ABSTRACT By examining film and print media, along with influences of the Great Depression and WWII on public culture, this essay explores the evolution and appropriation of the Lindy Hop as it transformed from a black, working-class dance in the early twentieth century to a white, middle-class dance by the swing revival in the 1990s. During the revival, young people were drawn to the Lindy Hop because its heteronormative structure seemed to celebrate a simpler time when gender roles were more defined. While rejecting contemporary mainstream culture’s apparent dilution of those gender roles, swing revivalists also asserted themselves as the owners of the movement. However, Lindy Hop legend Frankie Manning’s death has catalyzed a new awareness of its African American history and engagement to the community, even as the joy inherent in the dance’s practice continues to exert a shaping force on its contested cultural place in American society.

中文翻译：

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我们可以跳舞吗？：从摇摆时代到今天，林迪啤酒花的文化归属

摘要通过考察电影和印刷媒体，以及大萧条和第二次世界大战对公共文化的影响，本文探讨了Lindy Hop从二十世纪初期的黑人工人阶级舞蹈转变为20世纪初的舞蹈的演变和使用。白色的中产阶级舞蹈在1990年代的摇摆复兴中。在复兴期间，年轻人被Lindy Hop吸引了，因为它的异规范结构似乎庆祝了更简单的时期，即性别角色得到了更明确的定义。摇摆复兴主义者在拒绝当代主流文化对性别角色的明显淡化的同时，也宣称自己是运动的主人。但是，林迪·霍普（Lindy Hop）传奇人物弗兰基·曼宁（Frankie Manning）的去世激发了人们对其非裔美国人历史和社区参与的新认识，