© 2019 by Cookie's Jam Productions

Through a mix of guided sessions and open workshop time participants will expand their own form while exploring the art of the lindy hop from the roots up. It’s a place where you come to hang, learn, develop, and share. By tracing lindy hop all the way back to its roots we will break it all down and build it back up again. The Shed is for Lindy Hoppers who are serious about their dance and for dancers who are serious about Lindy Hop.

 

The name comes from the term “Woodshedding”, which is attributed to Tap Dance Legendary Charles “Honi” Coles who practised in a room by himself for a year and came out with the “fastest feet in the world”. It is slang generally used amongst musicians. Find out more below.
 

WHERE

WHERE

when

Last Sunday of the month

2 - 5pm

26th January 2020, 23rd February, 29th March, 26th April, 31st May, 28th June

Price

£15

Payment is cash or bank transfer. A receipt will be given on request.

how can i join

Get in touch using the form below.

commitment

Although 100% attendance is not expected, however regularity is key to the group and to the learning.

Here is Terence Richburg's thought on woodshedding. You’ll find the original post here.

The first time I ever heard the term, “shed” or “sheddin” was when I first started playing guitar and bass. My brother, Dehrric, was the first one who exposed me to the term. When we first set out on our mutual journey of musical interests finally developing into a career, we were in the shed constantly working on our craft individually and corporately. The meaning hasn’t changed much over the years. However, as a concept it has expanded to an even more collective setting.

Sheddin’ has increased in popularity among musicians, especially drummers and bass players as a joint activity of sharing and fellowship. But guitarists, keyboardists, saxophonists and other musicians now see the value of putting aside egos, meeting, learning and experiencing the essence of musical expression together–not reliant upon an audience, except one of mutual respect as peers. It is a time of encouragement, motivation and celebration of each player’s gift on an even playing field. And when we shed, it’s an opportunity to affirm the value of all musical styles and levels of musicianship–so that we may all grow from each other.

That’s when musicians meet to shed. But as an individual activity each player is devoted to shutting themselves away in their own shed to shed, whether it’s a basement, bedroom, studio, closet, garage, church, practice room, rehearsal space, dressing room, you name it. Musicians spend time alone with themselves, their instrument, their gift and their music. It’s a place where we learn who we are as musicians and confront who we are as people. When we shed we better define our purpose and our ambition toward the limits of our musicianship and the meaning of our songs.

It’s a place where we lock ourselves down, beat ourselves up for our mistakes and failures and then teach ourselves to overcome them to become the very best we can be. We watch videos of other musicians we respect, admire and those who inspire us. We try out new stuff, maybe even things only we know about as evolving players. We do this while nobody’s looking or critiquing us to see just how far we can push ourselves to produce and innovate. We work real hard to study all that is available to us to make ourselves proficient and comfortable with who we are and all that we want to become in front of an audience. But most of all when we shed, we labor long hours to perfect what God has given us so as not to waste the priceless, divine investment He has made in each of us.

I’m led to believe that it’s not an option, but rather a necessity for any musician serious about a professional career in music or music ministry to shed and not to come out until they’re ready. Shed and sharpen your tools through technique-focused exercises, prayer and a renewed commitment to the art and excellence of your craft and ability as a musician.

the shed

Guided Training Sessions in Lindy Hop and American Vernacular Jazz