Swing Tips/Styles
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Swing Tips/Styles


1) Opportunities to learn and practice social etiquette! Make new friends- start a lifetime skill of making social connections- meet the love of your life! Have fun while learning Lindy Hop, the original swing dance! 

3)Take your dancing to the next level! Get compliments on your improvement!

4) FUN EXERCISE: Simple steps, lots of repetition, lots of laughs, & best of all no pressure! 


1) Use your Dance Rights Don`t take anyone or anything too seriously.

2) Go social dancing weekly with the instructor, relax, have fun dancing!

3) Review moves taught in the class: Go over the new steps within 24 hours for maximum retention. Don`t wait until you have a partner to practice with or you may never get started. Practice your basic steps 2 minutes a day.

4) Watch swing dance video clips to get an idea of what you will learn.

5) Listen & practice to swing music:  http://www.youtube.com/watch?v=WGq-eCoPSwA&feature=related 

Lots of other retro swing music on this youtube page.

6) Once a year attend a workshop with the instructor: 


RCMA ( Sept and Jan) in Vancouver with www.rhythmcity.ca

LINDY BOUT in Vancouver in April www.lindybout.com

RHYTHM JAM: Vancouver Swing Society


There are no rules in retro style swing dance as there are in Ballroom. However, there are foundations that every student must build on to learn how to comfortably dance with a partner. There are also essential rules of ettiquette or dancer rights and responsibilities that apply to all forms of partner dance. Follow these rules to make retro swing dancing fun for everyone!

FOUNDATION#1 Principals of Leading and Following:

It is permissable for a guy or a girl to initiate the invitation to dance at a swing dance. Next, it is necessay to establish who is leading and who is following. The lead`s job is to initiate the dancing and to spontaneously create the order of patterns or moves wanted. Usually the best way for a lead to take charge is to start the dance in closed position where there are more points of contact to lead the follow. There are 2 basic positions for swing partner dancing: closed and open. The lead generally comes from the hand on the follow`s back in closed position. If the lead uses the correct connection with his partner and focuses on a smooth body lead, the follow will not feel uncomfortably pushed, jerked, pulled or squeezed. The follow must not anticipate but rather use the points of connection to repond smoothly to the leads that are initiated. 
Several connection exercises are given in the first classes to lay a good foundation for leading and following. The follow learns to be sensitive to all the points of connection by closing their eyes to concentrate on the leads that are initiated. The follow`s job when dancing is to mentally focus on the leads being initiated, shutting out all distractions. In open position the lead is established by squaring up with the shoulders and hips to the partner to maximize the effectiveness of a body lead even though the only connection may be with one hand.  A follow must remember at all times to continue in the basic step pattern regardless of the direction they are being led to move. The lead should continue with his basic footwork even when giving the follow a turn.  A follow does not like to be started in a basic pattern to be cut off early by a lead who lost track of their footwork and who forgot to finish the count for the pattern. To summarize: In a well led and followed dance, all body movements will look and feel natural not stiff or jerky.

FOUNDATION #2: Musicality

The dance is intended to compliment the music in mood and rhythm. In the beginning stage it is more essential for the lead to have musicality than the follow. The follow`s job is to follow the beat initiated by the lead; not the music. If they are dancing together off beat to the music then it is the lead`s fault. A follow may tell the lead they are off beat if the lead does not notice it. The lead can always stop and restart on beat. To get on beat the lead needs to have a basic understanding of swing music. Listen to swing music and you will clearly hear upbeat immediately followed by a downbeat. A variety of swing music is used in the dance classes to give the leads lots of practise finding the up & downbeat. Lindy Hop is a downbeat or earthy dance style where styling emphasis is placed on the downbeat. The dance and the music starts on the upbeat. Counting the beats in swing music can be simplified to 2 beats: 1 is the upbeat and 2 is the downbeat. Leads will want to start all their basics on the upbeat or 1 ct. Thus restarting a dance after stopping is as easy as counting to 2. It is musical ettiquette to begin a partner dance after the intro to the swing tune is over. You can mess around on the intro. Beyond this basic musicality there is no right or wrong with swing dance moves the lead chooses to do. A lead can create their own idea of having fun to the music as long as they stays on beat! Doing a move or combination of moves inbetween lots of basics gives the lead enough rest time to keep on the beat. Listening to lots of swing music will improve the musicality of both lead and follow. The music has breaks that can be used by the lead for a flashy move or a follow shine.  With practise a lead will sense when a song is coming to a close. A good lead matches his dance to fit the mood of the music. A dramatic ending calls for a dip or at the very least a return to closed position. Faster music calls for more kicks and faster single rhythm footwork.  Slower music calls for smooth triple rhythm to fill it out. Regardless of the speed of the music street syle swing wants to be circular. Even a lead doing beginner basics will look good on the dance floor if he keeps the dance circular and dynamic-not static in a slot. More advanced musicality is taught in the triple rhythm classes. 

Learning Basics with Jump Joint Swing:

Progressive classes are available from September to May

Our  classes are very friendly and a lot of fun. We demo, teach and, dance with you at the weekly class and swing dances with your goals in mind providing the progressive dance course that suits you best. Single time Lindy is recommended before learning triple time Lindy Hop. Jump Joint Swing aims to preserve the origins of swing dance thru Lindy Hop and all our students are encouraged to pursue this true essence of swing dance. This improvisational partner dance style is easily achieved after 3 months of Easy Beginner Lesson instruction! Not only is Single Time Lindy (think Jive)  fast, fun and easy, but after one lesson you will be out on the floor dancing. Why single time Lindy  first? We use Single Lindy  to communicate the rhythms of swing music to our students. Without understanding the rhythms it is hard to dance to the music and keep on the beat. It is very important for a lead to have some basic musicality before stepping out on the dance floor. Girls really appreciate a guy who feels the beat. After musicality, lead and follow communication is the next important ingredient. I use Single Lindy as a swing form that strips all the frills away to focus on your basic lead and follow skills. Professional swing dancers regularly take time to work on the above principals of musicality and partner communication with the very basics. Triple Lindy is included in our Beginner curriculum and is easy after the Single Lindy lesson. Progressive class students are encouraged to practice swing dancing 2 minutes a day listening to swing music- feeling the pulse. Practice immediately after each class and retain 90% of what you learn! Practice doing the basic single or triple step without a partner- When practicing with a partner-remember it is not just about the hand connections- it`s mainly a body weight connection!


 Relax the hand and arm in a turn. Relax the shoulders. Keep the shoulders back using the muscles in the back- knees slightly bent. Follows follow (with their body) the hand that is connected to the lead. Keep the hand in view at all times. Consistent Arms on every axis (x,y and z), Don’t Anticipate – Feel the change and respond, Keep your feet underneath you, Plan to take small steps and allow the lead to determine how big they become, If a lead gives you momentum in a direction, keep that going until you feel otherwise, even if he turns you..(Don’t stop and turn…turn while moving). Try to be cute…it takes the attention off the lead.


Leads- please don`t squeeze her hand! Clear leads, (strong but not jerky) Keep the upper body quiet (quiet hands – cut out excess movement) Try to have nice lines with your arms. Adjust your dancing to your partner, be flexible Know your footwork so you can focus on your strong clear and smooth leads. Try not to be too flashy let your follow shine…they will be watching the follow anyway. If something goes wrong…..it’s your fault.


Dance with your whole body to the Swing Beat. Pulse to every beat of the music. 

Lindy Hop - started in the late 1920’s in Harlem, New York, a place where partner dance thrived and jazz music flourished! Both East and West Coast Swing originate from this joyful dance.

There is single, double and triple rhthym Lindy Hop. Retro Swing or Lindy Hop is a street style of partner swing and is composed of a lead and follow.  It is a very subjective style with the lead creating his own moves to the music. A thorough understanding of the basics of lead and follow and musicality is essential to looking good on the social dance floor. These important basics are covered in the Retro Swing classes. There are 2 styles of Triple Lindy Hop: Savoy according to Frankie Manning and Smooth or Hollywood style according to Dean Colins. Retro swing is the Savoy style. See the following for more details on Lindy Hop:

Lindy Hop is the original swing dance from the 30's, 40's, and 50's danced to Big Band Swing, Jump Blues, and early Rock 'n Roll. Characteristics of "the lindy" include swivels, aerials (air steps), kicks, rhythmic footwork, and energetic turns. The look of Lindy Hop is down low with bent knees and waist and open arms. One can pike forwards or backwards depending on style. Lindy Hop can be danced very fast (300bpm) or very slow (90bpm) and everything in between. Lindy Hop evolved into West Coast Swing during the 60's and 70's and changed as the music changed. In the late 80's and 90's Lindy Hop was rediscovered and made trendy with the help of original Lindy Hopper Frankie Manning, vintage video clips, neo-swing bands, and movies like Swing Kids, Malcolm X, and Swingers. Now you can dance the Lindy Hop in any big city in the world. Other terms for Lindy Hop are Jitterbug, Jive, Jump, and East Coast Swing. East Coast Swing is the 6 count pattern that Lindy Hopper's do that many ballrooms teach as a separate dance. Lindy Hop nowadays has many related dances that are an essential part of your swing vocabulary including Balboa, Bal-Swing, Collegiate Shag, Shadow/Tandem Charleston, Front Charleston, and 20's Charleston. There are also some swing line dances and routines that are known worldwide such as The Shim Sham, The Big Apple, Dean Collin's Shim Sham, The California Routine, and The Jitterbug Stoll. Lindy Hop is a street dance in that it's ever changing, done mostly socially, and is open to lots of inspiration and new steps. To become a Lindy Hopper you should take Lindy Hop lessons and most importantly, GO DANCING! It's fun, you never need a partner, and you will make many friends. Get involved.


LINDY HOP or Jitterbug is a modern(1940s) expression of the old 1920s ragtime. It is said to be of Negroid in origin. It went thru a fad period of being an extremely eccentric dance with its wild acrobatics inspired by the rising popularity of boogie woogie. In its present form (70s) it may be a lively though smooth dance , or it may be a slow sophisticated style. More currently referred to as SWING -it is the delightful answer to a large number who enjoy the syncopated quality. The livelier tunes, the more open and informal positions and the lesser demand on the man to be a good leader (vs ballroom) have all made swing appealing. There are steps and variations as broad in scope as the dancer`s imagination. They vary in routine and style in practically every section of the country, but all routines and styles have a similarity in rhythm which makes it possible to find a common step which is basic to many variations. While the shag and single lindy represented the earlier popular basics, they gave way to the double lindy when the rock and roll beat was introduced following WWII and this was joined by the smooth sophisticated triple rhythm a short time later. Both of these can still hold their own with modern rhythms.


Swing is written in foxtrot time 4/4 or cut-time and can be danced to any foxtrot tempo, however, the more syncopated tunes are more desireable. The shag was actually the first dance to be called jitterbug and its slow slow quick quick rhythm has set the basic pattern fo all the others. The single lindy has the same rhythm pattern. 

Single Lindy:  Cue: Slow slow quick quick or Side Side Rock Step

  • 4/4    step     step   rock   step                                                                         
  •            1-2       3-4       1        2

Double lindy is very adaptable to slow or fast rhythm and has proveen to feel good with modern swing tunes even though rock and roll has gone the way of all fads. In 4/4 or cut time, the action is an even six pattern. All are quick beats. The accent in the movement falls on beats 2, 4 , 2

Double Lindy: Cue: Dig Step, Dig Step, Rock Step

  • 4/4   touch  step  touch  step  rock  step
  •             1         2        3           4       1      2

The triple rhythm is most often danced to slow sophisticated tempos. The quick beat may be divided into two counts, one and.

Triple Lindy: Cue: Shuf - fle Step, Shuf - fle Step, Rock Step.

  • step close    step       step close    step     rock      step
  • 1      and          2           3    and         4           1           2

The triple rhythm should be small shuffling steps, keeping the feet close to the floor. Weight is on the ball of the foot.


The important difference between foxtrot and swing is the syncopated quality which varies with the individual dancer and is a matter of style. A 1-2 beat may be taken as a step hop, as a kick step, as a touch step (dig step) or merely as a step bend. It is essential that the basic rhthm pattern be maintained by both man and lady, in open or closed position. The step should be small and under the body as a narrow moving base. The body should be free from tension but not saggy. Good swing requires a magnificent alertness to maneuver the open jitterbug variation. This must be reflected by a firm body and a calculated resistance in the arm and hand which will respond to a lead of the man`s hand in any direction. Swing steps do not carry the dancers around and around the floor( in a line of dance as in ballroom or in a slot as in West Coast swing)), but appear as a series of rolling and turning figures covering a circular space in one area. A subtle smoothness of movement is a joy to see as two dancers swirl and roll through an elaboirate combination of open steps to the off-beat rhythm.

Frankie Manning and the Savoy style:






EAST COAST SWING  is taken from Jitterbug or single time Lindy Hop- From the 1940’s through the 50’s, Jitterbug swing was all the rage, and it’s back in style again! It is easy, high energy, fast and fun. Jive and Ceroc are example of swing dance styles that came from East Coast Swing. Find out more:


AERIALS - Moves with a partner that require precise timing, teamwork, and technique. They include for example piggy back, Russian split, hip jump, and duck and dive. They also include tricks, dips, and drops. Most aerials are only acceptable inside a jam circle. Watch the pros in action:


BALBOA http://www.youtube.com/watch?v=4fPXn9Es240&NR=1

Maxie Dorf & Lolly Wise added breakaways and swing turns to the Balboa, which nowadays is often referred to as Bal Swing. Balboa can be danced to any speed of music, from slow songs to very fast ones at 300 beats/min. Pure Balboa is probably the easiest way to dance to fast music & enjoy it! Balboa was very popular among the college Kids in the mid 30`s and is presently enjoying a resurge in popularity-even in Vancouver. http://www.stevedandrebecca.com/performances.asp (click the top link)Balboa videos

David Rehm:

CHARLESTON - Lindy Hop evolved for the most part from 20`s Charleston. Please see www.jitterbuzz.com/less3.html for more info.

20`s Charleston  Cow Tail: https://www.youtube.com/watch?v=OTycDNiL2Xk

The Charleston is a fast and flashy dance that swept the nation in the twenties. It is done by both individuals and couples and is danced both socially and in performance. The Lindy Hop, which emerged in the late 1920s, contains a lot of Charleston steps.
You can learn the Charleston, either as a solo dance, a partner dance or to add exciting steps to your Lindy Hop. Below is a video clip of Shorty George Snowden and others dancing in 1929, as the Charleston is evolving into the Lindy Hop. You can learn the steps from this film sequence in Alison and Joel's Swingbrain CD-Rom, After Seben. http://www.swingdanceshop.com/charleston5.html

COLLEGIATE SHAG - Originating out of the 1930s, Collegiate shag is an exciting dance for fast tempo songs. The Shag and Single Lindy represented the earlier popular swing basics. The Shag was actually the first dance to be called Jitterbug and its 'slow slow quick quick' rhythm has set the basic pattern for all the other styles of swing. There are other styles of Shag called St. Louis and Carolina. Collegiate Shag is the best style for fast music. http://www.youtube.com/watchv=qTnxCBfOcNU&feature=fvwrel
A very popular vintage blues dance in 1926 (in the time of the the 20s charleston). http://www.youtube.com/watch?v=RGPnPHrrZeA

Jam Circles & AERIALS - A circle of dancers clapping and giving encouragement and support to a couple in the middle. The middle dancers are free to do any flashy stuff to show off their dancing! Jamming is a performance skill! A good entrance & exit with a partner as well as aerials and flashy dance moves are highly admired by the crowd surrounding the dancers. Musicality and good lead follow technique will enhance the performance. Entrances, exits, flashy moves, musicality, hitting breaks, and techniques for dancing to faster tempos.*Jam Material: This is any dance move that needs more space than is available on the social dance floor, but can be done inside a circle of swing dancers with one or two couples in the center of the circle. Also includes flashy moves that are acceptable on the social dance floor.

Aerials 2007 curriculum with Kerry Ward: Basic Prep technique 1, 2 and Down, Up: 2 kinds  Timing together Use all your points of contact: teamwork. Maintain your frame. Know Commitment/Attitude/Trust

Fall 2006 Cirque du Swing workshops: 

Waterfall: He has his L arm up reaching toward the ceiling with a flat back platform. His R arm is bent. Facing his R shoulder and using basic entry she jumps onto his back landing on her stomach going under his L arm- reaching with both arms for his neck to wrap around. As she slides fwrd across his back he take her legs with his L arm and her neck with his R hand and  he stands up without letting her touch the ground until the landing infront. She arrests her descent at the top of his legs. He lifts her with 1 hand on the back of her neck first and then the other under 1 leg as she comes between his legs in the fetal position.  She lands infront.

Hip Toss: Entry with standard aerial handgrip: He brings the girl in -guys hip goes directly infront of her back.. He puts her R hand aX his chest and he puts his R hand aX her chest onto her L shoulder. His L palm is facing away from his chest as it holds her R palm. She brings her feet up in a pike position. as the guys pops her up. She does a back flip onto her feet. 

Monster back flip: guy thinks L hand to her L: put her arm around his neck, his arm around the waist or stomach With her legs bent she rests her back on his shoulder before the toss over. He looks fwd not back at her. He brings her in, down and up and over.  

Piggy Back to Walk Over: Girl behind the guy: She lands in piggy back with her hands on his shoulders and her feet flexed and legs parralel to the floor and her stomach comfortably away from his back so he can reach fwd to grab the soles of her feet. He brings her feet down and up and behind his back so she can stand leaning her thighs against his back for balance. She uses his shoulders to stand. She Looks fwd with arms out to her side. When ready to exit she leans  fwd over his R shoulder and angles her body toward his left side and walks off with back straight. On the exit as she leans fwd he wraps his r arm around her waist and then grabs her extended L arm at the elbow. He grabs the arm and feeds her out with his l hand. She does not rotate her hips! Her feet are scissoring down-her body staying straight. No Backbend-she walks off.

Swingout with Toss-Use triple jump jam cirlce entry. Think about Platform, connection and timing. 

Step Over: 1 Leg over to jump down infront to jump up over the head to behind the back. Guy is a firm platform for the girl to step up on. She stands on his R side at R angle to him. Both hands are joined in a Xed arm hold with the joined L hands ontop (his L elbow points front and his L palm is up and over his R shoulder. His R palm is up and his R upper arm is in line with his R thigh.) She steps up onto his R thigh with her R foot and sweeps her L leg over his head and jumps off landing directly infront of him. He then lifts her with the joined hands to land her directly behind him. The hands maintain contact. She must not let her legs go fwd on the lift to avoid pulling the guy off balance

The Fly: From a swingout he changes the hand grip to connect his left to her right hand in a secure tight hold. Using the standard aerial prep: 1, 2 down up: She lifts off from her right foot using his head to push her body up with her left palm and bending both knees.As he rotates her around his right arm to land infront of him she extends her legs and her right arm in the air then bends her knees and bounces on the landing using the hand connection to push away from the lead. Just before lift off she should see his head just below hers with his eyes looking up at heras he wraps his right arm to lift and rotate her.


Mama's Stew was created by "Mama" Lou Parks, who was instrumental in keeping Lindy Hop alive in the 50s, 60s, and 70s. "The Stew" is extremely representative of her style: Expressive and demanding. Mike F. doing The Stew: http://www.youtube.com/watch?v=Gon9CEi0Y_E
Mama Lou and her troupe performing The Stew: http://www.youtube.com/watch?v=tn8n5eSh37I


George Gee Make-Believe Ballroom Orchestra performs "Wednesday Night Hop" for the Lindy Chorus at Roseland Ballroom in NYC at Frankie Manning's 88th ...

***WATCH ORIGINAL VIDEO:  http://www.youtube.com/watch?v=8RjmD7V0sdY

The Lindy Chorus was choreographed by Frankie Manning to work with standard 8 bar Big Band songs, and, in particular, Andy Kirk's Wednesday Night Hop. This piece requires a partner and for Frankie's 85th Birthday Celebration in May of 1999, over 100 couples will hit the floor to do this piece to the live music of George Gee's Make Believe Ballroom Orchestra.

32 beats intro, open position, no steps

Lindy circle STOP on 7
Double underarm turn to "apart."

Charleston, apart (second time through, swing low)
Charleston, apart
Charleston, apart
Texas Tommy (STOP on 7) to shake hands

Suzie Q
Entrance to back Charleston
Back Charleston start left back on 5
Back Charleston
Traveling Charleston entrance

Traveling Charleston
Traveling Charleston big kick exit on 3
Tuck turn rock step on 5 (R kick from CW turn, awkward for followers)
Hand to Hand Charleston first kick on 3

Hand to hand Charleston
Kick around to facing 3 kicks, end slightly to each other's left,
leader steps on 8, follower holds on 8 (prep for rock step)
Slide back: Follows cross in FRONT of Leads

Points (heel and toe)
Points (heel and toe)Twirl
Points (heel and toe)
Follows: swivel in place; Leads: ROCK STEP CROSS STEP (waterfall) ( second time through both partners do Crazy legs instead)

* Repeat pattern above with the additional notes in blue*

Lindy circle
Tuck turn
ROCK-STEP, hip catch spin
Leader jump half-turn CCW (lands on 5) facing away from follower; Follower rock steps on 5-6, jumps and lands on his back on 1
Walk off

Variations on the Lindy Chorus:

  • http://www.youtube.com/watch#!v=Wz2uTcWo-44&feature=related short street version to song Real Gone: Good for duo performance!
  • http://www.youtube.com/watch?v=mTTy2P15qaY done by porto swing to Little Brown Jug.
  • 1940s Jive Stroll:  http://www.youtube.com/watch?v=dDvrT6wPat4

    Jitterbug Stroll https://www.youtube.com/watch?v=FcJbrWd1oxM created by Ryan Francoise.

    Shim Sham:

    In the late 1920s and the 1930s, at the end of many performances, all of the musicians, singers, and dancers would get together on stage and do one last routine: the Shim Sham Shimmy. Tap dancers would perform technical variations, while singers and musicians would shuffle along as they were ables a result of this conglomerate background, there is not one universal "shim sham"  there are several variations. When a group of people do the Shim Sham (especially a group of people from different cities), their steps will be largely similar with some variation and even some improvisation. One particular routine is quite common, and can be learned by intermediate dancers in a social setting. There are a number of alternative choreographies—one developed by Frankie Manning another by Al Minns and Leon James (also called the "Savoy Shim Sham"), and a third by Dean Collins

    The Shim Sham routine created by Leonard Reed and Willie Bryant  in 1927 uses four popular steps of the period: the Shim Sham, the Pushbeat and Crossover, the Tackie Annie or Tack Annie, and the Half Break. Originally called “Goofus” and done as a comedic farm dance to the song “Turkey in the Straw,” the dance was performed by Leonard Reed and Willie Bryant around the South while they were touring with the Whitman Sisters Troupe. The dance was then taken to the Shim Sham Club in New York, where the farm theme was dropped and chorus girls were added to the dance. The chorus girls further varied the dance by shaking their shoulders while doing the first step, and soon the dance became known as the Shim Sham Shimmy. Leonard Reed Shim Shams

    • The original Shim Sham from 1927 is a 32 bar chorus composed of 4 steps and a break
    • The Freeze Chorus, circa 1930’s. This dance is the same as the Shim Sham but without the breaks
    • The Joe Louis Shuffle Shim Sham, 1948. This is a tap-swing dance 32 bar chorus number that Leonard Reed performed with the World Heavyweight Boxing champ Joe Louis
    • The Shim Sham II, 1994. This dance is a 32 bar chorus dance based on the original Shim Sham
    • The Revenge of the Shim Sham, 2002. This 32 bar chorus dance is Leonard Reed’s final Shim Sham, which builds elegantly upon his original four.

    The Shim Sham is 10 phrases of choreography (each phrase lasting four 8-counts), so it does not usually take up an entire song. After the Shim Sham was over, the dancers then would exit either stage left or right, depending on what was agreed upon for that show.

    Today in the Lindy Hop scene, once the Shim Sham choreography is over, dancers typically grab a partner and break into lindy hop for the remainder of the song. During this portion of the song, the band or a DJ may call out "Freeze!" or "Slow!" instructing the dancers to either stop where they are or dance slowly, then call out "Dance!" to tell everyone to resumes normal dancing. The Frankie Manning version adds a Boogie Back/Boogie Forward phrase and Boogie Back/Shorty George phrase to the end of the basic choreography, then repeats the basic choreography before the Lindy break—but in repeating adds a pause or break at the end of each 8-beat phrase/dance move. Only after the repeats are ended do the dancers break into freestyle Lindy Hop.

    The Shim Sham goes best with swing songs whose melody lines start on beat eight, as does the choreography. An obvious choice is The Shim Sham Song (Bill Elliot Swing Orchestra), which was written specifically for this dance and has musical effects (e.g.breaks) in all the right places. However, today the Shim Sham—particularly the Frankie Manning version—is danced more often to "'Tain't What You Do (It's The Way That Cha Do It)" by Jimmie Lunceford and His Orchestra, or "Tuxedo Junction" by Erskine Hawkins. In fact, it is typical now at a Lindy dance party for dancers to start up a Shim Sham whenever "'Tain't What You Do" is played. There is also a recording "Stompin' at the Savoy" with the George Gee band where Manning himself calls out the moves.

    These are the 4 steps of the original 32-bar Shim Sham:1) The Shim Sham & The Break, 2) Push and Cross, 3) Tacky Annies, 4) Half Break ( see descriptions in order below).

    18e1stomp brush stepRRR
    2e3stomp brush stepLLL
    24e1estomp brush ball changeRRRL
    2e3stomp brush stepRRR
    3+4repeat with sides reversed
    5+6repeat bar 1-2, ending with:
    62e3stomp brush touchRRR
    78 1stamp toeRL
    2 3estep hop stepLLR
    8(4)e1hop stepRL
    2 3step stepRL

    98123stamp step stamp stepRLRL
    104 1estep heel step (crossing in front of right foot)RRL
    (2)e3heel stepLR
    11+12repeat with sides reversed
    13+14repeat bars 9+10
    154 1estep heel step (crossing)LLR
    (2)e3heel stepRL
    16repeat bar 15 with sides reversed

    17e4e1stamp stamp brush touch (crossing behind)RLRR
    2e3stamp brush touch (crossing behind)RLL
    184e1stamp brush touch (crossing behind)LRR
    2e3stamp brush step (crossing behind)RLL
    19-22repeat twice, ending with:
    222e3stamp brush stepRLL
    23+24Break as before

    258 1stamp stepRL
    e2e3shuffle ball changeRRRL
    27+28break as before
    29-32repeat 25-28, ending the break with:
    32(4)e1hop stepRL
    2 3jump out, jump inBB


    "fall off the log - shuffle - step step - shake shake, step - step - shake shake"
    Created in a club in Chicago (De Lisa) in 1940. A dancer named Trankey Doo 
    performed this choreography. It was added to and embellished into what we 
    have today and is done to any song with classic swing structure. 

    Leon James and Al Minz would do this in their repertoire as they traveled and danced
    (we know 2 versions: Frankie Manning & from The Spirit Moves)

    The following info is compliments of the cat. The Tranky Doo was originally choreographed by Pepsi Bethel. Frankie Manning made his own version. http://en.wikipedia .org/wiki/ Tranky_Doo

    And here's a Yehoodi thread that contains some links to various modern 
    performances, as well as a step list by Mike Faltesek:
    http://www.yehoodi. com/phpBB2/ viewtopic. php?t=65572

    The Tranky Doo is Lindy Hop Jazz choreography. It first appeared at the Savoy Ballroom in Harlem during the 1940s. It was choreographed by Pepsi Bethel.

    At that time, it was danced to Tuxedo JunctionIt was common to Lindy hoppers like the Shim Sham.

    Notes From Swing Brain: (called “Trun-key Doo” on the spirit moves) This dance was choreographed by someone named Frankie Manning while the Congaroo Dancers were playing the Club de Lisa in Chicago (~1940). There was a chorus girl there who they nicknamed "Trankey Doo" and the first two steps of the Trankey Doo dance were her steps that she did. They named the dance in her honor, but the rest of the choreography is all Frankie's. The Congaroos brought the Trankey Doo to the Savoy Ballroom and it was picked up by a lot of dancers there.

    Music used: Wabash Blues (omitted the first eight 8 counts to fit routine)
    (you can fill the first eight 8 counts with anything you want, then start the Trankey Doo matching the moves below – you can use any music you want…)


    • 1 Fall off the log (RF start) arms clap up (curve back and up with the FOL vs straight mvmnt)
    • 2 &8&1-Shuffle around - RLRL, 2-7-“low down” – “toe heel step” with S out to side
      (2& toe heel R, 3 out L, 4& toe heel L, 5 out R, 6& toe heel R, 7 out L)
    • 3 Repeat 1 - starting with the LF up 4 Repeat 2 - LRLR and (2& toe heel L, 3 out R, 4& toe heel R, 5 out L, 6& toe heel L, 7 out R)
    • 5 8-SR turn R, 1-SL, 23-Shake Shake, 4-SL turn L, 5-SR, 67-Clap Clap
    • 6 Boogie forward (8 kick RF fwd)
    • 7 Repeat 5
    • 8 Boogie forward – tap LF on 7 – jump onto LF on 8 – kick RF to the right…
      end of the original Trankie Doo
    • 9 8-KR, 1-X RoL, 2-KR, 3-X RoL, 4-turn to R, 5-H, &6-RL while turning, 7-RF, 8-KR (repeat)
    • 10 Repeat 9
    • 11 Skate to the left – 1234 on LF, 567 on RF, &8 jump on RF – touch LF
    • 12 Step back K X – 1 back LF, 2 back RF, 3 touch LF, 4-K LF fwd, 567 turn CW step LRL – face front
    • 13 Horse (easy) – 8&1-KBC R, 2-SR, 3-slide fwd LKn up, 4-SL, 5&6-KBC R turning CCW, 7-SR
      Horse (hard) - 8&a1-ShuffleBC R, 2-SR, 3-slide fwd LKn up, 4-SL, 5&a6- ShuffleBC turning CCW, 7-SR
      ARMS with the slide - Both up OR punch Rarm up
    • 14 Jump Shorty George – 8-L up, &-SR, 1-ShG to L… (hold 4 & 8)
    • 15 Cont. Shorty George (hold 4 & 8)
    • 16 Cont. Shorty George (no holds)
    • 17 Tap break – 8-twist/K RF/clap up, 1-SR, 2-SL, 3-SR, 4-tap L beh, hop and turn CCW 56-K S LF, cont turning CCW back to front 78-K S RF
    • 18 CW swing leg turn – 12-swing L fwd, 34-touch L back, 5-XLoR, 6-CW turn, 7-SL
    • 19 Repeat 17
    • 20 Repeat 18
    • 21 Hesitation FOL with tic toc – 8-K RF, 12-R L, 3-lunge R, 4-onto LF, 5-K RF, 6 X RoL, 7-toc/out
    • 22 Tic Toc to the R until 7 – evens in, odds out
    • 23 Repeat 21
    • 24 Repeat 22
    • \25-27 Messaround CW x 3
    • 28 Truckin’ - 12 L, 34 R, 567 LRL, 8 Hold
    • 29 Charleston turn 180* - 12-R fwd, 3-R back, 4-HOLD, 5-X LF back, 7-turn CCW, 8-HOLD
    • 30 Charleston turn 180*
    • 31 Charleston turn 360*
    • 32 Slip Slop – 8 Clap, &1-Slip Lknee up, &2-Slop Rknee up, 34 = run run, &5 LR Rfwd, 6 Hold, &7 RL Lfwd
    • 33 Fall off the log turn to L – 8-K R, …, 56-back S L R (facing L), 78- K S LF fwd
    • 34 RF Swing kick turn to front- 12-R fwd, 34-R back, 5-X RoL, 7-turn CCW facing front
    • 35 Fall off the log turn to R - 8-K L, …, 56-back S R L (facing R), 78- K S RF fwd
    • 36 LF Swing kick turn to front - 12-L fwd, 34-L back, 5-X LoR, 7-turn CW facing front
    • 37 R knee slap on the evens – RH back (1, 5) and forth (3, 7), LH up
    • 38 Shimmy – on 8 snap/Rknee up
    • 39 Fishtail – 8-RKn up, 1 H, &2 RL, 34-fish L, 56-fish R, 78-fish L
    • 40 Fishtail – 12-R fwd, 34-L fwd, 56-R fwd, 78-L fwd – 8&1-KBC L
    • 41-44 Truckin’ x 4 – 2=RF fan out from previous KBC – 34 LF, 56 RF, 78 LF, 12 RF…
    • 45 8&1= KBC with RF in a CCW circle with snaps
    • 46 Repeat 45
    • 47 8-tap Rheel, 1&2- RLR, 3-L, 4-Rknee up/clap/slide, 5&6-RLR, 7
    • 48 END?
      1-SR, 2-HOLD, &34-L R L, 5-jump onto RF with LF up and back/snap
    • OR 1-hold, &2-jump RL (look girley…), 3-7 Hold, 8=butt pop out (guys ???)

      THE BIG APPLE from the movie "KEEP PUNCHING"