Meeting Norma Miller


In December I was lucky to have the opportunity to meet Norma Miller, Queen of Swing, in Milan, where she was celebrating her 97th birthday…and the launch of her new album A Swingin’ Love Fest. I have been working on translating her memoirs into Spanish for over a year now, so as soon as I found out she was coming to Europe I was hopping on to that Ryanair flight, I had to meet her. It is impossible to describe the sheer energy Norma Miller exudes, but I managed to take some notes, and here are some of Norma’s words of wisdom on Lindy Hop, life and “ism”.

Norma Miller performing at Spirit de Milan, December 2016, photo by OlgaBSP.

Norma Miller started dancing on the streets of Harlem as a kid, before making it to the Savoy Ballroom and becoming one of Whitey’s Lindy Hoppers. When she was 15 she came to Europe, and introduced European audiences to the Lindy Hop for the first time – and she is still teaching us what it’s all about now. To find out more about her incredible life and career dancing in the Savoy and performing with Cab Calloway and Count Basie, among many others, from Harlem to Hollywood and Rio and beyond…well I recommend her memoirs Swingin’ at the Savoy! (Soon to be available in Spanish too).

This is Norma performing her number Gimme da Beat with the Billy Bros. Orchestra on 10 December 2016 at Spirit de Milan. Gimme da Beat.

A swingin’ love fest in Milan

The whole weekend was in fact a swingin’ love fest, organized by Maurizio ‘Big Daddy’ Meterangelo and Roberta Bevilacqua, Norma’s Italian family, also known as Italian Swing Dance Society. Maurizio recorded the new album with Norma and leads the Billy Bros. Swing Orchestra in true hep fashion. The setting, the decadent industrial glamour of Spirit de Milan, and the local lindy hoppers lived up to Italian style expectations, so that you could be forgiven for thinking you had wandered in to a gangster movie set at times, including the 1930s vintage car that Norma pulled up in on opening night.

We enjoyed a screening of the documentary Queen of Swing, which Maurizio had subtitled especially for the occasion, followed by a personal interview with Norma each night. Jude Lindy acted as MC and interpreter and Norma was in (literally) sparkling form, she showed her star quality as soon as she was up on stage. We had two nights of fantastic live music and were treated to the dance virtuosity of Chester A. Whitmore, who was delightful at all times (Chester recently worked on La La Land).

The highlight of the event was of course a show-stopping performance of the Billy Bros. Swing Orchestra with Norma Miller on the Saturday night. They have the best big band sound I have heard live, and the Queen of Swing certainly had the beat. Five of the album’s songs are Norma’s, which she sang live, including Gimme da Beat, They Call Him Louie, Swingin’ Frankie’s Way, Down in New Orleans and Swing Baby Swing. 

We were celebrating Norma’s new album and her recent 97th Birthday!! (Which by the way, is very close to being a world record).

It was an incredibly intense weekend, filled with swing and joy. Maurizio and Roberta were truly welcoming and made me want to join the Italian lindy hopping family too.

But let’s hear what Norma had to say (recorded as best I could).


Norma Miller on…

Count Basie

“Count Basie had the greatest swing band ever. He was the one that was able to…Everything he did. He told arrangers to write the music to keep the dancers on the floor. Consequently, if you hear a Basie tune you can dance to it. He had one of the best rhythm sections ever. Walter Page on bass, Jo Jones on drums, Freddy Green on guitar and Basie on the piano. Which was the best rhythm section ever in the history of swing music. Now, you had a lot of great bands. You had Chick Webb who was the King of Swing. You had Jimmy Lunceford, another great band. But no-one swung like Basie. That’s why all our dances were choreographed to Basie music, because rhythmically it was perfect. And when you Lindy Hop, you Lindy Hop to great rhythm. And the two things went together perfectly.  And that is why Basie was one of our best bands for dancing. It wasn’t that the other bands weren’t good, it’s just nobody was better at it than Count Basie.”

The most wonderful thing     

 “ Nothing’s more wonderfully enjoyable than a guy and a girl, enjoying a Count Basie tune. You take Corner Pocket, you take any of the great Basie tunes and you take a girl on the floor, well it’s an enjoyable thing. Lindy Hop is the best social dance there is. Ballet is wonderful, solo jazz is wonderful, but nothing is more wonderful than to be with a guy and you swing with him, it’s just the best there is. Nothing tops the Lindy Hop. I’m at the end of my rope now, but you got to enjoy it. I enjoyed it!!”

“Lindy Hop is the most sexual thing a guy and a girl can do…without going to the bedroom.”


 Swing and colour

“Swing was doing integration before Martin Luther King. That’s what was happening in the Savoy. White people along with black people, dancing together. We were trying to do integration.”

“Swing has no colour. It doesn’t matter whether you are white or black, or even Muslim. Swing is music. Sound has no colour. You play a Count Basie song and you can’t think about colour. That’s swing. We rose above it.”

Getting out of the ghetto

“I was a woman and I was black. Swing, dancing, got me out of Harlem. We survived. I tried to be the best, all my life. You have to be the best at what you do to get ahead.”

Whitey’s Lindy Hoppers

“We were good. We were good because we danced every night. For about five years, before the movies, we were at the Savoy dancing every night. That’s why we were good.”


 “You got to dance to the music. You have to listen and dance to the music the band is playing. We danced everything. The Savoy was a ballroom and you had to dance to everything, one-step, two-step…We didn’t Lindy Hop all night.”

“I don’t give advice to dancers. Just dance.”


“Ism is mmmm, mmhhhh, it’s that something. ‘Ism’ is what made Louis Armstrong Louis Armstrong”.

Her first dance with Twistmouth George

“I was twelve and I will never forget it. It was the best day of my life. I was dancing with the best dancer, he was six foot tall, I was only twelve, I flew. I will never forget it.”

Her drink of choice?

“Mimosa, champagne and orange juice, what could be better?”

Keep Swingin’

Norma hasn’t stopped swinging and she is full of plans. She wants to bring the Billy Bros. Swing Orchestra to New York to perform at Midsummer Jazz at the Lincoln Center. She also wants to bring a show to Broadway with Chester and the best swing dancers, if anyone can make it a great show that is Norma.

Norma’s advice for future generations?

“Keep Swingin’”.

If you want to recommend Norma for a Kennedy Center Honor you can do so here.


A Swingin’ Love Fest (Billy Bros. Swing Orchestra with Norma Miller, 2016).

You can order a copy from the Italian Swing Dance Society.


Swingin’ at the Savoy: The Memoir of a Jazz Dancer, Norma Miller with Evette Jensen (Temple University Press).

Norma Miller with Chester A. Whitmore, Roberta Bevilacqua and Karen Campos McCormack in Milan, photo by OlgaBSP

All photos by OlgaBSP for Spirit de Milan, courtesy of Italian Swing Dance Society.

A Royal Welcome for the Queen of Swing was organized by Italian Swing Dance Society in collaboration with Luca Locatelli, the Klaxon Agency and Spirit de Milan.


El Savoy, donde empezó todo


Me he preguntado cómo empezar este blog, pero en realidad la respuesta es simple: debo comenzar con el Savoy en Harlem — donde la música y el baile Swing nacieron, prosperaron y se hicieron mundialmente famosos.  Y el rey entre los bailes swing de la época era el Lindy Hop (también conocido como jitterbug).   El Lindy Hop, el swing y todo lo vintage vuelven a estar de moda – y es importante recordar sus raíces.  Subir la escalinata de mármol y espejos del Savoy, y entrar así en el mejor salón de baile del mundo es un buen sitio para empezar…

Una multitud se reúne delante del Savoy Ballroom, un importante foco cultural y local emblemático del barrio de Harlem (Photograph © Bettmann/Corbis.
Una multitud se reúne delante del Savoy Ballroom, un importante foco cultural y local emblemático del barrio de Harlem (Photograph © Bettmann/Corbis.

El Savoy era más que un salón de baile – era el corazón palpitante de Harlem. Aquí es dónde los mejores músicos y bailarines se juntaron para crear el swing.  Era el mayor y más elegante salón de baile en Harlem.  Para empezar estaba a otra escala en comparación a las otras salas, ocupando una manzana entera desde la calle 140 a la 141, unos 250 por 50 pies (1161m2) — podía dar cabida a miles de personas sobre la pista de baile: más de 5000 personas asistieron a su apertura la noche del 12 de marzo 1926 con la banda de Fletcher Henderson.

Así es cómo Frankie Manning, la gran leyenda del Lindy Hop, describió su primera visita al Savoy cuando tenía unos 19 años:

“Mientras subía los escalones que llevaban al salón de baile podía escuchar la música swing que se colaba por la escalera, y empezó a calar en mi cuerpo…llegué al último escalón, atravesé la doble puerta, y me paré por un momento de espaldas al escenario, asimilándolo todo. Cuando me di la vuelta y miré la sala de frente…bueno, simplemente me quedé parado con la boca abierta. Toda la pista estaba llena de gente y ¡estaban bailando! ¡La banda estaba aporreando! ¡Los tíos ahí subidos estaban aullando! La música era una pasada. Todo el mundo estaba moviéndose y meneándose…Empezamos a decir “Esto es el paraíso del baile”. Hasta parecía que el suelo se estaba animando porque también botaba arriba y abajo.”

Harlem se había convertido en un lugar de moda para la sociedad blanca del centro neoyorquino durante los años 20.  Harlem, un barrio de Nueva York mayoritariamente negro, experimentó un gran influjo de migrantes negros provenientes del Sur en las primeras décadas del siglo XX, cuando miles de personas huían de la terrible opresión del Sur en busca de nuevas oportunidades. Harlem ofrecía una promesa de libertad y orgullo, y se convirtió en un punto de encuentro para la creatividad y la cultura negras – en la música, el arte, la literatura y la política, durante un período conocido como el Renacimiento de Harlem (Harlem Renaissance).  A pesar de que era conocido como el barrio “Negro”, la segregación racial era aparente (como era el caso en diferente grado en todo Estados Unidos en aquella época) y la mayoría de los famosos clubes nocturnos eran exclusivamente para clientela blanca: el Cotton Club, el Apollo (que aún sigue en pie) etc. presentaban actuaciones con artistas negros, pero las personas negras no podían acceder como público por la entrada principal o mezclarse con la clientela blanca.   La segregación y la discriminación eran problemas aún mayores fuera de Nueva York – cuando el grupo de Lindy Hoppers de Whitey o las bandas de músicos iban de gira era a menudo difícil encontrar locales que les sirvieran comida o les ofrecieran alojamiento. Billie Holidy describe incontables incidentes en sus memorias, incluyendo la dificultad para encontrar lavabos que le permitieran utilizar, un pequeño ejemplo de los enormes retos a los que se enfrentaban.

El Savoy era único por ser un local no segregado – clientes negros y blancos podían asistir, sentarse, comer, beber y bailar juntos – “por primera vez en la historia se estaba cuestionando el status quo” comenta Norma Miller.  Frankie Manning ha dicho que no importaba si eras negro o blanco, verde, amarillo o lo que sea, sólo importaba si sabías bailar.   Creo que este espíritu inclusivo se refleja en el Lindy Hop y es un elemento clave de este baile alegre, de su legado y de cómo lo disfrutamos hoy en día.

El Savoy era el salón de baile más elegante de Harlem y superaba a todas las mejores salas de baile de América.  Era deslumbrante, en las palabras de Norma Miller “el salón de baile estaba decorado en dorado y azul con focos de colores. En los laterales se alineaban los reservados para tomar algo de comer o beber. La zona de baile…ocupaba el largo de una manzana, la pista en sí era un piso de madera hecho de muchas capas, como caoba y arce…lo reponían cada tres años, desgastado por el machaque constante [de los bailarines]”.

La música…y el baile

Chick Webb vs Count Basie, with Billie Holiday, Savoy

La música nunca paraba en el Savoy, había dos escenarios para las bandas, y uno de ellos siempre estaba tocando. Norma Miller recuerda escuchar la música desde la escalera de incendios de su edificio, y más tarde empezaría a bailar en la acera delante del Savoy.  Chick Webb era el líder habitual de la banda de la casa, y la suya era la banda favorita de los Lindy Hoppers.  A lo largo de los años siguientes más de 200 bandas de swing tocaron en el Savoy — había batallas de bandas legendarias entre bandas invitadas como la de Cab Calloway, Count Basie o Benny Goodman (que sólo tocó una vez en el Savoy pero visitaba a menudo) y la banda de Chick.  Para las batallas de bandas más famosas la cola daba la vuelta a varias manzanas — y eran los bailarines los que decidían el éxito de una banda.  El Savoy también fue clave en lanzar las carreras de varias cantantes famosas como Ella Fitzgerald, que fue elegida por Chick para cantar para su banda, y que continuó al frente de la banda después de la muerte de Chick en 1939. Chick Webb grabó Stompin’ at the Savoy en 1934. Aqui está Ella Fitzgerald con la orquesta de Chick Webb tocando St Louis Blues en el Savoy en algún momento de 1939.

En aquellos tiempos las bandas tocaban para los bailarines, y si querían quedarse tenían que mantener la pista llena, según Frankie Manning.  Jacqui Malone ha escrito un artículo muy interesante en Jazz Music in Motion:  Dancers and Big Bands donde defiende que hay que recuperar conciencia de la estrecha relación entre el baile y el desarrollo de la música jazz y swing “Noche tras noche, los bailarines y músicos del Savoy se incitaban unos a otros a llegar más alto, más profundo – siempre con una actitud de elegancia.” Duke Ellington comentaba “Empiezas a tocar y los bailarines empiezan a bailar ¡y tienen un ritmo tan fantástico que sólo tienes que agarrarte!”.

De esta estrecha colaboración con Chick Webb y otras swing bands nació el Lindy Hop. El Lindy Hop es un baile gozoso con mucha improvisación y un ritmo sincopado de 8 compases. Para todos los lindy hoppers que me leéis no necesito aportar más explicación. Evolucionó a partir de otros bailes de la época como el Charleston con el breakaway (paso separado), que permite mayor improvisación, e introdujo el swing-out, su paso estrella. Herbert White, el jefe de sala del Savoy, reunió a los bailarines de Lindy Hop con más talento para formar los Whitey’s Lindy Hoppers y otros grupos de baile.  El Lindy Hop se popularizó por toda América y el extranjero gracias en gran parte a Whitey’s Lindy Hoppers –que estuvieron de gira por Europa, Australia y Brasil, además de aparecer en varias películas y de figurar en la Expo de Nueva York de 1939.

Frankie Manning, una leyenda en la comunidad swing del que hablaremos con más detalle en otro post, fue uno de los bailarines de Whitey; fue un innovador y un coreógrafo clave que influyó en el estilo característico del baile, casi horizontal, y al crear con su pareja de baile de entonces los primeros pasos acrobáticos aéreos (conocidos como airsteps). Es también la inspiración que ha conducido el redescubrimiento del Lindy Hop en todo el mundo desde los años 90, y la inspiración tras el espíritu inclusivo de la comunidad swing.  El Lindy Hop no era el único baile que se bailaba en el Savoy, y otros bailes populares incluían el Shag, el Fox Trot, el Peabody, el Black Bottom, la Big Apple, el Shim Sham etc. pero tal vez sea el baile con el impacto más duradero, tal y como es sentido a diario por miles de Lindy Hoppers modernos en todo el mundo.

Aqui hay uno de los pocos clips de baile social en el Savoy.

…y más

El Savoy era más que un salón de baile, también cumplía la función de centro cívico de la comunidad negra en Harlem: aquí había a menudo eventos de gala de la comunidad los miércoles y los viernes, el ´Club de los 400´ y otras asociaciones de Harlem se reunían aquí y Adam Clayton Powell era cliente habitual. Tras los disturbios de 1935 se pensó que el Savoy era demasiado importante como para permanecer cerrado y se crearon las competiciones de baile del Harvest Moon Ball en un intento de remontar la moral dañada de la comunidad negra.   A pesar de ser un barrio mayoritariamente negro, la patria del Nuevo Negro y el Harlem Renaissance, Harlem era en su mayoría propiedad de gente blanca y muchos negocios no contrataban personal negro, contribuyendo a los disturbios que tuvieron lugar durante la Depresión. Es en este contexto que se hace más evidente el valor del Savoy como un local que empleaba y acogía a un personal y una clientela diversa – incluyendo desde los chavales del barrio a estrellas de Hollywood.

El Savoy abrió sus puertas en 1926 y cerró en 1958. Apenas hay ninguna gran banda de jazz que no tenga asociación con el Savoy, incluyendo bandas negras y blancas. Para bailarines de Lindy Hop como Frankie Manning, Norma Miller y muchos más se convirtió en un segundo hogar, “el hogar de los pies felices” (home of happy feet) como era conocido.  Ayudó a crear y popularizar la música más americana por excelencia, el swing, y un baile verdaderamente americano, el Lindy Hop. El Savoy era visita obligada en Harlem — y Harlem era donde tenías que estar en los años 20 y 30. Según Romare Bearden (artista) “Allí era donde mejor se bailaba en el mundo, y donde estaba la mejor música…Querrías estar en Harlem o Paris. Estos eran los dos lugares donde estaban ocurriendo cosas.”

¿y qué sería un post sobre el Savoy sin música? Aquí va una pequeña selección:

El Savoy abrió en 1926 y cerró permanentemente en 1958. Fue demolido para construir una promoción de viviendas. Frankie Manning y Norma Miller inauguraron una placa conmemorativa el 26 de mayo 2002, el día del 88 cumpleaños de Frankie.

Leer más

Hay mucho material sobre el Savoy. Yo recomendaría empezar por las biografías de Frankie Manning y Norma Miller para una visión personal de cómo era el Savoy. Hay algunos materiales documentales disponibles en youtube (por ejemplo El Savoy). Estas son algunas de las fuentes que utilicé, no es ni mucho una lista completa de todo lo que está disponible.

Burns, Ken, Jazz (serie de televisión y DVD, disponible en español e inglés)(PBS, 2000)

Malone, Jaqui, ‘Jazz Music in Motion’, The Jazz Cadence of American Culture, Chapter 18. Ed. Robert G. O’Meally. New York: Columbia University Press, 1998.

Manning, Frankie & Millman, Cynthia, Frankie Manning, Ambassador of Lindy Hop . Philadelphia: Temple University Press, 2007.

Miller, Norma, Swingin’ at the Savoy. Philadelphia: Temple University Press, 1996.

Seisdedos, Iker, Cuando Harlem era una fiesta. El País, 5 Febrero 2015.

Stearns, Marshall & Jean, Jazz Dance: the Story of American Vernacular Dance, New York: Macmillan, 1968.

The Studio Museum in Harlem, Harlem Renaissance: Art of Black America (Times Mirror Books, New York: 1987).

The Savoy Plaque

The Savoy King (Documental), . Extracto del documental, The Savoy ballroom

Citas de

Malone, Jaqui, Jazz Music in Motion, The Jazz Cadence of American Culture Chapter 18.

Manning, Frankie Manning, Ambassador of Lindy Hop.

Miller, Swingin’ at the Savoy.

The Savoy, where it all began


I have wondered how to start this blog, but really the answer is simple: I must start at the Savoy in Harlem – where Swing music and dance was born, thrived and became world famous. And king amongst the swing dances of the age was the Lindy Hop (also known as jitterbug). Lindy Hop, swing and all things vintage are back in vogue again – and it is important to remember its origins. Stepping up the Savoy’s marble and mirror staircase into the finest ballroom in the world is a good place to start…

Savoy, Harlem 1952
A crowd gathered outside the Savoy Ballroom, a major cultural hub and landmark for the Harlem neighborhood.(Photograph © Bettmann/Corbis.

The Savoy was more than a ballroom – it was the beating heart of Harlem. Here is where the best musicians and dancers came together to create swing. It was the largest and most elegant ballroom in Harlem. For a start it was on a different scale to other ballrooms, occupying a whole block from 140th to 141st street, about 250ft by 50ft with two bandstands – it could fit thousands on the dance floor, over 5,000 attended on its opening night on 12 March 1926[i] with Fletcher Henderson’s band.

This is how Frankie Manning, the great Lindy Hop legend, described his first visit to the Savoy when he was about nineteen:

‘As I was climbing the steps that led to the ballroom, I could hear the swinging music coming down the stairwell, and it started seeping right into my body…I got to the top step, went through the double doors, and stopped for a moment with my back to the bandstand, taking it all in. When I turned around and faced the room…well I just stood there with my mouth open. The whole floor was full of people –and they were dancing! The band was pounding! The guys up there were wailing! The music was rompin’ and stompin’. Everybody was movin’ and groovin’….We started saying ‘’This is dancin’ heaven’’. It even looked like the floor was getting in the mood because it was bouncing up and down too.’

Harlem had become a popular night spot for downtown white society during the 20s. Harlem, a predominantly black neighbourhood in New York experienced a huge influx of black migrants from the South in the early 20th Century decades as thousands fled from terrible oppression looking for new opportunities. Harlem provided a promise of freedom and pride, and it became a hotspot for black creativity and culture – in music, art, literature and politics, in a period known as the Harlem Renaissance. But although it was ostensibly the ‘Negro’ neighbourhood, it was also notably segregated (as was the case throughout the US to different degrees at the time), most of the famous nightclubs were for white patrons only: the Cotton Club, the Apollo (which is still standing today) etc. would feature black performers but black people could not use the main entrance or mix with the white audience.  Segregation and discrimination were even greater problems outside of New York – when Whitey’s Lindy Hoppers or bands and musicians went on tour it was often difficult to find places that would serve them food or provide accommodation. Billie Holiday describes countless incidents in her memoirs, including the difficulty in finding rest rooms she could use, just one small example of the challenges they faced.

The Savoy was unique as it was not segregated – black and white patrons could attend, sit, eat and drink and dance together, ‘for the first time in history the status quo was challenged’ states Norma Miller. Frankie Manning has said that it didn’t matter whether you were black or white, green, yellow or whatever, just whether you could dance.  I think this inclusive spirit is reflected in Lindy Hop and is a key feature of this joyful dance, of its legacy and how we enjoy this dance nowadays.

The Savoy was the most elegant ballroom in Harlem and surpassed all of America’s top dance halls. It was dazzling, as described by Norma Miller: ‘the ballroom itself was decorated in gold and blue with colored spotlights. The walls were lined with booths for eating and drinking. The dance area was…the length of a city block, the dancefloor itself was made of many layers of hardwood, such as mahogany and maple…it was replaced every three years, worn out by the constant pounding [of the dancers]’.

The music…and the dance

Chick Webb vs Count Basie, with Billie Holiday, Savoy
Advertisement for a battle of the bands between Chick Webb and Count Basie, with Billie Holiday and Ella Fitzgerald.

The music never stopped at the Savoy, there were two bandstands and one of them was always playing. Norma Miller recalls listening to this music from her home’s fire escape as a child, and later she started dancing on the pavement outside the Savoy. Chick Webb usually led the house band, and he was Lindy Hoppers’ favourite band. Over the next few years over 200 hundred swing bands played the Savoy – there were legendary battles between visiting bands like Cab Calloway’s, Count Basie’s or Benny Goodman’s (who only played the Savoy once but visited often) and Chick’s band. For top band battles the queue would go round several blocks – and it was the dancers who made a band’s success. The Savoy was also key in launching the careers of famous singers like Ella FitzGerald, who was picked by Chick to sing for his band, and continued to lead the band after his death in 1939. Chick Webb recorded Stompin’ at the Savoy in 1934. Here is Ella Fitzgerald with Chick Webb’s orchestra playing St Louis Blues at the Savoy, sometime in 1939.

Back then bands played for dancers, and if they wanted to stay they had to keep the floor packed according to Frankie Manning. Jacqui Malone has written a very interesting article on Jazz Music in Motion: Dancers and Big Bands which argues for re-claiming the close connection between dance and the development of jazz and swing music ‘Night after night, the dancers and musicians at the Savoy spurred one another on to greater heights and greater depths- always with an attitude of elegance’. Duke Ellington commented ‘You start playing, the dancers start dancing, and they have such a great beat you just hang on!’.

Out of this close collaboration with Chick Webb’s and other swing bands the Lindy Hop was born. The Lindy Hop is a joyous improvisational dance with a syncopated 8 count beat. For all the lindy hoppers reading this I do not need to provide further explanation. It evolved from other dances of the era with the breakaway, which allowed more room for improvisation, and introduced the swing-out, its star step. Herbert White, the Savoy floor manager, brought together the most talented Lindy Hoppers to form Whitey’s Lindy Hoppers and other dance troupes. The Lindy Hop was popularized all over America and overseas thanks mainly to Whitey’s Lindy Hoppers – touring Europe, Australia and Brazil as well as appearing in several films and the 1939 New York World Fair.

Frankie Manning, a legend in the swing community who we will speak about more in another post, was one of Whitey’s dancers; he was a key innovator and choreographer, influencing the dance’s characteristic near-horizontal style and creating the first acrobatic airsteps with his dance partner. He has also been the inspiration leading the Lindy Hop worldwide revival since the 90s and contributing to the inclusive spirit of the swing community. The Lindy Hop was not the only dance danced at the Savoy and other popular dances included the Shag, the Fox Trot, the Peabody, the Black Bottom, the Big Apple, the Shim Sham etc. but it has perhaps had the most lasting impact, as experienced daily by thousands of modern Lindy Hoppers the world-over.

Here is some rare footage of dancing at the Savoy from a newsreel: Dancing at the Savoy

…and more

The Savoy was not only a ballroom, it also had a role as a civic centre for the black community in Harlem: there were regular community gala events on Wednesday and Friday nights, the ‘400 Club’ and other Harlem fraternities and associations met there and Adam Clayton Powell was a regular patron. Following the riots in 1935 it was felt the Savoy was too important to be closed and the Harvest Moon Ball competitions were created in an effort to re-build the damaged morale of the black community.  Despite it being a predominantly black neighbourhood, the home of the New Negro and the Harlem Renaissance, Harlem was mainly owned by white people and many Harlem businesses did not employ black people, contributing to these riots in the midst of the Depression. In this context the value of the Savoy as a venue that employed and welcomed a diversity of patrons – from local kids to Hollywood starts – becomes more apparent.

The Savoy opened in 1926 and closed in 1958. There is scarcely a big jazz band name that is not associated with the Savoy, including black and white bands. For the Lindy Hoppers like Frankie Manning and Norma Miller and many others it became a second home, the ‘home of happy feet’ as it was known.  It helped create and popularize the most quintessentially American music, swing, and a truly American dance, Lindy Hop. The Savoy was the place to be in Harlem – and Harlem was the place to be in the 20s and 30s. In the words of Romare Bearden (artist) ‘The best dancing in the world was there, and the best music…You’d want to be either in Harlem then or in Paris. These were the two places where things were happening.’

And what would a post about the Savoy be without music? Here is a selection of tracks:

The Savoy opened in 1926 and closed permanently in 1958. It was demolished for the construction of a housing complex. A conmemoration plaque was inaugurated on 26 May 2002 by Frankie Manning and Norma Miller, on Frankie’s 88th Birthday.

More reading

There is plenty of material about the Savoy. I would recommend starting with Frankie Manning’s and Norma Miller’s biographies for a personal account of what the Savoy was like. These are some of the sources I used, by no means a full list of what is available. Some video documentary material is also available on youtube (The Savoy ballroom).

Burns, Ken, Jazz (TV and DVD series, PBS, 2000)

Malone, Jaqui, ‘Jazz Music in Motion’, The Jazz Cadence of American Culture, Chapter 18. Ed. Robert G. O’Meally. New York: Columbia University Press, 1998.

Manning, Frankie & Millman, Cynthia, Frankie Manning, Ambassador of Lindy Hop . Philadelphia: Temple University Press, 2007.

Miller, Norma, Swingin’ at the Savoy. Philadelphia: Temple University Press, 1996.

Seisdedos, Iker, ‘Cuando Harlem era una fiesta’. El País, 5 February, 2015.

Stearns, Marshall & Jean, Jazz Dance: the Story of American Vernacular Dance, New York: Macmillan, 1968

The Studio Museum in Harlem, Harlem Renaissance: Art of Black America. New York: Times Mirror Books,1987.

The Savoy Plaque

The Savoy King Documentary, . Extract from the documentary, The Savoy ballroom

Quotes from:
Malone, Jaqui, Jazz Music in Motion, The Jazz Cadence of American Culture, Chapter 18.
Manning, Frankie, Frankie Manning, Ambassador of Lindy Hop.
Miller, Norma, Swingin’ at the Savoy.