She and her friends practiced the dances in the gym at her school, P.S. 136, and after church on the sidewalk outside the Savoy, where Mr. Ganaway discovered her. As her talents grew, she was enrolled at the Manhattan School of the Arts on the Upper West Side.
After her meteoric Lindy Hop career, Ms. Miller reinvented herself in 1952. She founded and choreographed the Norma Miller Dancers, a jazz-dance troupe that toured America and Australia for two years, then joined Count Basie on a national tour. In the pervasive racial segregation of the day, Ms. Miller and her group faced daily reminders of their secondary status in renting rooms, riding in the back of buses, dining in black eateries and sometimes confronting white protests.
In 1957, the Norma Miller Dancers played long-running engagements in Miami Beach and Las Vegas as part of an extravagant production called the “Cotton Club Revue.” The show, starring Cab Calloway and a 48-member all-black cast, drew huge nightly audiences for months. But it also stirred racial unrest, as had been anticipated: Every cast member was given an identity card issued by the police, and after each show had to retreat to a “colored” hotel.
“We were to be the first all-black show to play the Beachcomber in Miami Beach,” Ms. Miller recalled in “Stompin’ at the Savoy: The Memoir of a Jazz Dancer” (2003, with Evette Jensen). “During rehearsal, racial tensions surfaced. The day of our big dress rehearsal, there were headlines in The Miami Sun telling Murray Weinger” — a Miami nightclub owner — “that they didn’t want his colored show on the beach.”
Ms. Miller lived in Las Vegas for much of the 1960s and ′70s. She did comedy routines in clubs with Redd Foxx and taught children’s dance classes. In 1972, she entertained American troops in Vietnam. She had roles in three of Mr. Foxx’s NBC sitcoms: “Sanford and Son” in 1973-74, “Grady” in 1976, and “Sanford Arms” in 1977.
Besides “Queen of Swing,” John Biffar’s documentary on her life, Ms. Miller appeared in at least nine other documentaries on dance, black comedy and other subjects, including Ken Burns’s PBS series “Jazz” (2000). She was the subject of a children’s book by Alan Govenar, “Stompin’ at the Savoy: The Story of Norma Miller” (2006). Her own books include “Swing Baby Swing” (2010, with Darlene Gist), a chronicle of swing dancing over her century.
Ms. Miller, who never married and left no immediate survivors, had a long-term relationship with fellow Hellzapoppin’ performer Roy Glenn, who died in 1971. She traveled widely to appear at swing and jazz festivals and give talks on her dancing days. “The Savoy was our community,” she told Bobby White in one interview in 2016, “and the dance floor was the place we found freedom.”
In 2018, Ms. Miller appeared at the Herrang Dance Camp in Sweden, an annual gathering since the 1980s of Lindy Hop lovers from around the world. “A place like this is unbelievable,” she said. “It’s like Brigadoon” the musical about a Scottish village that magically reappears once every 100 years.