier - Paris - Toulouse...)
• 200712+ editing

post-production held back

• 2010+ post-production
• 201302 mailing of the 'pre-release' version to talents for their approval of the final editing
• 201305 making of DVDs
• 201306 DVDs available for sale on-line & at some festivals

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Abstract

• understanding the Lindy Hop and other swing dances through the portraits of its French genealogy
• the title 'Dance on Swing' is meant to be less restrictive than 'Lindy Hop'; it addresses a wider spectrum of both non-initiated dancers and dancers discovering or dancing on swing music
• the documentary tackles the Lindy Hop in France as it is danced by the French and how it is developing - American history as well as the revival of the dance are only briefly broached through a few interviews & archived footage
• the documentary does not cover a single, particular event; it focuses on the historical, musical, technical, social and cultural aspects of the Lindy Hop as thoroughly as possible
• the film witnesses in an impartial way the efforts made by leading actors and talents of the French swing scene to share a common passion; it is reminiscent of a wedding photography
• the narrative underlines current trends: dancing on swing music does not mean dancing only the Lindy Hop

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Leading characters

• history of various generations
• roles of non-profit making organisations, schools, festivals - in the past and today
• French richness in terms of teachers and styles
• influences of foreign teachers
• how the French are perceived by foreigners

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Dancing techniques

• early mimetic choreography around the world due to the lack of teachers & pedagogy appropriate to the Lindy Hop
• re-discovery of social Lindy Hop and its techniques
• development of techniques and revival of various styles
• how to interpret swing musicality

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DVD release(s)

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• two documentary films were initially planned to be edited and released onto two distinct DVDs, depending on interest & willingness of potential co-producers. Other scripts already exist to facilitate the narrative breakdown of the initial project
• as the post-production of DVD #2 is reaching an end it is clear however there will most likely be only one version (i.e. #2)
• the DVD #2 is co-produced by Duncan Potter & Thomas Blacharz ('Tommy' from Montpellier)

Differences between the 2 DVDs (deprecated)

• DVD #1: the documentary film focuses on the French 'pioneers' of the Lindy Hop - DEPRECATED
• DVD #2: the documentary film describes actors & keen enthusiasts of the French swing scene; the DVD also features an instruction video shot with Thomas & Alice (from Montpellier)

Audience

• DVD #1 addresses schools of dance and dancers who are not yet initiated to swing
• DVD #1 is likely to be slightly shorter than #2
• perhaps the selling of DVD #2 will raise interest in financing possible re-shots and post-production for DVD #1 - financing this venture is open to potential co-producers
• DVD #2 concerns a wider audience of dancers spanning from beginner to advanced levels - contents are likely to be more technical
• DVD #2 summarises key issues tackled in the first DVD (by shortening certain interviews with well-known actors of the international swing scene which are less relevant to dancers addressed in the second DVD) and compares the Lindy Hop with other swing dances

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Distribution

• on-line form (subscription) with Thomas Blacharz ('Tommy' from Montpellier)) from the Apollojazz-Cafe
• on-line form (subscription) from other dancers' web-sites if needed
• retail during festivals
• retail in relevant shops
• sales price: ca. 30 - 35 Euros (to be confirmed: from -10% to -20% if collective purchase or subscription via the internet)

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Narrative breakdown [last update: 10.07.2008]

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Chapter 1 - Origins & French characteristics

• brief historical overview - birth & climax of the Lindy Hop in the US (Savoy Ballroom - Shorty George - Hellza Poppin)
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• brief historical overview - 'Swedish' revival of the Lindy Hop, growing interest in Anglo-Saxon countries, bilateral American / Swedish influences
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• discovery & growing interest in the Lindy Hop in France, the first workshops & videos
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• French experience & specificity - Victory Records, be-bop, French rock'n roll & its prevailing role
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Chapter 2 - discovery of new styles & techniques

• success - the 1st generation gives birth to a second generation of dancers who claim their independence
• renewal of the role of connection - development of new styles
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Chapter 3 - the internet generation, experiments with lead-follow

• birth of a 3rd 'internet' ('orphan') generation - developing & blending of different styles
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• French Lindy Hop perceived by foreigners
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Chapter 4 - dancing on swing

• couples' senses - roles of the leader, roles of the follower, comparisons with other dances, images to illustrate feelings, the role of fantasy
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• evolution of classes - perceived by dancers
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• evolution of classes - teachers' path
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• evolution of classes - impact on teachers' styles and techniques
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• evolution of styles
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Chapter 5 - other dances, the future of the Lindy Hop

• dances competing with or complementary to the Lindy Hop
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• impact of the Lindy Hop - democratisation of jazz, a society which is re-discovering dance, a catchy passion, opportunities of West Coast Style to get dancers into the Lindy Hop
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• the future of the Lindy Hop - evolutions, confirmations of many kinds of Lindy Hop-s?
• a social dance or only for the elite?
• current trends: dancing on swing music does not mean dancing only the Lindy Hop (integration of Charleston, Shag, Balboa, Blues...)
• how to interpret musicality with style?

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Treatment

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• this is not a hand-held reportage, a poorly-lit coverage like too many festival DVDs or a documentary film seeking sensational stuff. Metaphors used occasionally in interviews aim at making dancers' feelings more tangible and triggering curiosity of newcomers in the dance.
• the mushrooming of the Lindy Hop and swing dances across France is materialised by a 3D animation of a map showing in chronological order how many new workshops & festivals have been created. A similar effect is implemented on a calendar to echo the growing frequency of swing events
• covering different festivals across France is the opportunity to show how dancers keep moving from one region to another and hence suggest the mobility and promotion of swing dances
• non-narrative sequences help linking the chapters of the narrative; their role consists also in suggesting - in sometimes a rather poetic way - a given aspect of the community of dancers
• to illustrate the problem - not to say the absurdity - of trying to put a name on a given style a particular sequence is progressively filled up with all sorts of buzzwords; they hide the faces of the persons being interviewed while their voices fade out.

Old School Lindy Old-timers' Lindy Savoy style

1st generation pioneer generation Swing Old Style Swing Zazou

Deans Collins style Hollywood style

Smooth Boogie Hop West Coast style

• the coverage of occasional conferences is required only to illustrate the action of promoting a better appraisal of the dance and not to reproduce their exact presentation by the lecturer
• subtitles are available in a series of languages and include details concerning the name of the event, location & dates of its happening

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Demos and extracts from other DVDs

• as the editing of the documentary film must chunk teachers' demos the DVD should also feature a section giving the opportunity to watch the integrity of these demos. This is regarded as a tribute to their work and it should encourage viewers to purchase the teachers' DVD where the demo comes from (subject to teachers' approval, costs of rights, and space available on the media)
• the narrative of the documentary may include extracts from teachers' respective DVDs if relevant (subject to teachers' approval, costs of rights, and space available on the media)

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Instruction video

• the documentary film is accompanied by an instruction video on the same DVD release. It is shot with Thomas Blacharz ('Tommy' from Montpellier) & Alice Mei. The script of the video is available in French
• it draws attention to lead follow techniques, the need to bounce on bouncy music and remain smooth on smooth music, and suggests in a humorous manner the evolution of Mankind in the dance (starting from walking, dragging & pulling, through bouncing together, to dancing French rock'n roll, Boogie and eventually the Lindy Hop)
• it makes tangible the need of dancing to the music rather than forcing the music to fit the dance

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Samples of questions for interviews

• the multiplying effects of Black & White culture teasing
1. how Black bottom caricatured white masters (Cake Walk, rock-step as a form of reverence, some attitudes in shim-sham...)
2. how WASP attempted to turn the Lindy Hop into a more 'decent-looking' jitterbug (more upright position, horizontal gliding aka Dean Collins style...)
3. how jazz musicians challenged the White with bebop
4. how post-war dancers switched to Jive / East Coast Swing

• is the conflict of preserving a genuine image of the Lindy Hop obsolete / irrelevant?
it's less fun dancing only Savoy style Lindy, or Dean Collins style, or even Boogie
people have been trying to fit the music to the dance while it should be the opposite
in the days of the Savoy Ballroom it was relevant to dance with a strong bounce; today a good dancer should be able to dance to all kinds of swing music, hence occasionally with a slightly different technique?
(...)

• when dancing in France (and / or around the world) do you feel some people shun aside a given technique to the detriment of musicality?
some dancers tend to be proficient only in one style?
some dancers believe it's not 'proper' Savoy style Lindy, Smooth style or Dean Collins style, and hence limit themselves to using either little or much connection / tension?
some dancers simply aren't aware of further opportunities to interpret their musicality or voice their will to learn more about other styles?
(...)

• how do you interpret your musicality?
being able to bounce on a rhythmical & lively piece of music (e.g. with breaks, aerials & more use of Charleston)
being able to 'glide' on a smooth tune (e.g. using connection & tension to stretch & speed up some moves)
being able to pulsate & groove on blues (e.g. by using more body connection & lead-follow)

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Misc

• other materials available in English include contracts for talents who were interviewed for the documentary film

Contact

Duncan Potter

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