28.02.2018 Black History Month Special at Helinä Rautavaara Museum

Welcome to celebrate Black History Month with dancers Clyde and Malin Wilder at Helinä Rautavaaran Museum, 28.02.2018 at 6 PM!

In the United States and other countries, February is dedicated to celebrating the cultures of the African diaspora and approaching history from a black perspective. Dancer Clyde Wilder (USA) and dancer-researcher Malin Grahn-Wilder (Fin) perform and discuss African American dance tradition from the point of views of language, communication and freedom. Their interactive lecture-demonstration highlights movements and rhythms as forms of self-expression, building communities and generating hope. The audience is invited to participate in the dance celebration!

Venue: Helinä Rautavaara Museum, Ahertajankuja 4 in Tapiola, Espoo


Tervetuloa mustan historian ilta tanssijoiden Clyde ja Malin Wilder seurassa Helinä Rautavaaran Museolla 28.02.2018 klo 18 alkaen!

Yhdysvalloissa ja muissa maissa, helmikuu on omistettu afrikkalaisessa diasporassa kehittyneille kulttuureille sekä historian käsittelemiselle mustasta näkökulmasta. Tanssija Clyde Wilderin (USA) ja tanssija-tutkija Malin Grahn-Wilderin (Suomi) esitys ja luento syventyvät afrikkalais-amerikkalaiseen tanssiperinteeseen kielen, kommunikaation ja vapauden näkökulmasta. He osoittavat, kuinka liikkeet ja rytmit voivat muodostaa yhteisöjä, luoda toivoa ja toimia itseilmaisun välineinä. Myös yleisö on tervetullut osallistumaan tanssiin!

Paikka: Helinä Rautavaaran museo, Ahertajankuja 4, Tapiola, Espoo

Lisää tietoa tapahtumasta:




You can also celebrate Black Dance History by learning the Lindy Hop and Blues dance with us! Check out our classes starting February 11th:


Voit juhlia mustaa tanssihistoriaa myös opettelemalla lindy hopia ja blues-tanssia! Katso lisätietoa 11.2. alkavasta kurssista ylläolevan linkin alta.


Photo (c): Jirina Alanko


Celebrating the lives and legacies of dancers Frankie Manning and Chuck Davis

Last week we celebrated the lifework and legacy of two legendary dancers, Frankie Manning and Dr. Charles “Chuck” Davis.

Frankie Manning (26.5.1914–27.4.2009) was a pioneer of lindy hop, a Tony award winning choreographer and a celebrated teacher, who spread the joy of swing to new generations of dancers all over the world. The movie “Hellzapoppin’” (1941) includes one of his most iconic performances:


You can find more information on Frankie’s life and legacy here:



Check also the brief documentary on the history of swing on our Youtube channel, featuring dancers Frankie Manning, Norma Miller, Clyde Wilder, Mickey Davidson, George Lloyd, Chazz Young, among others:



We recently received the sad news of the passing of Baba Chuck Davis (01.01.1937–14.05.2017). Both as a dancer, choreographer and producer, Chuck Davis was instrumental in introducing dance traditions of the African diaspora in the United States. You can read his obituary in New York Times here:

Chuck Davis was the founding artistic director of the Dance Africa festival at the Brooklyn Academy of Music. He started the festival in 1977 after which it has become one of the most remarkable annual events celebrating African dance in the U.S. This year’s festival 25.–29.05. was dedicated to Mr. Davis’ lifework:



The co-artistic director of Helsinki Traditional Jazz Dance Company, Clyde Wilder, had the privilege to work and perform with both Frankie Manning and Chuck Davis.


“I want to thank them for their inspiration, energy, and the motivation that I received from them for my own work. I feel proud that I have know them, worked with them and experienced their love for their work and level of artistry,” Clyde Wilder says.


The both of us were happy to celebrate Frankie Manning with our New York swing dance community, dancing to George Gee Swing Orchestra at Swing 46 on May 26th, and Chuck Davis with the U.S. African dance community at the Dance Africa festival on May 27th.

Thank you, Frankie and Chuck, and may your legacy live on. And to borrow Mr. Davis’ slogan:

Peace, love and respect for everybody!


(c) Malin Grahn-Wilder



BAM (Brooklyn Academy of Music) celebrated the 40th year of the Dance Africa festival, founded by dancer and choreographer Chuck Davis in 1977. In the picture, a performance by International Afrikan American Ballet at the Dance Africa festival in 1983.

New York City Dance Inspiration

Frankie Mannning’s cetennial celebration, Tap teacher training, incredible performers on stage…. The dance teacher of Helsinki Traditional Jazz Dance Society reflects on the inspiration she received while dancing her summer away in New York.

As for several years now, my summer in New York was spent studying, learning, experiencing, exploring and just simply breathing the spirit of dance. I have participated to festivals, workshops, tap teacher training, weekly dance classes with fantastic teachers; I have seen an incredible amount of breathtaking performances; I have danced to the enchanting music of great jazz and Latin bands in parks, concerts and dance parties.

I feel overwhelmed after all of these wonderful experiences, all the inspiration and insights, all the great things I have learnt. But as the master of tap dance, Brenda Bufalino said to me: “It is better to be overwhelmed than underwhelmed”. I agree. And I am happy to say that the dance summer of New York has definitely not left me underwhelmed!

Me and my partner Clyde Wilder came back to New York for attending the Frankie 100 –festival – the centennial celebration of dancer Frankie Manning, the legendary member of Whitey’s Lindy Hoppers. Clyde performed in a number called “Swing classics” in the show Swingin’ Frankie’s Way, produced by Chester Whitmore at Harlem’s famous Apollo Theater. Every night, the greatest big bands of today, such as George Gee, Gordon Webster and Harlem Renaissance Orchestra, played for thousands of swing dancers from literally all over the world. It felt astonishing to realize that all of them had travelled here just out of the pure love of dancing, and for wanting to celebrate the legacy and memory of Frankie. What an incredible uniting power dancing can be!















1.The performers of the “Swing Classics” –number, choreographed by Chester Whitmore, on the stage of Apollo Theater, Harlem, New York. 2. Joseph and Josette Wiggan tapping to the tune “Broadway” in the show at Apollo Theater 3. The legendary queens of jazz backstage of Apollo Theater: Mable Lee, Norma Miller and Dawn Hampton. 4. Countdown into Frankie Manning’s 100th birthday at Terminal 5, New York City. On the bandstand Gordon Webster’s Big Band is swinging to dancers from all over the world.

While swing dancers were stomping for Frankie at the Terminal 5 in Midtown Manhattan, on the other side of the city a big, old, beautiful theater was filled with traditional African drum rhythms and dance steps. Brooklyn Academy of Music hosted the 37th Dance Africa, a festival produced by Baba Chuck Davis. (Clyde originally started his dancing career in Chuck Davis’ dance company.)

The highlight of this year’s show was Bakomanga, a dance company presenting the traditional dances and songs of Madagaskar. Last year, me, Clyde and our friend Ilse Paakkinen, who is also a board member of Helsinki Traditional Jazz Dance Society, went to this festival together and experienced the absolutely captivating rhythms of traditional Zimbabwean dance, performed by Umkhathi Theater Works:


This summer, I have mostly been devoted to the study of the wonderful art of tap dancing. I have been privileged to work on the rudiments of tap with Charles Godderzt, who has been generously sharing his expertise, gathered through decades of work as a dancer and teacher.

One of the highlights of my summer was the intermediate level adult residency program, taught by the legendary dancer Brenda Bufalino at the Tap City Festival. During the intense week, we worked on her choreography Turnaround (to John Di Martino’s modern jazz tune “Turnaround”), which we got the change to perform at the end of the week in the student-show case Tap Future at Symphony Space.

My learning-experience became even more comprehensive by also, during the same week, reading her book Tapping the Source – Tap Stories, Theory and Practice. Being a philosopher by education, I love how this work opens up the philosophical depth of  tap dancing.

In addition to technique, steps and working on the 6/8 rhythm, I learnt tremendously about the artistry and choreographing of dancing. I am a great admirer of Ms. Bufalino’s choreography, and I particularly enjoy the way she creates counterpoints. As an example of this, I link the choreography Buff Loves Basie Blues, performed by the American Tap Dance Orchestra:


Tap City 2014 058







Malin and Clyde Wilder swinging out on the Copasetics Boat Ride. By organizing this boat ride, Tap City Festival continues the tradition of the legendary dance group, the Copasetics, who used to give boat rides with dancing and live music – and hands this tradition down to future generations of dancers.

My intense tap studies continued the next week in the first training period of the Tap Teacher Training Program, organized by the American Dance Foundation. I feel very grateful and privileged for the possibility of participating to this program, which I also knew would be on a very high level (which, at the outset, made me feel somewhat nervous). What makes this program particularly fantastic is that it both offers a very high-level education in the technique and aesthetics of tap dancing and transmits the cultural history and artistic legacy of the great masters of tap.

Teaching children’s dance programs myself (even if not specifically in tap dancing), I was quite inspired by the amount of attention the program paid to the dance pedagogy and questions concerning e.g. how to teach jazz rhythms to children.

Since working in an intimate connection to the history and cultural tradition of jazz is one of the most important foundations of my work as a dance teacher, I was thrilled to learn dances of the Copasetic canon: a dance repertory handed down by such legendary dancers as Honi Coles and other members of the dance group Copasetics. Their dance choreographies were handed down to us by Barbara Duffy. I also have to mention that as little of an early-morning-person as I am, I really enjoyed starting each day at 9 AM with Ms. Duffy’s technique classes. The energy and intensity of her classes are a great source of inspiration!

Here’s a link to Honi Coles and Cholly Atkins performing their classic shoft shoe choreography Taking a Change on Love on an TV interview with jazz historian Marshall Stearns:


In Ms. Bufalino’s master classes, we entered the depths of the artistry of creating dance choreography, as well as of performing with live musicians. In this context she also reminded of the importance of “seeing work”: watching performances and exploring the possibilities of what has been done and what can be done in the dance.

This summer, me and Clyde have definitely seen work. And not only any work, but dance as its peak, performed by many of the greatest dancers of today. We have seen work on extremely high level of creativity and originality, work of tremendous depth and meaning.

We saw Savion Glover entering the spiritual realm of mediation and prayer through the rhythms of his feet in his latest production Om at the Joyce Theater.

We saw the uplifting and dynamic Broadway show After Midnight, produced by jazz legend Wynton Marsalis, accompanying great singers and wonderful jazz tunes from particularly my favorite composer Duke Ellington. The show received the Tony Award for its great choreography – but for our shock and surprise, it was taken off from Broadway right after the Tony Awards. We only got the change to see this show once – some of our dancer friends liked it so much that went to see it more than ten times!

When we spent a week in New York with dancer Chazz Young, an old friend of Clyde’s back from the days of performing with Norma Miller’s Jazz Dancers, we spent a lot of time looking and discussing dance and music films. (Films, of course, are essential for seeing and celebrating the work of the great performers of the past.) We also went to see Audra McDonald’s phenomenal presentations of Billie Holiday’s music and life story in the show Lady Day at the Circle in the Square Theater. All of us were captured both by McDonald’s singing and the narrative that painted a vivid picture of how it felt to be a black female performer on tour through a segregated country where one could, for example, be denied the right to use the toilet, just for being black (and a woman).

When Alvin Ailey American Dance Theater played two weeks at the Metropolitan ballet, we saw three different programs. We will never get tired of seeing the masterpiece Revelations over and over again, but this year’s highlight for us was The Ostrich – the original choreography of Asadata Dafora from 1932, restaged by Charles Moore. When pursuing my archival research in the history of African American dance at the Lincoln Center Performing Arts Library, I saw old footage of Asadata Dafora himself personifying the ancestral spirit of the great bird. Here’s one version of The Ostrich I found online:


Another great book I read this summer, and can warmly recommend, is Alvin Ailey’s autobiography, fittingly named Revelations. This book opened new dimensions for my understanding of the pieces we saw onstage.

Alvin Ailey American Dance Theater has great material on their Youtube channel; check out e.g. this video of Uptown, choreographed by Matthew Rushing for AAADT’s 2009–2010 season (Clyde was the swing consultant of this piece):


Finally, we have been extremely encouraged by just how bright the future of tap dancing looks like. One of the greatest inspirations for us, from the point of view of spectators of dance, was the show Tap & Song produced by Tony Waag. This show (part of the program of Tap City Festival) included outstanding performances by both new and more established tap dance companies, mixing the vernacular of the tap with other cultural influences such as Brazilian rhythms and capoeira. All of the performances were spellbinding, and many received a standing ovation, but the class act Tap and Tray by the German duo Kurt & Klaus (disciples of “Mr. Magic Feet” Carnell Lyons) really brought the house down.


I will return to Finland with lots of new ideas and inspiration, as well as lots of technical homework and the mentioned dances of the Copasetic repertory to work on. My dance classes of this Fall will be connected to my tap teacher training, and I look forward to communicating about my work in a long-distance collaboration with my appointed mentor. I very much look forward sharing the inspiration, insights and skills that I have acquired with my students!

I am thrilled and encouraged by the fact that attending ATDF’s tap teacher training program felt like a beautiful affirmation of many of the central concepts that me and Clyde are already working with in our dance classes, both with our child and adult students. We feel that our work is essentially about transmitting the vernacular of jazz and introducing the philosophy and history together with the steps, rhythms and movements. With our work, we also want to hand down the legacy of the great dancers of the past. We feel that the ancestors of this dance tradition are very proud that their legacy is being continued, as the ATDF so wonderfully does in their programs, shows and festivals, as Clyde has been doing throughout his long career as a dancer, and as we are doing together through the work we do at the Helsinki Traditional Jazz Dance Society.

We look forward continuing our work in the Fall, in all of the many classes and workshops we are about to teach, all the shows we are going to perform in and the events we are going to produce!


Malin Grahn-Wilder


1277213_442305015887309_1735081717_oFebruary is the Black history month, a month that is dedicated to the celebration of African culture and history as well as cultures in the African diaspora! Of course, Helsinki Traditional Jazz Dance Society celebrates African American culture each month, but we have also created a special Black History program for you:

05.02. Jazz History Through Times, Espoon Cultural Center

09.02. Charleston, swing and blues dance performance & beginner-level Charleston work shop at Vapriikki Vintage, Vapriikki-museum, Tampere.

16.02. Tea dances. A dance event for the entire family at cultural and community center Kääntöpaikka, in Arabia, Helsinki. Tea, swingin’ music, student dance performances and possibility to learn the traditional Big Apple -dance.

20.02. Reflections of Jazz, cultural center Caisa. Discussion and lecturing on jazz, accompanied by dance performances. Tickets 10 euros at the door.



05.02. Jazz History Through Times, Espoon Kulttuurikeskus

09.02. Charleston, swing ja blues tanssiesitys & alkeistasoinen Charleston-työpaja Vapriikki Vintage –tapahtumassa Tampereen museokeskus Vapriikissa.

16.02. Teetanssit. Yhdistyksen perinteinen koko perheen tapahtuma asukas- ja kulttuuritalo Kääntöpaikalla, Helsingin Arabiassa. Teetä, svengaavaa musiikki, tanssioppilaittemme esityksiä ja mahdollisuus kokeilla Big Apple –tanssia.

20.02. Reflections of Jazz, kulttuurikeskus Caisa. Luento ja keskustelua jazzista, tanssiesityksillä höystettynä. Liput 10 euroa ovelta.


More information / Lisää tietoa:


House Rent Party: Tanssi kodittomille koti!

Julkaistu alun perin Kuohussa 1/2013

63087_10151335037690429_53472794_nUudelleenjulkaistu lyhennettynä katukulttuurilehti Iso Numerossa, kesä 2013 otsikolla ”House rent party helsinkiläiseen tapaan”

Syyskuussa kaksi ystävää tapaavat toisensa pitkän kesän jälkeen. Malin on viettänyt kesän tanssien New Yorkissa, Harlemin kaupunginosassa. Ilse on pohtinut, kuinka yhteiskunnallisia epäkohtia voisi korjata tavalla, joka olisi innostavaa ja hauskaa. Keskustelu polveilee kekseliääseen 1920–30-lukujen Harlemiin. Kun suuren laman kurimus nipisti harlemlaisilta vuokrarahat, he järjestivät talonvuokrabileitä.

House Rent Party perustui yhteisöllisyyteen; kutsuttiin bändi soittamaan, raivattiin olohuoneeseen tilaa tanssimiselle ja pantiin padat porisemaan keittiössä. Tarjoilujen, musiikin ja tanssin yhdistelmällä harlemlaiset saivat ansaittua tarvitsemansa vuokrarahat. Idea herää: järjestetään talonvuokrabileet Helsingissä, ja annetaan rahat asunnottomille – heille, joilla ei ole varaa maksaa vuokraa nykypäivän Suomessa!

Asukastalo Kääntöpaikka tarjoaa meille tilat tulevana Ravintolapäivänä. Suunnittelemme aluksi leipovamme ja kutsuvamme kavereita. Päätämme kuitenkin uskaltautua kokeilemaan kunnianhimoisempaa taktiikkaa: pyydetään ruoka- ja juomasponsoreita, ja tehdään tapahtumasta iso. Otamme yhteyttä Helsingin Kahvipaahtimoon, Théhuoneelle, Laitilan Virvoitusjuomatehtaalle ja juustoliike Lentävään Lehmään. Tanssijaystävämme Serena Chan lähettää kirjeen malesialaiseen ravintola Seraihin ja kuppikakkuja taiteilevalle Cup Cake Goddessille. Jäämme odottamaan jännityksellä mutta vailla suuria toiveita.

Myöntävät vastaukset alkavat tippua sähköposteihimme: sponsorit haluavat mukaan! Lähetämme lehdistötiedotteita eri medioihin. Taitamme lentolehtisiä ja julisteita, jotka tulostamme mustavalkotulostimella ja leikkaamme saksilla. Lähdemme kiikuttamaan ilmoituksiamme kaupungin tuulikaappeihin ja ilmoitustauluille.

Lisää ihmeitä on luvassa, kun Ilse kiertää keskustan vintage-liikkeitä tanssiyhdistyksemme Helsinki Traditional Jazz Dance Societyn nykyisen puheenjohtajan, Mikko Kuusimäen kanssa. Ilse ja Mikko poikkeavat heille ennestään tuntemattomaan kahvila Qulmaan. Höyryävien teekupposten äärellä Ilse kysyy omistaja Marc Aulénilta, josko House Rent Partyn lentolehtisiä voisi jättää kahvilaan. Marc katselee esitteitä tovin ja kysyy, ’haluaisitteko tapahtumaanne ilmaista keittoa?’. Äimistyneet Ilse ja Mikko vastaavat ilahtuneena myöntävästi. Sponsorit tarjoutuvat mukaan jo pyytämättäkin!

Otamme yhteyttä Vailla Vakinaista Asuntoa ry:hyn, jonne tuotot päätetään lahjoittaa. Ilse tapaa järjestösihteeri Hanna Piiraisen, joka kertoo asunnottomien pyörittämästä vapaaehtois- ja vertaistoiminnan keskuksesta (VEPA). Tapahtumamme portsari ja autonkuljettaja löytyvätkin VEPA:n reippaasta joukosta. Tällä välin Ilse käy Asunnottomien yössä ja Myllypuron kirkon kodittomien yössä kertomassa tapahtumasta ja jakamassa lentolehtisiä.

Sana juhlistamme kiirii pitkin kaupunkia. Mediat kiinnostuvat: Voima-lehti haluaa haastatella Malinia; Helsingin Uutiset, Töölöläinen ja Nyt-liite kirjoittavat tapahtumastamme. Kavereilta kuulemme, että juhliamme on hehkutettu Radio Helsingissä ja Basso Radiossa. Yhtäkkiä House Rent Party on kaikkien huulilla ja Facebook -sivullamme käy kuhina. Malinin tanssikurssilaiset sekä Kääntöpaikalta että Caisasta ovat innoissaan tulossa mukaan esiintymään, leipomaan ja järjestämään. Innostunut joukko vain kasvaa.

Koittaa 17.11 ja järjestäjiä jännittää. Kääntöpaikan ovella käy kuhina: lähialueen asukkaat tuovat leipomuksiaan. He ovat tarttuneet Ilsen esittämään leivontahaasteeseen, ”leivo kodittomalle koti” – kaikki myyntitulomme ja ylijääneet ruoat annetaan asunnottomille. Otamme liikuttuneina vastaan piiraita ja maukkaita kaalisipsejä. Lähes 30 tanssikurssilaista, joista suuri osa on aloittanut tanssiharrastuksen vasta samana syksynä, on harjoitellut ja laittautunut esitystä varten. On aika avata ovet ja laittaa jazz soimaan!

Tarjoilupöytä notkuu herkuista ja jonoa riittää läpi illan. Ihmiset vaihtuvat illan mittaan, mutta tanssilattialla on jatkuva vilske.  Perinteinen afrikkalais-amerikkalainen Big Apple -tanssi kerää kaikenikäiset ja -taustaiset ihmiset osaksi yhtä suurta tanssiyhteisöä. Tanssiryhmämme esiintyy illan aikana kolmesti. Esityksen jälkeen Malin vedetään syrjään: saksalaiseen kulttuurikanava Arten toimittaja haluaa haastattelun radio-ohjelmaansa. Olemme ylittäneet jo kansainvälisenkin uutiskynnyksen! Esityksen jäljiltä hikisenä Malin palauttaa mieleensä saksankielentaitojaan ja kertoo mikrofoniin tapahtuman filosofiasta. Ilahtunut toimittaja toivoo näkevänsä vastaavaa Saksassa.

Illan lopuksi ojennamme VVA:lle kenkälaatikon, jonka sisältää illan tuotot: yli 1600 euroa. Olemme auttaneet asunnottomia, ja meillä oli aivan järjettömän kivaa!

– Malin Grahn ja Ilse Paakkinen