Marathon dancing is a dance activity that became very trendy in the 1920s and 1930s. Many out-of-work people competed in the contests in order to
achieve fame or win monetary prizes.
Marathon dancing fit in nicely with the 1920s craze for breaking records and stretching human
endurance, with records being set in flagpole sitting, mountaineering, aviation, and more. Dance marathons started similarly,
and ended up being one of the most widely attended and controversial forms of live entertainment.
Origin
The first known recorded Marathon Dance was held on December 7, 1909 in Butte,
Montana. Over 170 couples entered into the contest held at Renshaw Hall. The dance was stopped after fifteen hours when
the local sheriff with his deputies stopped the dance and removed the remaining three couples, saying that the dance was
threatening their health. The craze really started taking off in 1923, when a 32-year old
American woman named Alma Cummings danced for 27 hours without stopping. She
broke the previous British record and wore out six different partners while she was at
it. Her feat garnered brief national attention for her, and sparked a trend which would last a decade. Her dancing spree inspired
others, most often women, to try to break the record and share in her glory. Clubs and theaters around America started to hold
contests for local people to compete in. People could enter solo and find a partner there, or come with partners.
Dancers defied protests and restrictions in striving to break previously set records, propelled by the excitement of
competition, the possibility of brief fame, and cheered on by family and friends.
McMillan's Dancing Academy
Local dance studios all over the country, such as McMillan’s Dancing Academy in Houston, held marathons. McMillan, the proprietor, set a number of firsts in the promotion and
development of marathon dancing. He charged admission to spectators and awarded a record-breaking winner with a cash prize. He
embraced a flair for the spectacular and encouraged contestants to entertain the crowds in any way they could. However, he also
seemed to care for and protect his contestants in a way that vanished in later marathons.
Promoters
After 1923, marathons began to change shape. Sports and
entertainment promoters realized that good money could be made from commercializing and
standardizing the contests. Unlike flagpole sitting or mountain climbing, dancing had movement and variety but took place in a
stationary venue, perfect for entertaining audiences. The contests became endless, grueling marathons that would continue for
weeks, regulated by rules and heavily promoted to audiences. No longer driven by dancers’ record setting or
“fifteen-minutes-of-fame,” these events were staged and structured by promoters, fueled by the money that could be made.
Presented on a much grander scale, these marathons offered non-stop entertainment hosted by a Master of Ceremonies and threaded with performances and specialty numbers, live band music, and
audience participation, in addition to the contest element.
Rules
Each marathon had its own set of rules, demanding more from their participants and dictating a way of life for the
around-the-clock dancers (not to mention judges, nurses, vendors and many others involved in the event), governing dancing,
sleeping, eating, bathing and using the toilet. Rules often demanded that couples register and stay together, stating that if one
partner dropped out, the other had to leave too. They regulated rest periods: fifteen minutes for every hour of dancing, often in
separate quarters for men and women, during which they could sleep, change clothes, or have a massage (which contestants
themselves paid for). Though healthier for the dancers than the earlier non-stop contests, these rest periods allowed the
marathons to continue for days, weeks, and even months.
Stamina
Though these contests were never a test of finesse or technical ability, later marathons were
much more a question of stamina and endurance; outliving your
opponents, often at the risk of health and well being. In a 1920s reality show,
couples would dance popular dances of the day, including the foxtrot, waltz, and Charleston, for as long as possible, while judges watched
to verify their knees did not touch the ground. In fact, rules stated that contestants did not need to dance as long as they
stood in a dance position and kept their feet moving. Every so often however, they were made to do a sprint or quick competition
of waltz or foxtrot, earning the winning couple prestige and extra money.
Guest artists
To break the monotony of constant dancing for spectators, promoters added distractions, usually performances both by
contestants and by guest artists. They invited professional dancers and teachers to enter the contest, often paying them to
participate. Speciality acts from vaudeville and burlesque, exhibition dancers, even boxing matches, were all added to the
spectacle. In addition, the competition element and constant proximity of the dancers combined with exhaustion and mental stress
created real dramas and conflicts, which promoters exploited and publicity and the press spread, especially via the new media
venue, the tabloids. Promoters would assure a good show by hiring eccentric and ostentatious
personalities sure to create exciting situations. They arranged for “unexpected” guest appearances by local celebrities such as
theatrical agents and performers. Equivalent to today’s reality shows, the contests combined professional and amateur
entertainment, simultaneously creating real life and theatricalized drama.
Attitudes
Contestants and spectators alike bought into the staged excitement and competition. Spectators could cheer, make wagers and
root for their favorite team, even interacting with the dancers, chatting with them and throwing money. Contestants were enticed
by the potential for fame and fortune, from prizes of several thousand dollars to performing contracts, and were fueled by the
audiences’ support and applause. Like professional wrestling, contests were at times fixed, but both sides bought into the
simulated reality of it and participated heartily, provoking each other and egging each other on. The newest episodic
entertainment, spectators would return day after day to follow their heroes and see more drama unfold.
Many contestants, considering themselves theater professionals based on their marathon experience, traveled the country
competing in one marathon after another. Especially during the
Depression, marathons offered work, shelter, food, and potential for extra money and more. Contestants hoped to have
careers in films, and though many took roles as extras, only the few who were veteran performers before entering, like
June Havoc and Red Skelton, found real fame and
entertainment careers after their marathon days.
During the Depression, marathons reflected the status of America at the time. A heavily staged form of forced labor, marathons
relied on the amount of time spectators and contestants, out of work victims of the Depression, had on their hands. Promoters
found new ways of forcing the marathons to continue for months, enlisting entertainers and
staging dramatic situations. They established ways of adding tension and excitement to the dreary competition, including races
and complicated tests of endurance for the contestants; elimination contests that likened the marathons to the horrors of
spectator sports in the Roman Coliseum. The chance at fame and fortune was there, but at the cost of humiliation at least, and at
most, mental and physical health problems or even death. By the depressed 1930s, marathons took on new meanings: the
pain and misery of the contestants helped
spectators feel better about their own situations, while the prize represented a hope of the American Dream for contestants, probably never to be realized. It was certainly a far cry from the fun,
voluntary sport that it had been in the 1920s. The seamy side of the 1930s dance marathons was depicted in a 1935 novel by
Horace McCoy entitled They
Shoot Horses, Don't They?. The novel was later made into an acclaimed 1969 film with the
same title, and starred Jane Fonda, Michael
Sarrazin, and Gig Young, (who won Best Supporting Actor), and directed by
Sydney Pollack.
Dance marathon participants went great lengths of endurance for rather small winnings considering the time spent. According to
the Guinness Book of Records, the longest dance marathon lasted 5,152 hours - 214
days. It was held at the Merry Garden Ballroom in Chicago, Illinois, and the winning couple of Mike Ritof and Edith Boudreaux won $2,000 in a contest that ran from August
29, 1930, to April 1, 1931. It was reported that dance marathons were directly and indirectly responsible for numerous deaths,
although no figures on the amount were reported. Nevertheless, in 1933 Herbert H.
Lehman, then-Governor of New York, signed a bill that limited
dancing to 8 hours. A few states earlier had outright banned marathon dancing after the 1923 death
of Homer Morehouse, who collapsed after dancing for 87 straight hours nonstop.
The Dance Derby of the Century
On June 10, 1928, Milton Crandall, veteran promoter and
publicist of theatrical events, staged a monumental contest at New York’s Madison Square Garden. He called this national, large-scale marathon “The Dance Derby of the
Century,” making the event unique and setting the tone for marathons to follow. Exemplary of the changes dance marathons were
adopting, the event challenged the attention, strength and endurance of both dancers and spectators.
This “Derby” was the most famous and financially successful of the marathons, especially before the 1930s, and was the first
to fully exploit the thin line between reality and theater.
Creating a combined atmosphere of horse shows, ballrooms,
and vaudeville, the event offered everything from exhibition dancers to variety performers to
Alvin "Shipwreck" Kelly – the record-holder for flagpole sitting, to special “unexpected” guests
such as Texas Guinan, Prohibition’s most infamous speakeasy owner. Crandall knew how to
exploit tabloids and press to cover his show, scandalizing and dramatizing the event’s daily occurrences. The contest ran until
2pm on June 30, when the health commissioner (possibly another publicity stunt?) came in and closed it down after 20 days. The
$5,000 prize money was split among the remaining eight couples, which amounted to only about $278 per dancer, essentially a wage
of 58 cents an hour.
See Also
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