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Swaggering
View on Wikipediafrom Wikipedia
Swaggering is an ostentatious style of walking with an extravagant manner. The exact gait will vary with personality and fashion but it is generally more of a loose, rolling style than a stiff strut. The feet will be kept apart rather than following each other in line and the more swaggering the gait, the greater the lateral distance between them.[1] Studies have found that people are able to determine sexual orientation from such cues and a shoulder-swagger was perceived as a heterosexual orientation.[2]
Among London cockneys, swaggering was stylised as the coster walk which became the dance craze of the Lambeth walk.[3] Among African-Americans, it is known as a jive-ass walk or pimp walk.[4] The actor John Wayne was known for his swaggering walk which became a distinctive element of his screen image.[5]
A cane may be used as a walking stick as part of the performance. In the military, this became stylised as the swagger stick — useless as a support and just used for gesturing and prodding.
Portraits which are ostentatiously posed in the grand manner are known as swagger portraits. The Tate Gallery held an exhibition of these in 1992, featuring the work of William Dobson, Anthony van Dyck and Peter Lely.[6]
See also
[edit]References
[edit]- ^ John Kundert-Gibbs; Kristin Kundert-Gibbs (2009), Action!: Acting Lessons for CG Animators, John Wiley & Sons, p. 102, ISBN 9780470596050
- ^ Johnson, Kerri L.; Gill, Simone; Reichman, Victoria; Tassinary, Louis G. (2007), "Swagger, sway, and sexuality: Judging sexual orientation from body motion and morphology.", Journal of Personality and Social Psychology, 93 (3): 321–334, doi:10.1037/0022-3514.93.3.321, PMID 17723051
{{citation}}: CS1 maint: multiple names: authors list (link) - ^ Ross McKibbin (1998), Classes and cultures: England 1918-1951, Oxford University Press, p. 408, ISBN 978-0-19-820672-9
- ^ Daniel Wojcik (2010), "Pimp walk", Encyclopedia of African American Popular Culture, vol. 1, Bloomsbury Academic, pp. 1089–1091, ISBN 978-0-313-35796-1
- ^ Tanya Krzywinska (2006), Sex and the cinema, Santa Barbara, California: Greenwood Publishing, p. 35, ISBN 978-1-904764-73-1
- ^ Richard Shone (1992), "The Swagger Portrait", The Burlington Magazine, 134 (1077): 816–818, JSTOR 885365
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Swaggering
View on Grokipediafrom Grokipedia
Swaggering is an ostentatious style of walking or behaving marked by an arrogant, confident stride that conveys superiority, bravado, or self-assurance, often involving a swaying motion of the hips and shoulders.[1] This gait, sometimes accompanied by boastful speech or mannerisms, has been recognized since the late 16th century as a form of defiant or pompous self-presentation.[2][3]
The term "swagger" emerged in the 1580s as a frequentative of the verb "swag," meaning to sway or sink down, evolving to describe strutting defiantly or boastfully; its noun form, referring to the insolent strut itself, dates to 1725.[4] Earliest recorded uses of "swaggering" appear before 1596, formed within English by derivation to denote the act or quality of such behavior.[5] Historically, swaggering has served as a nonverbal signal of dominance or aggression, with research indicating that exaggerated upper- and lower-body movements in walking correlate with higher perceived aggression levels, as observed in a 2016 exploratory study from the University of Portsmouth published in the Journal of Nonverbal Behavior.[6]
In British working-class culture, this evolved into the Lambeth Walk, a jaunty dance craze originating in the 1937 musical Me and My Girl by Noel Gay and Douglas Furber, which mimicked the rhythmic swagger of Lambeth market traders with arm swings, hat-tipping, and thumbs-up gestures.[7] The dance, first performed by Lupino Lane, gained international popularity in the late 1930s and symbolized Cockney spirit during World War II, even as the original West End production closed due to Blitz bombings in 1941.[8][9]
In African American urban culture, a parallel form known as the pimp walk emerged as an exaggerated, stylish strut, influenced by zoot suit fashion among Harlem's young men in the 1940s and amplified in 1970s blaxploitation cinema such as The Mack (1973).[10] This ostentatious swagger, often involving deliberate hip rolls and confident posturing, represented bold self-expression amid social challenges and influenced later street dance elements like locking.[11]
Swaggering has also permeated American popular culture through figures like actor John Wayne, whose deliberate, bow-legged gait—possibly developed from years of horseriding or as a stylistic choice for his Western roles—became an iconic symbol of rugged masculinity in films from the 1930s onward.[12] Overall, swaggering transcends mere locomotion, embodying cultural attitudes toward confidence, power, and identity across diverse historical and social contexts.
Etymology and Definition
Etymology
The word "swaggering" derives from the verb "swagger," which emerged in the late 16th century English as a frequentative form of "swag," meaning to sway or move unsteadily.[4] The root "swag" entered English around the 1520s from a Scandinavian source, akin to Old Norse sveggja ("to swing or sway") or dialectal Norwegian svaga ("to sway"), initially describing a heavy or lurching motion, such as that of a burdened gait.[13] By the 16th century, "swag" referred to a swaying motion more broadly.[15] This connotation of instability transitioned into "swagger" by the 1580s or 1590s, denoting a defiant or insolent strut, with the earliest recorded uses appearing in English literature of the period.[4][1] The gerund form "swaggering," referring to the act of strutting boastfully, arose shortly thereafter as a natural extension.[16] William Shakespeare contributed to popularizing "swagger" through its early appearances in his works, embedding it in the English lexicon.[4]Definition
Swaggering denotes a manner of walking or behaving marked by arrogance, boldness, or ostentation, typically featuring a confident stride with a side-to-side sway and an upright, puffed-up posture intended to project superiority. According to the Merriam-Webster Dictionary, the verb "swagger" means "to conduct oneself in an arrogant or superciliously pompous manner; especially: to walk with an air of overbearing self-confidence."[1] The Oxford Advanced Learner's Dictionary defines it as walking "in an extremely proud and confident way," often carrying a disapproving tone due to its implication of excessive self-assurance.[17] Beyond the physical gait, swaggering encompasses broader behavioral traits such as bravado, boastfulness, or insolence, where an individual acts to intimidate or dominate others through exaggerated displays of confidence.[1] This extension emphasizes not just movement but a performative attitude of superiority.[18] In distinction from related actions like strutting—which involves a proud, upright walk that can be neutral or positive—swaggering specifically conveys arrogance, superciliousness, or an intent to overawe.[19] Common synonyms include "strut" for the gait element, "swank" for showy pretension, and "bluster" for noisy self-importance, though each carries subtle variations in emphasis without shared deep linguistic origins beyond English evolution.[18]Historical Usage
Early Modern English
The term "swaggering" entered vernacular English in the 1590s, primarily denoting a boastful or quarrelsome manner of strutting, often applied to rowdy youth and individuals from lower social strata who displayed insolent defiance through exaggerated gait and posture.[4] This usage reflected the word's evolution from earlier Northern dialectal forms meaning to sway or swing, adapting to describe aggressive posturing in everyday interactions.[4] Among apprentices and working-class young men in urban centers like London, such disruptive antics that challenged social norms, such as loitering in public spaces or engaging in petty quarrels, were common. By the 17th and 18th centuries, behaviors akin to swaggering were commonly linked to tavern brawls and street confrontations, where they served as a display of machismo and resistance against authority, particularly among sailors, discharged soldiers, and unemployed laborers known as "reformadoes." In alehouses and inns, groups of men from maritime and military backgrounds gathered, their boisterous behavior contributing to public insecurity and frequent outbreaks of violence that disrupted local order.[20] Such incidents underscored these displays as a form of lower-class bravado, often fueled by alcohol and economic hardship, signaling a rejection of deference in informal social settings.[21] Social hierarchies amplified perceptions of such behaviors as vulgar and threatening when exhibited by the working classes, standing in stark contrast to the composed, refined manners cultivated by the elite to maintain decorum and authority. Elite commentators and authorities, through proclamations and records, condemned these displays as emblematic of vagrancy and insubordination, associating them with masterless men and apprentices who flouted guild regulations and urban bylaws. This class-based disdain highlighted the role of such behaviors in reinforcing divisions, as they were tolerated or romanticized less among the gentry and more vilified when practiced by those below, evoking fears of broader social unrest.[20] References to swaggering appear in contemporary diaries and Restoration-era texts, illustrating its prevalence in non-elite spheres without elevating it to genteel conduct.[22] Shakespeare's works briefly referenced here popularized the term, though its societal embedding predates and extends beyond literary depictions.[4] In 18th-century military slang, "swaggering" referred to insolent or bullying behavior among soldiers, as noted in period dictionaries.[16]In Literature
One of the earliest appearances of the term "swaggering" is in William Shakespeare's A Midsummer Night's Dream (c. 1595), where Puck uses it to describe a group of boastful Athenian artisans rehearsing a play near Titania's resting place, portraying them as comically overconfident and intrusive figures akin to Bottom's self-important demeanor. A prior use appears in the collaborative play Sir Thomas More (before 1596). In Act 3, Scene 1, Puck exclaims, "What hempen homespuns have we swagg’ring here / So near the cradle of the Fairy Queen?" highlighting their rough, presumptuous intrusion into the fairy realm, which underscores themes of misplaced ambition among the lower classes.[23] In 18th-century novels, Daniel Defoe employs swaggering traits to depict social climbers and roguish protagonists, as seen in The History and Remarkable Life of the Truly Honourable Col. Jacque, Commonly Call'd Colonel Jack (1722), where the titular character's adventures mirror those of the "swaggering seventeenth-century picaro," a boastful rogue navigating class boundaries through cunning and bravado.[24] By the 19th century, Charles Dickens further developed this motif in works like Oliver Twist (1838), portraying Bill Sikes as a housebreaker whose thuggish gait and aggressive posturing signify villainy and unchecked aggression within London's criminal underclass. Sikes's domineering presence, marked by violent outbursts and a menacing demeanor, exemplifies how such behavior isolates him from society and precipitates his tragic end.[25] Across these periods, swaggering often serves as a literary motif for hubris and false bravado, where characters' exaggerated confidence masks insecurities and invites downfall, contrasting with ideals of humility and restraint.[26] In Defoe's narratives, the picaro's swagger enables temporary social ascent but ultimately exposes the fragility of self-made status, while in Dickens, it amplifies villainous excess, leading to moral and physical ruin as a caution against overreaching ambition.[24][25] This thematic role emphasizes swaggering not as genuine strength but as a performative flaw that undermines the character's integrity. In 20th-century literature, Ernest Hemingway reinterprets swaggering through the lens of machismo, portraying it as a stoic yet performative masculinity in characters facing existential challenges.[27] In novels like The Sun Also Rises (1926), protagonists such as Jake Barnes exhibit a restrained swagger—manifest in their bullfighting pursuits and terse dialogues—that reflects a code of endurance amid disillusionment, evolving the motif from comic hubris to a complex emblem of modern alienation.[28] This shift highlights swaggering's role in modernist works as both a shield against vulnerability and a source of internal conflict.[27]Cultural and Social Aspects
As Social Behavior
Swaggering, as a form of nonverbal communication, is rooted in psychological mechanisms akin to dominance displays observed in nonhuman primates, where exaggerated movements signal status and deter challenges. In humans, this behavior often manifests through a confident, strutting gait characterized by shoulder sway and expanded posture, which conveys self-assurance.[29][30] Research on gait kinematics indicates that such displays project dominance by altering perceptions of physical formidability, similar to chimpanzee intimidation rituals involving upright posturing and swaying.[31] Socially, swaggering serves functions like intimidating rivals, attracting potential mates, and asserting hierarchy within groups, particularly in competitive environments such as urban neighborhoods or adolescent peer circles. In urban youth culture, for instance, an "aloof swagger" helps individuals navigate social threats by projecting control and resilience amid systemic pressures, thereby securing respect or alliances without direct confrontation.[32] Among adolescents, this behavior reinforces status in peer groups, where exaggerated confidence can elevate social standing during identity formation, though it risks escalating tensions if misinterpreted.[33] These dynamics highlight swaggering's role in nonverbal negotiation of power, adapting evolutionary imperatives to modern interpersonal contexts. In hip-hop culture, swagger often manifests as stylized movement and attire to assert identity and dominance in social settings.[34] While swaggering can be viewed positively as charismatic within certain subcultures—such as those valuing bold self-expression for community cohesion—it often carries negative connotations of aggression and arrogance, potentially provoking conflicts or alienating observers. Studies on perceived gait dominance show that swaggering movements are frequently rated as intimidating or off-putting, leading to avoidance or retaliatory responses in social interactions.[35] In subcultures like inner-city youth groups, however, this same trait fosters admiration for its adaptive survival value against marginalization.[36] Historically associated with male bravado, swaggering reflects gendered norms of dominance.[37]In Fashion and Military Contexts
In the 19th and early 20th centuries, swaggering manifested prominently in dandyism, where men adopted exaggerated gaits and postures to complement their flashy attire, signaling social status and nonconformity. During the Regency era (1811–1820), figures known as "swells"—a subset of dandies—paired ostentatious clothing like tightly fitted coats, high-collared shirts, and colorful waistcoats.[38] This style, epitomized by Beau Brummell, transformed men's fashion through emphasis on simplicity and refinement, influencing literary depictions of haughty dandies.[39] By the Victorian period, dandyism evolved but was often critiqued for blurring lines between masculinity and ostentation.[40][41] In military contexts, swaggering was institutionalized through accessories and drills that promoted commanding presence. British Army officers from the late 18th century carried swagger sticks—short canes derived from earlier leading canes—to accentuate a confident, authoritative stride during off-duty walks and parades.[42] These sticks, shorter than riding crops, symbolized rank and were used in drill maneuvers to direct troops, fostering a bold posture that conveyed discipline and superiority.[43] Parading drills in the British and Commonwealth forces emphasized swaggering elements, such as upright carriage and rhythmic steps, to instill unit cohesion and project martial prowess.[44] The 20th century saw swaggering integrated into civilian fashion inspired by military and criminal archetypes. In 1920s–1930s America, gangsters like Al Capone popularized pinstripe suits—characterized by narrow chalk stripes on wool fabric—amid Prohibition-era underworld culture.[45] During World War II, Allied soldiers adopted swaggering attitudes, often carrying personalized swagger sticks as symbols of resilience; General George S. Patton's version, for instance, symbolized his unyielding leadership.[46][47] Perceptions of swaggering shifted culturally from derision in the Victorian era, where it was linked to effeminate dandyism and seen as a "disease" undermining traditional manhood, to an empowering trait in post-war contexts.[41] By the mid-20th century, military swagger sticks and gangster-inspired struts were reframed as markers of strength and autonomy, reflecting broader societal valorization of bold self-presentation after global conflicts.[48]Modern Interpretations
In Music and Hip-Hop
In the early 20th century, particularly during the Harlem Renaissance, swaggering emerged as a form of performative bravado in jazz and blues, characterized by confident stage walks and lyrical expressions of resilience. Composers like James P. Johnson embodied this through pieces such as "The Harlem Strut" (1921), which musically depicted the jaunty, self-assured stride of Harlem nightlife participants at rent parties and speakeasies.[49] Performers integrated swagger into their stage presence, using bold movements and improvisational flair to convey cultural pride and defiance amid racial constraints.[50] The adoption of "swagger" in hip-hop during the 1980s and 1990s reframed it as authentic street confidence, evolving from jazz-era bravado into a core element of rap identity. One of the earliest documented uses in rap lyrics appears in Brand Nubian's 1990 track "Slow Down" from their album One for All, where the line "Used to walk with a swagger, now you simply stagger" contrasts past poise with decline, often interpreted as a caution against urban pitfalls like addiction.[51][52] By the late 1990s and into the 2000s, artists like Lil Wayne amplified its prominence, employing "swagger" in verses to denote unshakeable style and lyrical dominance, as seen in tracks like "3 Peat" (2008), where he boasts of his effortless charisma. This evolution positioned swagger as a symbol of resilience and empowered self-expression in African American vernacular within hip-hop, shifting from earlier literary notions of arrogance to affirmations of survival and cultural agency.[53] In songs like Jay-Z's contribution to "Swagga Like Us" (2008), the refrain "No one on the corner has swagger like us" celebrates collective style as a marker of triumph, blending verbal boasts with visual cues in music videos where artists strut assertively to underscore themes of overcoming adversity.[54][55]In Contemporary Slang
In the 21st century, "swagger" has undergone a significant semantic shift in slang usage, evolving from connotations of arrogance to embodying "cool confidence," personal style, and charismatic poise. This positive reframing gained traction in the 2010s through internet culture, where "swag" became synonymous with effortless flair in fashion and demeanor, often highlighted in viral memes and social media challenges on platforms like Vine and TikTok that celebrated bold self-expression.[56][57] The term's global adoption has extended beyond English-speaking contexts, integrating into non-Western pop cultures as a marker of appeal. In K-pop, idols frequently invoke "swagger" to describe their stage charisma, as seen in rookie group CORTIS's 2025 debut EP, which channels teen swagger through nostalgic 2000s aesthetics to captivate international audiences. Similarly, in sports, "game swagger" refers to athletes' mental edge and confident execution, a concept emphasized in professional football where it denotes the poise that elevates performance under pressure. Media portrayals have further amplified this slang evolution, often depicting swagger as ambitious flair while inviting critiques. In the 2013 film The Wolf of Wall Street, Leonardo DiCaprio's character Jordan Belfort embodies swagger through ostentatious bravado and manipulative charm, satirizing Wall Street excess as a form of intoxicating confidence. Gender studies scholars have examined such representations, linking swagger to toxic masculinity by analyzing how self-help fashion interventions promote hyper-confident male identities that can reinforce harmful gender norms.[58][59] As of 2025, swagger has permeated corporate and self-help discourses, where it is repurposed for personal branding strategies that emphasize authentic charisma to foster professional success. This integration reflects broader trends in motivational literature, such as guides urging individuals to "unleash" their swagger for empowerment and visibility in competitive markets. Slang resources like Urban Dictionary document this trajectory, with user-submitted definitions post-2000 increasingly favoring positive interpretations of style and confidence over pejorative ones.[60][61][62]References
- https://en.[wiktionary](/page/Wiktionary).org/wiki/swag