627 StompIn Support of Black Lives Matter and KC Protests
An imperfect message, delivered by an imperfect messenger.
This message is aimed at challenging the constitutions of more than a handful of people in our larger Kansas City community. Our intention is not merely to address the elements of the city who are standing shoulder-to-shoulder with black Kansas Citians, but to provoke a response from those who still harbor questions, doubts, and excuses about the state of affairs here and around the country. This is a response to those whose ears conveniently remain open to the sounds of black music, but are eternally closed to the sounds of black anger and suffering; this is a response to those whose eyes rake over social dance floors where black dance is performed for pleasure, but who avert them at the nearest sign of serious demonstrations against their familiar realities.
To know the roots of jazz is to be acquainted with blues and gospel, and to know these forms of music expression is to glean the faintest glimmer of struggling black lives dating back nearly four hundred years. It is impossible to divorce the music from the context of blackness: you will readily find it in the lyrics of the standard “Trouble in Mind”; in Billie Holiday’s haunting performance of “Strange Fruit” lamenting lynchings; in Duke Ellington’s sprawling racial chronicle Black, Brown & Beige; Nina Simone antagonizing Jim Crow America with the burning anger of “Backlash Blues” and “Mississippi Goddam”; the Afro-futurism laden in the compositions of Sun Ra, envisioning a new black diaspora without the structural impositions on previous generations, where a rich culture could flourish and grow in a “soil” that was, for the first time, their own. This is not even to speak of the art of the dance that grew up alongside the music, such as the Lindy Hop in the dance halls of Harlem, or the Charleston which gained its stardom from the black musical Runnin’ Wild. Despite sharing some small lineage with European dances,nevertheless, the distinguishing elements of this vernacular dance realm are based in polyrhythmics that clearly descend from the heritage of black men and women. Notable among others is the Cakewalk, a step that directly lampooned the European styles practiced by the oppressive white culture of the time.
It is easy to take even this general, basic overview for granted on a regular basis: sometimes, we listen to music just to feel good, or go out to dance at the beloved Chesterfield to relieve the stress of a hard week. However, we should all be more conscious when consuming the creations of a marginalized aspect of our society, particularly under the scrutiny of prevailing winds across the nation today. Consider the following: are you noting the experiences that play out lyrics of a song? When seeking out a partner, do you sense an irony in discovering the dearth of black bodies participating in a musical output of their own creation? When hunkered down in the jazz clubs west of 18th and Vine, do you wonder where the black musicians are to be found? This is not lost on us. A tacit appropriation exists in our merriment, as a largely niche white community abounding in a world of explicit blackness – and this is stated from a position of acute awareness. A lack of awareness, or worse – an explicit ignorance or denial of such realities – dangerously enters the realms of exploitation and cultural disrespect. When historically, jazz music has been subject to whitewashing and watering-down in order to be palatable (read: expunging blackness to be inoffensive to white ears), and jazz dancing even provocatively claimed as the province of white performers (read: how white Broadway dancers in the early 20thcentury solicited instruction from blacks, only to teach the steps as their own and reap great financial profit from the general public), we cannot afford to consume recklessly. We cannot afford to analyze in a vacuum. We cannot afford to casually forget that this beloved art fought against oppression through Jim Crow. We cannot afford to forget those who used their music to make principled stands, such as Nina Simone, who ultimately sacrificed her career and became a persona non grata in the eye of public perception when her platform as a musician was leveraged for civil rights. It is all baked into the cake. If anyone claims to treasure jazz, then you must also claim to stand for black culture, and the rights of black American citizens. This is a non-negotiable tenet. If the contemplation of these thoughts makes you uncomfortable, then you are heading in the right direction.
These fundamental truths are, in large part, why 627 Stomp organized itself in the first place as a nonprofit. Although comprised of an executive board, staff, and attending community consisting of majority white Americans, the recognition from the start is that the richest aspects of American culture are built upon the battered, broken back of black, African American culture. Our organizational purpose explicitly states the imperative of working to enrich the black community of Kansas City by putting emphasis on their achievements in the “Kansas City sound” and their contributions to vernacular dance in the past and present. We have leaps and bounds to make in order to meet our expectation as appropriately as we aspire to, as far as improving the diversity of our classes and events, partnering with black musicians and instructors, and more. Kansas City lacks heart without jazz, and without black Americans. And it is this fundamental truth which prevents this organization from remaining a silent bystander in the current affairs affecting this nation in the wake of George Floyd’s murder, even if it risks the alienation of anyone who may otherwise support this organization.
627 Stomp proudly notes that many members of our organization and our community have chosen to speak up and to show up, whether it is assisting the medics tending to protesters harmed by the police, donating money to the Black Lives Matter movement or towards related black causes, or even just the willingness to listen, perform research, and gain recognition of the systemic injustices that pervade American society. This is not to pat ourselves on the back, but merely to acknowledge that for many, the first steps are being made on a much longer path of reconciliation and redressing of wrongs. The circumstances surrounding George Floyd are not novel: the inequalities and miscarriages of treatment towards black society have always been readily apparent in black expression, as previously stated. The many attempts to justify the illegitimacy of these protests are similarly not novel. Silence on the part of an individual or a group is not a valid excuse. Blaming problems on another generation is not a valid excuse – just because we do not understand how the house was built, does not mean that its frame is not rotting, the foundation is not cracked, and there are not bodies buried beneath the floorboard. Attacks on the character of the murdered victim are not valid excuses, a disturbing replay of the justifications made in the judicial and extra-judicial killings of black men and women in our bloody history. Attacks on the motivations of black and white protesters are not an excuse, and neither are the attempts of our highest institutions to leverage physical might against the expression of protected speech. 627 Stomp condemns these indignities expressed towards our black friends and families, and will do its part to stop their spread.
While George Floyd cannot be brought back to life, good-intentioned individuals are beginning to offer many possible solutions to prevent the needless, preventable death of another black life, ranging from implementing reforms to restrain the impulses of prejudiced, racist behaviors within the system, to dismantling it entirely. Although 627 Stomp may not necessarily have a solution to offer, there is one final thought that we wish to impart: be resilient. If anything can attest to the power of resilience, it is jazz music and dance itself. The blueprint is there to be found in the lyrics, the themes, and the steps. In the darkest of moments, jazz was a bastion of hope, freedom, and expression – so it will continue to be if we only take heed of the historical lessons accompanying every note. For those bestowed with the courage, it is time to face the music and dance, to turn a phrase. Dance with intent, dance with purpose, and dance with the strength for yourself and for each and every one of us.
Our Vision
627 Stomp is a growing non-profit organization indebted to the rich history of Kansas City jazz culture. Named for the Pete Johnson hit - itself an homage to the
venerated Local 627 musicians’ union - it strives to create a sustainable community of dancers, musicians, historians, and regular citizens alike in pursuit of preservation, education, and sharing of this unique heritage. Currently, the group specializes in spreading accessibility and awareness of vernacular jazz dancing through teaching and social dance events.
Testimonials
Amanda and the 627 Stomp dancers are amazing. We book a lot of events across the country, often site unseen, her team did not meet our expectations, the exceeded them. The execution was flawless even with some bumps in the road. It was my extreme pleasure working with them. Donna Wisdom - National Society of Black Engineers
627 Stomp did a great job entertaining a crowd of 300 at the Home Builders Association’s 80th anniversary party in August. They performed dances from different eras ranging from the 1930s-today. They were very easy to work with and everyone enjoyed watching them dance. Kari English - KC Home Builders Association
627 Stomp is a joy to work with! Professional, talented and committed to executing memorable events. They are our first call every time we are in need of swing dancers and we highly recommend Amanda and company every chance we get. Chris Davis - Jukeboxx Media
I LOVE learning swing dance, and it’s by far my favorite hobby I have in my life right now. So satisfying to see improvement, and I’m v glad I’ve found this group of people. Highly recommend taking classes. I’m always looking for more dance Partners as well. Me, and Larry have been attending these regularly. And you can lead/follow whatever your heart desires. Much fun!! Kater Tot
627 Stomp, Amanda, and Geoff have brought the swing to our dances. They know how to get guests moving and learning to dance. It is a pleasure partnering with them to make our events richer by adding this experience. Tammy Ruder - Union Station