that it was this hypersexual kind of performance that crossed racial lines. and even the zoot suit itself ac was kind of seen as a kind of visual extravaganza as zoot en suiters moved across the floor. malcolm x, again, when he was malcolm little, remembers a night of zoot suit dancing like this -- "once i got myself warmed and loosened up, i was snatching partners from among the hundreds of unattached e freelancing girls along the sidelines. almost every one of them could really dance, and i just about went wild.al band wailing, i was whirling ne girls so fast, their skirts were snapping.st black girls, brown skins, high yellows, even a couple of white girls there, boosting them over my hips, my shoulders, into the air, circling, tap dancing, i was underneath them when they landed doing the flapping eagle, the kangaroo, and the split."" so, both in its visual projection and in the kind of practices and social relationships that it cultivatet and embodied, the zoot was a challenge to the status quo and conventional gender and racial dimensions of wartime amer