When this century was still young, swing dance was part and parcel of the blooming jazz scene in America. Both musicians and dancers were able to play with the music, thereby creating, on the spot, a new interpretation, a new twist. For that reason swing dance is truly at its best when done improvisationally like the music that conceived it.

This applies to all forms of swing, but the Lindy Hop is especially made for improvisation for two reasons. First, the Lindy is the beginning of all swing dance, growing up with early jazz in the 1920s. Second, during the "break-away" - when the follow and lead break away from a closed position - both partners play with the music and off of each other. According to the creative impulses of the moment one might see Lindy Hoppers adding a break, a slide, a hesitation, perhaps, or some tricky footwork that suits the music.

As a new generation of swingsters matures, the role of improvisation in swing dancing is becoming the dominating conversation in the swing community. Since its reintroduction, largely through the rediscovery of Frankie Manning, the Lindy has swept the country and Europe reaching even Australia and Singapore. The music has captured the hearts and enthusiasm of the young everywhere swing is hoppin'.

But most of us are still relatively young dancers in the sense that the average dancer does not really understand the music they are dancing to, and therefore do not dance to the music. Frankie Manning, as described in last month's issue of Resonance from the Festival, is one of the fathers of swing dance and became one of its greatest shapers and innovators. He grew up on the famous Savoy Ballroom dance floor, and for him the essence of improvisational dancing and that of jazz music are the same. They are linked by the same elements and also share similar complexities and joys.

"Knowing a particular song is not essential, understanding jazz is," he explains, adding wholeheartedly, "Listen to the music, listen to the music... it will tell you what to do."

Hear the music. Understand the way jazz works musically and "follow the pattern" of the music. Become familiar with what a chorus is, a phrase, how the structure repeats itself so that you can hear it develop, and feel the break or transition coming. "The dance comes from the music, it has a distinctive character just like Latin or tango." Within the character of the dance every song has its feel. One might be jumpin', another smooth. Certain steps are appropriate for one and not another. "Dance the way the music is being played."

Frankie highlighted two different kinds of improvisation. One was simply dancing the vocabulary of steps that you know as the music leads you. That is improvisation to Frankie because there is no set pattern in mind when the dancer comes onto the floor.

The other type of improvisation, however, is more at the heart of the exciting change that is sweeping the community. It is the vital element that transforms the Lindy Hop from "dancing steps" to a living art form, contagious and exciting. To Frankie it has always been alive, but for the next generation, we are about to make that quantum leap. This aspect is comparable to a jazz soloist when he goes off on some wild, spontaneous moment, creating on the spot something new and fresh.

"YES!" says Frankie, but there are guidelines. "You are still connected to your partner, just as the soloist is still playing with the band. It has its place and time. When the bandleader tells him to go, he goes. But at the end of the chorus he knows his time is ending and that he has to finish unless the leader says to take more time. He's still listening to the band. You have to play within the form, within the steps, with your partner."

A good lead will know when to improvise as a soloist, and even better, know how to take his partner with him. Equally the follow can improvise as a soloist but "it cannot be a step that requires both parties to do it. You're still the follow." Staying within the count and being ready to come back in are still important aspects of being a follow, says Frankie. Supporting one another during improvisation is important for both partners. Sometimes the lead needs the follow to mark time "like the trumpet needs the rhythm section" to help him keep the beat. And sometimes the follow needs more space and time to go with her creativity. It is exciting for both partners to play off of each other, picking up what the other is doing, going with it, then changing it and doing that for a while.

Follows and leads have different challenges. "Naomi," as Frankie describes one of his partners, "was really good. She always did her thing. But she knew the framework and took advantage of her time and did whatever she wanted to." It is hard, at first, for the follow to be completely focused on the lead and still think about improvising. It can be difficult to know sometimes when the lead wants you to do the step with him, and when he is just doing his thing and you need to mark time. It can be tough to discern whether he's dancing as a soloist, or if it's just a step you don't know. And there's the time when, if he would just do it one more time, even though you don't know it, you feel you could get it.

For leads, on the other hand, it can be difficult to communicate clearly while, at the same time, doing your own thing. In all of the excitement, taking care of your partner first is sometimes overlooked. And becoming open to the creativity of your follow requires being able to change the plan and adjust to the moment.

Hmmm... it sounds like a relationship, doesn't it? Fortunately it all happens at the twinkle of an eye and is supposed to be fun!

Actually, relationship really is at the heart of good improvisation: knowing the music, the dance, your partner, and then - in a secure state of connectedness - feeling the room to experiment and play. Both lead and follow are free to create and embellish but both need to remain sensitively mindful of the essential elements, remembering that all truly great art forms, be it love, dance or jazz have their frame within which the artist has to stay. Total freedom is chaos. Nevertheless, in watching Frankie one can easily see that boundaries need not be limitations to creativity, style, and grace.

True dancing is not so much about making steps happen as it is about letting dance happen-to the music. Really good leading, at its essence, is not remembering and skillfully guiding the follow through a choreographed set of steps. Nor is it an exercise in memory. Rather, truly accomplished leading is the ability to play with the music and to play off of your partner. And this can happen early on if it is nurtured.

Equally, good following is not so much about being able to perfectly follow the leads skillful communication with good frame, balance and style, although those elements are crucial. Good following is about listening to the music as well, being able to play off the lead, and allowing the synergy to inspire you to create on the spot. Good leading and following should include the ideas that the follow might have, allowing for her creative spontaneity, picking it up, playing along and developing it together.

This is when dancing becomes art and pure joy. This kind of dancing really changes the whole dynamic of partner dancing. It is more demanding of the follow, as she will need to be her own person as well as sensitively follow. And it is more demanding of the lead, for he will have to learn to be spontaneous and play. In the end though, I think that leads will gain more respect for their follows, being challenged and inspired by them, and follows will grow in creativity and presence as they learn to truly partner instead of solely concentrating on responding.