How to Master Lindy Hop as a Part Time Dancer!

How to Master Lindy Hop as a Part Time Dancer!


Mastering Lindy Hop being a part time dancer can be accomplished.   I’m married, raising 2 children, running two businesses, and still able to practice my lindy hop on a daily basis.  Did I mention raising a 4 year old and a 4 month old?  I did.  Just making an emphasis.  Most people work jobs and don’t have the time to block out a few hours daily, or travel twice a month to feed their Lindy habit.

I wrote this article because people ask me how I am able to do all I do, and still improve in dance.  Here is an easy way to master the dance in whatever time frame you desire.  The key words are “time frame.”  You can condense your learning time with the principles I’ll share in the upcoming paragraphs, and Master Lindy Hop faster as a result.   Just remember that everything starts small.



Small things add up over time.  By the time you see the results, it indicates that you’ve done many things that seemed to be unimportant, and non praise worthy.  For example:  Practicing triple stepping to your favorite mid tempo song the correct way to 3 songs a day doesn’t seem like a big deal.  In fact, the next day you won’t feel any different.  It didn’t destroy your existing dance vocabulary if you neglected to do it, nor did it make you an instant Lindy Hop Master.  At least not right then. That is the secret.


By the time you’ve obtained the results you wanted, you’ve already done the work, when most people would want to equate your progressive discipline as “talent.”  Most would rather cram all their efforts into one dance weekend then relax when they return home, practice on occasion, and then wait for the next big event.  Doing easy things over a period of time is what you want to aim for. The key is to make them easy to do, and easy not to do.  This will make it easy for you to not make an excuse about the lack of time or difficulty level in your commitment.

154152_10150352516430441_5744009_nThis is the secret of how everything in nature works, but we live in a culture that promotes the violation of everything you do in your life naturally.  Robbing a bank, looking for the next amazing diet pill, winning the lottery, or taking a class and expecting perfection after the first couple of tries are all extreme examples of trying to omit the process. Cultivation is the key, and seems to be the invisible part that no one sees you do or won’t praise you for doing.

“But what if you don’t have someone to practice with!”  My response may seem elementary but profoundly significant.  Do what babies do. They imitate what they see, mess up, then correct over and over until they get it. This happens even if they don’t understand verbal language.  Their body knows that it’s designed to master things over time.   I’ve never met an adult that still crawled like a baby and said they just gave up on that walking idea.  Like babies, you will eventually master whatever it is you want to accomplish, even if you don’t fully understand the how in the moment.  Just do the what for now.


Pick a lead that executes many shapes you like, pick 2 shapes, and mimic the leads positions while practicing without a partner.  By the time you get to the next event and execute the shapes with a real partner, you’ve eliminated the anxiety that comes with not knowing where you want to go.  Now all you have to do is polish the way it should feel.  Think like a solo dancer.


Follows, I would suggest doing the same thing leads do.  Pick a follow that you would like to emulate, and then mimic her shapes and body movements in motion. That’s it. You don’t need a partner to lead the shapes that you practice with your body.  Let the lead decided the where to go on the dance floor, and you decide how well you would like to look in finishing those movements.  The styling can be handled without him.  If you need a sense of momentum in styling your movements, practice absorbing into your living room wall, or pulling away from your bathroom door knob.


The idea is that you can adjust how you look individually, and then practice how you feel with a partner.  You can be a copycat as long as you copy the right cat.  In school, if you copied from one person they call it plagiarism.  In college if you copy many people and cite them correctly they call it research.

If you want to rock the Nina Gilkenson swivels, do it.  If you want to copy Laura Glaess’s  silky stretchiness do it and make it your own.  If you want to do the Annie Trudeau aerials, try flipping off of your living room couch onto the coffee table.  (Maybe not first thing in the morning.)  It will take time to become comfortable in your own skin stylistically.  Much easier after you master the fundamentals.

The point is that both leads and follows can do something with what they have, and the ideal situation is to make “that” easy to do everyday.  Use inspiration from dancers to help you become yourself over time, and show them you’re gratitude by applying their principles on the dance floor.




If you have a partner, limit the time you “began” a “new idea” together.  Wait what!  Yes I said it.  Work more apart than together when the lead wants to try something new.  This is an argument eliminator, and it helps maintain the fun in creativity.  Fundamentally leads- “set things up”, and follows continue until the energy runs out, or something changes.”

Follows should avoid developing a mentality of knowing “where to go next.” That concept is the leads territory, and he can eliminate most of the stress that comes with working with a partner in the beginning stages of an idea by figuring out where he wants to go first in theory by himself.

Subsequently, since leads represent only 30% of the dance and follows represent 70%  in my opinion, follows are more effective when a lead is absolutely clear about “where” he wants the follow to continue the energy.  Leads try not to get caught up in the trap of “making the move happen” when really you only “start” the movement.

Since both of you while connected represent one new body sharing energy at different points, the follow has the harder job of matching energy and continuing somewhere until it runs out or something changes.  The follow is really the one in control, and if they don’t want to move somewhere the dance comes to an end.  So be patient with each other. You’ll be amazed how much time, energy and stress is saved by focusing more on what both of your roles are, and being patient with each other in the process.

On occasion, leads borrow the follow and let them know you’re not looking for a perfect response from them, but that you’re trying to “visualize” with a physical body where you might want to share energy with her in theory.  This relational technique explodes your creative senses and will accelerate your learning curves.

You don’t have to feel the result from the follow to determine if you have a good idea.  This is relieving for the follow, and eliminates a need to examine how well they are responding.  It is very difficult to communicate a new idea with someone who depends on responding to an understood idea.  (read my article on: “Benefits of solo dancing” if you have trouble with visualization.)


In conclusion, these are things that have proven to work for myself- since I’ve tried them with hundreds of leads and followers with over 3000 plus hours the last few years.   They may not work for everyone, but everyone should have the opportunity to model a successful example.

Set a goal for yourself.  Focus on one thing that you can work on and do it 19 days for 15 minutes a day.

Write me and let me know how you are progressing.  If you don’t have the time to practice 15 minutes a day because of time limitations, check out the article on “Why dancers should start a business”.  Hope this can help accelerate your dance journey.  Have a stress free day.

Jamin Jackson


  • Kishore

    This is awesome!
    I appreciate u for helping dancers.

  • Steve

    Sound advice, well articulated. Thanks.

  • Ryan A

    I appreciate the helpful information! We, at Purdue University, used your choreography as an example for musicality. It was fantastic. We watched you and your partner dancing to the highs, mids, and lows. It really got the class thinking about what they can do with their partner in a song.

    • jaminjackson

      Thanks, I hope my experiences can continue to liberate dancers.

  • Gregory Dyke

    Hi Jamin – I’m fascinated at the idea of learning partner dancing without an actual partner. On the one hand, it makes sense, at least for leads: good partner dancing is about moving yourself in ways that creates connection which in turn creates/suggests movement for your partner.

    I wonder to what extent your experience is that of an already very skilled dancer – sometimes, when our proprioception and mirror observation talents aren’t enough, the fact that the lead worked means we have a good body lead.

    I’m also curious about the difference between moving on your own and moving with a partner – doesn’t the partner really help for counter balance and to contribute in redirecting each other’s momentum? Could you practice fast swingouts without a partner? (maybe I should do that!)

    • Jamin Jackson

      Gregory, glad the article gave you a new perspective. In my experience, everything about starting solo condenses your learning curve, eliminates stress about where to go and how you look once you have a partner, and produces confidence in creating with or without a partner.

      This is all because of the familiarity you discover with the rhythm and shapes in your own body. This makes the partnering aspects of collecting and redirecting momentum easier to polish and more fun while on the social dance floor.

      Any shape you would like to do with a partner, you can also start it without one. That’s what I did to work on my fast dancing and also on my Charleston.

      I believe in Gregory Dyke:) You can do it!

  • Bart van den Bosch

    Thanks Jamin for this idea of practizing for yourselve. New moves and creativity are often there, just on the dance floor I stick to the same old routines. This gives me an idea how to work on my moves.

    And it’s a delight to see you dancing with Annie.

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