The Lindy Hop was christened at the Savoy dance hall in Harlem, New York; it was named after aviator Charles Lindbergh's "hop" across the Atlantic (in May 1927) by the dancer "Shorty" George Snowden.
Lindy Hop來自于紐約Harlem和Savoy舞廳；在飛行員Charles Lindbergh“跳躍”大西洋（在1927）后，“矮子”舞者George Snowden給取的這個名字。
Although the name of the dance was new in 1927, the dance itself was not a completely new invention. Its styles and forms had evolved from a number of previously existing dances. The most well-known of these influences is the Charleston (the evolution from the Charleston Basic to the Back Charleston move in Lindy Hop is obvious), but other possible influences include the Two-Step (which shares an eight-beat even-odd-even-odd rhythm pattern with Lindy Hop), the Cakewalk, Black Bottom and the Texas Tommy.
盡管舞蹈的名稱是在1927新取的，但舞蹈本身卻不是一個全新的發明。它的風格和形式已經經過了以前很多種舞蹈的演變。其中影像最大的當屬最有名的Charleston（早期Charleston基本步到Lindy Hop中的Charleston的演變是最明顯的），其他可能的影響包括Two-Step舞（它的八拍結構，奇偶奇偶節奏模式與Lindy Hop是一樣的），還有CakeWalk，Black Bottom和Texas Tammy等。
An unusual (for the time) feature of the dance was the inclusion of sections where the dancers would move apart from each other, and perform individual steps (known as the "breakaway"). Another unique feature that was introduced in these early days were the first airsteps. These daring manoeuvres were exciting for the audiences to watch, and were soon a staple of organized Lindy Hop performances.
這個舞的一個不尋常（在那個時代）特點在于，它舞蹈的部分中舞者可以彼此分開，并進行單獨的步驟（稱為“breakaway”）。另一個獨特的特征是早期產生的airsteps舞步。這些大膽的動作能令觀看的觀眾人興奮不已，所以它很快就被加進Lindy Hop的表演當中。
Indeed, Lindy Hop was so exciting to watch that troupes like Whitey's Lindy Hoppers found themselves in demand for movie scenes, most famously in "Hellzapoppin'" and the Marx Brothers' "Day at the Races". These films were to prove important in the renaissance of Lindy Hop nearly fifty years later.
事實上，看Lindy Hop的演出實在太刺激了，以至于Whitey的Lindy Hoppers們發現連電影熒幕也需要他們，其中最著名的電影有“hellzapoppin”和馬克思兄弟的"Day at the Races"。這些電影對五十年后的LindyHop復興起到了非常重要的作用。
Evolution of Swing Dance
搖擺舞的演變
Over the next few decades, popular music changed, moving away from the big band sound of swing to styles like rhythm and blues and then rock and roll. Due to this and other factors, the Lindy Hop evolved and mutated into a number of different styles.
在接下來的幾十年里，流行音樂改變了，從大樂隊的搖擺爵士，到節奏布魯斯，再到后來的搖滾樂。由于這個變化和其他多種因素的影響，Lindy Hop也進化和演變出了許多不同的風格。
The first variant was known as the Jitterbug; some consider this just to be an alternative name for the Lindy Hop, but some claim that it was distinguished by a prevalence of six-beat moves and a bouncier feel to the dance. Further evolution in this direction led to the Jive and Rock'n'Roll styles, which dropped all eight-beat and most Charleston-derived moves.
第一個變種被稱為吉特巴舞（Jitterbug）；有些人認為它只是Lindy Hop的另外一個名字，但另一些人認為兩者在流行的六拍動作和彈性的感覺上有明顯區別。在這個方向的進一步演變，產生了牛仔和搖滾的風格，它們舍棄了八拍結構和大多數來自Charleston的動作。
The Jive styles of swing dance were introduced to Europe by American servicemen during the second World War. They quickly took off and were adapted in different ways across different countries. In mainland Europe the Boogie-Woogie style developed, and the airsteps from the original Lindy Hop were taken to their logical extreme in competitive acrobatic Rock'n'Roll. In the UK the Jive was adopted into the canon of ballroom dance forms, with Ballroom Jive becoming one of the ten standard dances—in a suitably codified and restricted form, of course.
牛仔風格的搖擺舞在第二次世界大戰時期由美國軍人引入到歐洲。他們很快就開始盛行，并以不同的方式在不同的國家進行了變化。在歐洲本土形成了Boogie-Woogie 風格，另外，Lindy Hop 中的airsteps在Rock'n'Roll的比賽中被發揮到極端。在英國，舞廳牛仔成為舞廳的必跳的經典，成為十大標準舞蹈之一，當然也還有了它一定的規定和限制。
Meanwhile, back in the US, swing dance was evolving in a different direction. On the west coast, the Lindy Hop evolved into a more upright dance, with tighter footwork and fewer Charleston-derived moves (a style often now described as "Hollywood style", with the original style known as "Savoy style"). In large part, this evolution was guided by Dean Collins, a dancer who moved from New York to Los Angeles in 1936. He was a prolific choreographer for television and film, and taught swing dance in Los Angeles for nearly fifty years.
同時，回到美國，搖擺舞也同樣有了不同方向的發展。在美國西海岸，Lindy Hop變成了一個更加直立的舞蹈，嚴格的步法和更少Charlesto動作（這種風格現在經常被描述為"Hollywood style", 而原來的風格被稱為“Savoy style”）。在很大程度上，這種演變是來自于Dean Collins，一個在1936年從紐約移居洛杉磯的舞者。他是一個多產的影視編導，并在洛杉磯教搖擺舞近五十年。
During this period, to reduce the problems of overcrowded ballrooms, it became common practice for the follower to always move along an imaginary line on the floor, known as a "slot". This allowed the slots for many couples to be lined up, reducing the chances of collisions. The end result of this evolution was known as West Coast Swing.
在這期間，為了減少舞廳擁擠的問題，Follower們會在地板上假想一條直線來移動，這已成為一種被稱為“slot”的慣例。這使得舞池有了更多的間隙給成對的舞者們見縫插針見縫插針，從而減少碰撞的機會。這種進化的最終結果被稱為西海岸搖擺舞。
Back in Europe, there was one further important step in the development of swing dance. Apart from the small community of ballroom dancers, partner dancing had almost completely disappeared from the UK by the 1970's, dancing being dominated by individual disco dancing. This was to change from the early 1980's, when a simplified version of Rock'n'Roll dancing was re-imported from France. The first version of this style was known as Ceroc, but its huge popularity soon resulted in a range of different organizations and names—now commonly described by the term Modern Jive.
再回到歐洲，在搖擺舞的發展中，有一個很關鍵的時期。到1970年代，除了舞廳舞者的小團體，雙人舞幾乎完全從英國消失，迪斯科成為主流。但從1980年代早期開始有了變化，一種簡化版本的Rock'n'Roll重新從法國引入。這種風格的第一個版本被稱為Ceroc薩洛克舞，由于其巨大的人氣，很快產生一系列不同的組織和名字，但現在通常我們術語描述它為現代舞 ?Modern Jive. 。
Swing dance family tree
Modern Renaissance
搖擺舞的現代復興
In the 1980's, by a strange coincidence a collection of different dancers around the world independently decided that they wanted to rediscover the roots of swing dance—from the US, Steven Mitchell and Erin Stevens; from Sweden, the Rhythm Hot Shots; from the UK, the Jiving Lindy Hoppers. Inspired by the classic movie dance scenes from the 1930's and 1940's, these (re-)discoverers converged on New York City.
在1980年代，出現了一個奇妙的巧合，世界各地不同的舞者不約而同的決定，他們想重新從找回美國搖擺舞的根源，例如美國的Steven Mitchell和Erin Stevens；來自瑞典的the Rhythm Hot Shots；來自英國的The Jiving Lindy Hoppers。受到1930年代和1940年代的經典電影舞蹈場景的啟發，這些（重新）發現者們不約而同的聚集到了紐約。
In New York they discovered several of the Lindy Hoppers from the original days in the Savoy ballroom—Al Minns, Norma Miller, and Frankie Manning. To their surprise, they also discovered that Lindy Hop wasn't just about the frenetic, airstepping choreographies of the film sequences; the original dancers explaining that Lindy Hop could be danced to slower music, as a social dance without airsteps or prearranged choreography.
他們在紐約發現了幾個經歷了早期Savoy 舞廳歲月的Lindy Hopper ，包括Al Minns，Norma Miller，Frankie Manning。令他們吃驚的是，他們還發現Lindy Hop不僅僅是狂熱的，像電影里編排airstepping；早期的向他們舞者呈現了還可以跳慢音樂的Lindy Hop，一種可以作為社交舞，而不只預先編排的airsteps。
These meetings in New York led to a diaspora of Lindy Hop knowledge around the world, where the enthusiasm of the teachers and the attractions of the style led to a resurgence in popularity of the original swing dance form. The key factor in this resurgence was Frankie Manning; in 1986 (at the age of 72) he emerged from retirement to start teaching around the world, providing a vital bridge between the history of the dance and its future.
這些在紐約的相遇，讓林迪舞知識開傳播到世界各地，讓原有的搖擺舞普及到各地充滿熱情的教師那里，也讓主流風格得到回潮。其中，這個復興的關鍵因素是Frankie Manning；在1986，他已經72歲了。他退休后，就開始在世界各地教搖擺舞，他為搖擺舞的歷史和未來提供了非常重要的橋梁。
