Class ‘content’

We’ve just finished a six week long beginner lindy hop block. This whole block could be summarised in one hour (as we did tonight) with the below points. If I had time, I’d also list the specific class plans we had for each individual class.

Specific dance stuff:
– gliding (dancing in closed with no particular rhythm), aka floor craft, partnering, leading and following, comfortable closed position, finding 1, stopping and starting independently;
– circles, aka a specific rhythm (which someone pointed out tonight is 2 x 4 counts) with a specific direction and shape – leads leading and follows following, efficient and deliberate movement through space, being able to choose a smaller step size, etc;
– swinging out from closed position, aka knowing where ‘halfway’ is in a circle (on count 5 or after the triple step), continuing rhythm, leading with your body and the physics of rotation, understanding how far to go away from your partner;
– jazzing in open, then re-starting again, aka keeping time and changing between a single time rhythm and a step step triple step rhythm, leading in from open using your body, following in from open;
– using rotation again to ‘catch’ the follow, making contact with your body to follow the lead;
– combining the two to make an open to open swing out, with or without time jazzing in open, aka hearing 8s, phrases, keeping time, swinging time, etc, improvising, changing rhythms;
– charleston on your own (and using the groove to transition between the two);
– moving from a circle into side by side charleston then out again (using the groove to keep time, knowing when to change, using your body to change direction and suggest a change in rhythm, recognising changes in your lead’s body movement, maintaining a rhythm until it changes);
– the kick through in side by side charleston (how to lead by moving your own body – kicking in and out, pivoting on one foot, pivoting on one foot and turning, a new charleston rhythm, etc etc)
– leading the whole group in a big apple, in turn (hearing the phrase, knowing how to prepare for, then pass the turn to your neighbour, knowing how to pass without stressing, understanding how to lead a move successfully for a group, etc)!
– moving through space (rotating partners!)
– swivels, boogie back and forward, itches, push it, push it out, etc, rocking, and many other jazz steps.

Learning skills:
– learning-by-watching;
– working with a partner;
– dealing with not getting it right first time (aka patience and perseverance);
– i-go you-go learning style in pairs and in groups;
– sticking with a task (no matter how ‘simple’) and refining it;
– working with a range of partners of different abilities, and finding the fun;
– knowing how to stop, chillax and find the groove, then restart and start dancing again with many different partners (esp after ‘making a mess’);
– working on a problem or challenge before asking for help (independent and team problem solving);

Social skills:
– how to ask for a dance, how to accept one, how to introduce yourself;
– how to ask a partner how to change how they’re touching you, how to accept that comment from a partner;
– stopping, then chillaxing, then restarting with a partner to manage stress or making mistakes;
– staying calm and cheery under pressure, and accepting challenges and obstacles as a useful part of learning, without getting angry or anti-social;
– respecting partners’ bodies, and when they ask to stop, change, or adjust a physical contact;

Musical skills:
– finding the beat;
– swinging the beat;
– finding the 1;
– finding the 8;
– accenting 2, 4, 6, 8 (as in boogie back);
– difference between 20s and 40s jazz and how it affects charleston emphasis;
– finding a phrase (consciously and also implicitly);
– recognising a 12 bar blues and 32 bar chorus format;
– finding the right place to start in the music, then getting started and dancing;
– moving between different rhythms (single time, half time, step step triple step, charleston, a range of other rhythms) in partners and alone as solo dancers, and also as solo dancers with a partner;
– being able to recognise, retain, then repeat a given rhythm (as in I-go, you-go);
– being able to transfer a rhythm from clapping to different parts of the foot, to stepping, to physical movement through space.

They learnt so much!
I’m also happy that I’ve learnt how to rethink a class and course structure. I used to teaching thinking ‘ok, what moves will we teach’, and now I can think ‘ok, what skills do we want’, then develop a class that fosters these skills implicitly (rather than through lots of talking). But still uses and shares historic vocabulary and musical knowledge.

Why I want to hang onto gender when we talk about race in lindy hop

As part of the ongoing discussion about race and lindy hop, Shelby (a black American man) asked (in response to a comment about how the dance community’s response to race differs/shares with its response to rape and sexual assault):

So can we stay on the topic at hand please. Just once would like a discussion on race not have another topic though pressing be brought into the discussion unless they actually crossover to prevent tangents

I responded like this:

I think they’re all linked. We can’t talk about race in America without talking about class. We can’t talk about race in vintage fashion culture without also talking about gender and class (and sexuality). It’s important to note that ‘gender norms’ in mainstream American lindy hop culture involve race. As an extreme example, I was reading an article the other day pointing out why the American second amendment is inherently about race and a part of slavery. In that setting, we have to talk about class and race if we want to understand why white men in America are over-represented in mass shootings in schools.

I think it’s super, super important to identify how ‘idealised female bodies’ are ethnicised: white skin, straight hair, long clear lines created by shoe choices and lots of pointed toes, etc etc. And how clothing choices emphasise particular aesthetics and shapes.
Joann Kealiinohomoku wrote a great article about ballet in 1983 which is directly relevant to this conversation. She pointed out how ballet – specifically the ballerina’s body and movement – are shaped by ethnicised notions of beauty and gender. She pointed out how ‘whiteness’ is constructed by particular ways of moving and particular body shapes and aesthetics.

If we are going to make lindy hop more tenable for poc, we need to deconstruct how lindy hop is ethnicised, where the dominant ethnicity is ‘whiteness’. We have to deconstruct whiteness. We have to think about ‘whiteness’ as ethnicity. As culture. Not as some neutral ‘norm.’ And that means not only talking about historic black dancers in class; but looking at how vintage fashion aesthetics contribute to contemporary gender norms; how dance step ‘trends’ favour particular rhythms, which reflect vernacular spoken language; and how the cost of events limits the participation of people who don’t have disposable income (class).

I don’t expect you, personally, to take on this work, but as a white woman, I feel I have a responsibility to see how privilege works in the context of patriarchy. I need to unravel all the threads, and see which ones contribute to which knots. Then i can start untangling and undoing patriarchy.
Working within a feminist framework (in my background) means asking how race, ethnicity, class, gender, sexuality, age, etc all work to privilege some people and marginalise others. The generation of feminists who came after me talk about this in terms of intersectionality. For me, it’s a way of saying “How come the work of white feminists of the second generation (1960s) didn’t turn out to be so useful for black women?”
My approach is informed by black feminists and feminists of colour, who clearly state: gender is not my first point of engagement with power and injustice; my race is. I can dig that. But I feel that as a white woman, I owe it to my black sisters to take on some of this labour while they’re getting on with addressing issues like school lunches and literacy rates in black communities.

Kealiinohomoku, Joann. “An Anthropologist Looks at Ballet as a Form of Ethnic Dance.” What Is Dance? Readings in Theory and Criticism. Eds. Roger Copeland and Marshall Cohen. Oxford: Oxford University Press, 1983. 533 – 49.

More references on this topic.

Looking for Langston

Speaking of the black experience in jazz and blues dance…

I haven’t yet ready anything in the blues and lindy hop community about the black queer male body dancing.

There’s been some good work on black women’s bodily experiences in modern jazz dance culture, and a bit about black masculinity. Quite a few too many white men have whitesplained how blues works as a black space, and far too many white women and men have avoided talking about vintage fashion as an ethnicised scene.

Apparently the black queer body in a well cut suit or gorgeous gown is too terrifying even for whispers.

I saw Looking For Langston (an art film by Isaac Julien) last night. The whole project – a film made during the 80s AIDS crisis by a black British man, about a black American man of the Harlem Renaissance – is a meditation on queer desire, jazz aesthetics and the blues. The name (and a lot of the content, including some proto-vogueing) reminds me of Desperately Seeking Susan, Madonna, and the queer-eye-on-art. It includes voice work by Stuart Hall and Toni Morrison, Paul Gilroy gets props, Jimmy Somerville plays a cherub (again), and Tongues Untied is referenced. Also there is some cock.

 

 

 

 

 

 

 

The installation at Rosley Oxley9 Gallery features some beautiful large scale black and white stills from the film, depicting black men dancing in closed embrace. Photos I regularly see linked up on facebook as examples of queer dance in the swing era. Ha.

Liah says it’s good to check out the Mapplethorpe exhibit at the agnsw as well, so you can see how Julien’s work responds to Mapplethorpe (and the white queer gaze on black bodies).

I’ve hooked up this obviously pirated version of Looking for Langston, because it’s a hard one to get to see.

 

photos:

mise en scene pic from Isaac Julien’s set (source).
Stuart Hall, from his obituary in the Telegraph.
Toni Morrison by Gregg Delman in the Times.
Paul Gilroy (source).
Jimmy Somverville in Sally Potter’s Orlando.
Tongues Untied (source).
My pic from the exhibition.
Robert Mapplethorpe, Two Men Dancing (source).

Vintage fashion and lindy hop: let’s add race.

Laury Windley of Lindy Shopper fame asked on fb today:

I wonder if there’s a correlation between the Internet making vintage and reproduction clothing more available to the masses and the increased incidence of people dressing up for swing dancing.

And I replied…

I think the internet definitely plays a part in shaping lindy hop fashion.
I started dancing in 1998 in Brisbane, a hot, humid sweat pit of a place that was cruel to anything vintage. I was wearing vintage before I started dancing… 60s vintage and punker fashion. But crimplene and sub-tropical lindy hop? No. But that’s 20s years ago, and mainstream fashion has changed a lot over that time.

I think a few things have shaped what people wear for lindy hop:
– Weather and climate.
In hotter climates we sweat more, and fabrics have to be able to handle that. So a wool suit isn’t often a dancer’s first choice. There simply isn’t that much vintage wear in Australia – because the climate (including the sun and sweat) destroyed it, and because of social history.

– Culture.
More importantly, 1930s and 40s fashion in Australia wasn’t like 30s and 40s fashion in the northern hemisphere. I imagine we could see some really interesting different regional vintage fashion in other scenes as well. Which of course makes me think: Korean dancers wearing 30s and 40s fashion is a whole other kettle of cultural fish. Looking at videos from Maputo (in Mozambique) lately, I see a blend of traditional fabrics (eg waxprints), vintage 30s, and modern aesthetic. And bare feet. All things that are particular to this community at this time and place. A pride in cultural heritage (waxprints), a nod to dance history (30s cuts and styles), and social context (bare feet influenced by the ‘traditional’ dance influences brought by pro Mozambique dancers to lindy hop). And that’s all before we get to bodily aesthetics.

– Dance culture.
I’ve noticed that if a lindy hop scene has members who travel a lot (ie they’re quite experienced dancers), the fashion tends more towards the ‘european or american vintage’ aesthetic. This is about individual dancers wanting to signal status/knowledge in what they wear.
Interestingly, we have a strong vintage/repro fashion scene in Sydney which crosses over with ‘swing dancing’ (not necessarily lindy hop). It’s not so great for dancing hardcore, but people live a hardcore vintage lifestyle. Chloe Hong‘s presence in Seoul does much the same. She gives us the incredible troupe uniforms (troupes are influencers!) and also that ubiquitous Whitey’s Lindy Hopper Big Apple tshirt reproduction. Both of which encourage a vintage fashion vibe. And it’s hardcore: male dancer might bring their suit to parties in a suit bag, then change in the on-site dressing rooms rather than risk them on the subway.

– Dancing.
Lindy hop has gotten a lot more athletic _generally_ than it was in the 2000s. Parachute pants are great for smoothy dancing, but a shorter skirt or more fitted trousers are better for lots of solo jazz, leaping about, etc. I’ve been most interested in the way men’s trousers taper more at the ankle to show off leet footwork in a way wide cuffs don’t.
All this athletic training has also changed professional or competition dancers’ physiology: more muscles, a greater range of movement = more care with fashion choices. A lovely 1940s dress is too precious to risk on a hardcore showcase routine with aerials.

– Gender.
We’ve seen changes in gender performance in the wider community since the 1990s and 2000s. There’s generally a greater emphasis on ‘strong’ bodies and muscle tone in mainstream media – women as well as men are into weights and resistance training in a new way. But at the same time, the more androgynous stylings of the 90s has given way to hyper-gendered styles today.
As Cierra says in that Obsidian Tea piece, this is not only about gender, but also about race, and as Shelby suggests, class. There’s a definite body type favoured by mainstream white culture, but also by lindy hop culture (which is after all a microcosm of the wider society).

Long, lean legs and buttocks, narrow busts and chests, long torsoes, long straight hair, etc etc etc.
Male lindy hoppers’ bodies are almost the same, except with shorter hair (male hair cuts!).
-> we see a very white, anglo-european body type here. It not only excludes black bodies, but also some asian phenotypes…basically anyone who’s not from this anglo-european background.
-> There’s also been a rise in what constitutes disordered eating dogma eating in lindy hop circles: ‘paleo’ ‘diets’, low-carb, high-protein, high-fat, etc etc etc. This in concert with obsessive exercise routines (remember when P90X was big?) are giving us a particularly worrying body type as a favoured aesthetic. Still very white, still relatively unattainable for most people.

The clothes that people are choosing emphasise these qualities. I wrote about the influx of high heeled shoes a while ago – and heels extend the lines of the leg to point the toe and create a very white, heteronormative feminine model. The more fitted skirt extends these straight lines. We see foundation garments becoming a very important part of many women dancers’ wardrobes: they constrain and flatten the body, erasing curves and rolls and dimpling of flesh to extend lines.
All of this actually constrains the body and limits a range of movement, not to mention comfort. Men may complain about the heat of a jacket while dancing, but it’s nothing compared to the discomfort of spanx, two pairs of stockings, underwire bras, a million bobby pins and a ton of makeup. Again, this is very much an ethnicised notion of bodily aesthetics with patriarchal effects.

It’s very _not_ like the west african aesthetics of early jazz dance.

– Fabrics.
Some really wonderful fabrics have become popular in m/s fashion over the past few years. There are some utterly amazing stretch cottons that look and breathe like cotton, but also have the stretch and longevity of a synthetic. Perfect for dancing. But this also changes the way garments wear and wear out. We can make clothes that behave in different ways – reproduce vintage styles in more athletic-friendly fabrics.

– The rise of repro fashion businesses.
This is another story about the internet. Pervasive internet access has enabled the rise of small business manufacturing models (via etsy etc), and the ‘bespoke’ trend in m/s culture has married perfectly with the aesthetics of vintage fashion. So we’re seeing repro businesses doing well online in the dance world and beyond. I think this interest in bespoke fashion works as a push back against fast-fashion, but also as a marker of class (it’s more expensive, and is often defended as being ‘better value’, even when the manufacturers are inexperienced craftspeople who might make things by hand but don’t have proper tailoring skills). This echoes Shelby’s earlier point about ‘respectability’ and race: dressing expensive suggests respectability and status.
I’ve been very interested in the way dancer-run businesses can target the nich dancer market and be sustainable. It works in bigger scenes like Seoul, but it’s also sustainable, via the internet, for a business based in Canberra to market to the international dance world.

– Youtube and social media.
And finally, access to the bodies of dancers all over the world via the internet has shaped fashion. We may have regional styles, but we also have Chloe Hong and Remix and sweet fades in every international lindy hop scene (where budgets allow). If a big name dancer wearing it at ILHC, then we’ll see it in local scenes soon after. Influencers r us.

Figuring out how to teach content in class is lots of work

Lian noted in the teaching swing dance group the other day:

…in the past few years when planning class material, I’ve found it super helpful to focus on HOW we’ll teach it… Will we have them do it solo first, how about shuffling through geography before diving in with footwork, or a progressive series of movement leading to the final concept.

I commented:
[comment]
I think this is the most important thing ever. Making a shift away from moves= content to skills = content has been so important for me. From ‘we’ll teach moves x, y, x’ to ‘our goal is x or y this class. We’ll do this game, then this move, then combine the game with the moves in a section to teach this skill.’

It takes ages, but when we work through how we’ll teach, it’s so much better. Especially if you’re working with a new teacher, or if you want to be a better teacher. Breaking down how you’ll teach makes you more self-reflexive, and actively engage with how you understand a move, how you articulate it, how you can take most of the words out, and how you can encourage students to learn by trying.

Super fun. But it really challenges a teacher to try to improve and change their habits.
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I’m interested in the idea of class planning as a discipline not only for its effects on teaching practice, but also for the way it organises labour before, during, and after classes, and also contributes to teaching team morale and relationships. The time you spend planning helps you figure out how you’ll relate to a teaching partner.

But a very important of my current teaching process, is moving from seeing class ‘content’ as a bunch of moves, to seeing class ‘content’ as much more.

This includes lots of different teaching tools, and knowing how they work individually and cumulatively to develop students’ skills:

– Having ‘goals’ for that specific class
eg ‘integrating different charleston rhythms with lindy hop’
That means knowing what you want to achieve before going in there (because you know your students’ needs), or going in there, observing the students, and thinking ‘ok, they need some X.’

– Having fun games that develop skills required to reach that goal
eg some solo work to learn how your body works
I’m beginning to think that the whole class should be treated like a series of games. ie just making classes a bunch of fun challenges and tasks.

– Beginning every class with a warm up that includes key rhythms or shapes that we’ll use in the class later, but set the tone of the class.
eg kicks for charleston, or pivoting on one foot, or syncopated timing, or dancing across two 8s rather than one
This warm up teaches specific rhythms and shapes, but also teaches them how to learn-by-doing (ie we literally say “Just join in; the goal is to get warmed up”), how to deal with ‘mistakes’ and challenges, and how to move on from one step to another, or from one challenge to another without giving up. It also trains the eye (what do you _see_), and the ear (each move takes a phrase, and uses specific rhythms across moves).
NB We all practice our warm ups very carefully, and don’t just ‘wing’ them.

– Following that with a teacher-led exercise or game like I-go, You-go to teach rhythms.
This second game continues the idea of learn-by-doing, and is lots of fun. These two ‘warm up’ games also begin introducing students to the skills they need for later in the class. So in week 1 of the beginner block we teach the ‘basic rhythm’ using I-go You-go. But we might also use this to teach a particular jazz step or skill.
This game can be made more complex/challenging for more experienced classes. eg from week 1 to week 6 in the beginner block, it gets trickier as their skills increase.

Paired or small group exercises which are actually dancing.
eg an I-go, you-go exercise where they echo the teacher’s role of calling the step, but take turns being the ‘responder’ as well as the caller, working in turn rather than together.
This then moves them from ‘doing one’ to ‘teaching one’. They learn to ‘teach’ or communicate a rhythm or shape or musical concept with their bodies in a small group (a pair) which is less threatening. It also teaches them to work with a partner (which is central to lindy hop). This develops skills like communication, visual learning (learn by watching), seeing success as a collaboration not an individual victory or competition (eg they ‘win’ if their partner completes the rhythm successfully).
NB These are NOT isolated ‘exercises’, but actually dancing games, where they are literally dancing and experimenting with movement and rhythm.

Moving to a dance move or figure that employs these skills.
eg a call and response rhythm that happens on 1-4 and then 5-8 of an 8 count swing out.
This is the application of their solo dancing skills to the lindy hop setting. They usually figure out that they’ve been dancing lindy hop all along anyway.

Teaching specific lindy hop vocabulary.
Historic moves are wonderful because they incorporate all the things we value: music, swing, collaboration, etc etc. I try to teach at least one jazz step per class. But I may teach it in a variety of ways. I try to collect ways to teach these steps to keep my brain interested, and theirs. So teaching a jazz step isn’t just about passing on a nugget of knowledge. A specific jazz step teaches other things. eg boogie forward teaches how to dance alone with a partner, dancing in blocks of 8, using half time, experimenting with simple shapes to get interesting styles, how to move through space (including floor craft), etc etc etc. I might teach this step by “Watch me, and when you’re ready, join in” or I might break it down into pieces. Or I might say, “Let’s walk into the circle (big apple style), then back out. Ok, let’s use this timing. Nice, now let’s give it some boogie.” And build up the step from a recognisable real-world movement (eg walking).

Plenty of individual/unguided practice or experimentation time.
They count themselves in (start when you feel ready, or when the music tells you it is time), learning to pause and take a breath, communicate with a partner to figure something out, navigate a crowded dance floor, ask for a dance and how to touch someone, etc etc.
These unguided sessions are ESSENTIAL as they teach improvisation, and other social dancing skills. This is the point of it all.

Giving dancers without a partner specific tasks.
eg explaining how to practice a rhythm on your own, experimenting with size, shape, bounce, groove, etc.
I find that most students figure out how to do this on their own, if you begin a class with a strong solo component. The last thing I want is students looking at their phones or blanking out. Even if they’re not actually dancing, I want them to be watching, engaging, or simply taking a real break or breath and learning to realise when they need to take a time out.

Whole-group demos from teachers
eg we’ll do it three times then you do it. This brings all the dancers together, and they can ask questions and listen to each other. It’s important for teachers to use this time to model how to speak to a partner respectfully, etc etc etc.

Whole group synchronised dancing through a step or sequence.
“Let’s all go together as a team.” Dancing as a synchronised team builds cohort feels, but it also strengthens rhythmic sensibilities and collaboration. They feel where it’s going wrong or right, and they learn to start and stop at a specific time (eg with discipline).

I’ve ended with this last tool, because this is where a lot of teachers begin and end all their classes: teaching a series of set moves that everyone dances together as the teacher counts the time, and then they rotate. I think it’s a nice tool, but dancing it this way in class every class, all the time neglects 90% of the skills you need for dancing lindy hop. Even if you break the step down before they do it, using something like a standard – geography, shuffle through, now add rhythm, now refine the leading/following.

If they experiment on their own, they learn to count themselves in, experiment with leading and following naturally, work with a partner, listen to music and dance in swinging time, learn to hear phrases (when the music suggests they start), take a breath and just stand and watch, retain their social skills by communicating with a partner, etc etc etc.

Teaching: follows’ skills

Someone asked in the teaching group this week:

Planning a workshop focused on follow mechanics. What skills do you think separate great follows from good follows, and how would you train those skills?

There were some interesting comments from people asking if there would be leaders in the class (yes), a male lead chimed in to say how much he learnt as a lead participating in this type of workshop, and there was general chat about how to run this sort of thing. All fascinating.

Me I tend to feel that leaders and follows have very similar goals and skills. I do think of leading and following as very distinct roles within the partnership, though. Leaders have the map, the follow is driving the rally car. The leader points out a side road ahead, the follow decides whether to turn, how fast to turn, whether to u-turn etc. An approach I learnt from Jenny and Rikard. So my response below reflects this.
I also see this question as a consequence of a general push in lindy hop teaching to address follows more directly in class.

[comment]

Things I might look at with follows:
“You are responsible for carrying the beat, and for maintaining your own rhythm. Don’t sacrifice that for the lead.”
This means that you take the steps and move across the floor in a way that feels like the music, and is also a choice. So not always reacting to the lead, but completing each movement, giving each piece of the rhythm the right amount of time, whether it’s a quick weight change or a slow one, a tap or a jump or whatever.

“Know what you are doing.”
This might not be a conscious brain thing, but your body should be making confident choices about your movements. I _choose_ to echo my lead, to synch with them, to add something new. Just as I _choose_ to echo the music, synch with it, or add something new.
This is about being PRESENT in the dance. I am right there in the moment, in my partner’s arms. I’m not predicting the next step. I’m there, with them. Emotionally, physically, rhythmically.

“Both partners find a shared sense of groove.”
This means that it’s not the follow’s job to just ‘match’ the lead. It’s both partners’ responsibility to listen, express their groove (ie dance, not just ‘wait’) and find a nice ‘connection’ (both physical and social – communicative). I think of it as ‘taking the measure’ of a partner before you start to do moves.

“If leads call the rhythm, follows respond.”
In the first few steps of the dance, a leader might ‘call’ step step triple step, or step-step kick step, kick kick-step with their bodies: swing out or charleston. As a follow, I respond to this. I might (as I describe it), listen for a second, and then say “ok, yep, I’m on board with this” and then pick up that rhythm. I hold that rhythm until the lead suggests a change. eg I hold down that step step triple step until the lead suggests a new one ( eg step-step kick step, kick kick-step).
I think of that as the first sort of ‘finding consensus’ part of a dance. As a follow, I say with my connection and facial expression, “Ok, I’m paying attention. Where would you like to start?” and then we do that rhythm together. It’s like the lead lays down a time step, and I get on board and do it too. Until we change it up.
From here, as the music changes, and I get the measure of my partner, I may add in rhythms – ‘call’ a rhythm. The lead can ‘get on board’ by joining in, or by listening, or by holding down that time step/basic rhythm while I improvise on top. It’s all good. But the the type of relationship you have with that partner depends on who you are as people, what the music says, how you feel, etc etc.
So as a follow, you pay attention to how the lead is feeling about all this.

-> As a lead, I don’t want the follow to just copy everything I do, and try to synchronise with me. It makes me a bit sad (and frustrated, really), as a lead when a follow apologises for ‘not getting it’. It’s ok. If we’re together in our embrace, we can do completely different stuff below the waist.

“The follow’s feet are their own business.”
As a lead, I don’t try to tell the follow how to get from point A to point B. I do NOT demand they synch up with me perfectly like I’m the boss. NO.
I might suggest the speed and direction, but they choose whether to maintain that, change it, do something completely different. Because I expect this active response from the follow, I have to pay lots of attention: with my eyes and my body.

“Take care of your body.”
If it hurts, let go. Stop. A lead who clenches your hand when you’re trying to let go is bad news. Leads: if a follow wants to let go of your hand – “Let it go, let it goooooo!”
You want a nice, natural posture with a neutral spine and engaged pelvic floor as default. Don’t ‘stand up straight’ or ‘squat’ or whatever as default. Your natural resting position should be whatever feel right for that dance with that partner. That first moment in closed, hearing that song will tell you what you need to be safe and ready. From here you can adjust or engage or disengage muscles as needed. You don’t have a ‘frame’, you have a lovely system of muscles and veins and bones and things, that you use in lots of different ways to respond to lots of different signals in the music and your partner.
So you want to be able to choose what to do when, not default to something out of panic or habit. So being mindful of your own body, and really present, is really important.

-> learn to read the signs. Sore shoulders? You may be tensing up in your upper body. So soften your knees, think about your pelvic floor, let your arms swing, maybe reorient to your partner from squared up to 3/4 profile (or whatever). See how that feels now. One sore knee? You might be overusing that leg, so perhaps make sure that the other leg is being placed on the ground clearly and with purpose.

etc etc etc. Basically, observe, accept, be ok and safe.

“Check in with your partner”
Visually – look at them! How do they feel? Are they smiling?
Physically – do they feel ‘on’ all of a sudden? Are they relaxing in their muscles? etc etc
-> use your observation skills. Don’t worry about the next ten beats, be right there in this beat, with this person.

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Structuring a class: ‘bricolage teaching’ or ‘lots of little bits’

Georgia was just telling me about this great teaching method she’s experimenting with, where you do lots of different tasks in a class, but for only a few minutes or a short amount of time each. I’ve been trying the same thing with my teaching partner lately, and it’s been very powerful. Super fun and interesting, but also great dancing and learning and teaching. Gotta really _plan_ your classes like a focussed ninja, though. You have to tie all those little pieces together well.

I think the key is to be flexible, and totally prepared to jettison half your class ‘plan’ if things change direction. If something is fun – go with it! I also prefer to build technical stuff into fun games or little sequences, so we’re not standing there playing with a giant rubber band or something. Instead we’re doing a swing out with Frankie’s shake-it-on-down on 7/8 1/2 and _feeling_ that stretch through our connection.

If I have an overall goal for the class – eg I want to have follows get a bit more connected with the ground – I won’t actually talk about that issue directly. I’ll do a warm up, an exercise that focusses on each person being confident in their own rhythm. eg the follows have to ‘teach’ each partner a rhythm as they rotate. And they have to do this by demonstrating. So they might do it on 7/8 1/2 of an 8 count rhythm, and the lead has to observe, then repeat it back. They may have only 5 x 8 counts to achieve this.
Then they do the same game, except they have to ‘teach’ the leads while doing a swing out (instead of face to face in open). They’ll take the visual teaching/learning calling/responding, leading/following and apply it to their lindy hop.

This game will teach follows to be really confident in their movements, which will get them lower in their bodies. The leads will stop yanking and rushing, and will pay more attention to their own bodies and core. To really get follows low, I might offer follows a couple of ‘required’ shapes – eg lifting your toes while your heels stay down. I might demo this by making sure my butt is out (for balance).
…or you know, whatever.

The goal is to progress through this class from a visual lead-follow warm up where the teacher leads, to a social lindy hop lead-follow, where they each play caller or responder in their partnership, adjusting and figuring out how to do this with different partners.

Teaching: handling distraction and disruption

Someone in the fb ‘teaching swing dance’ group asked this the other day:

Question – How do you handle distractions and/or disruptions

When your students are simply distracted or causing disruptions
When you as a teacher are distracted and/or having trouble staying focused

*Waving to you all from my own little ADHD corner of the world. I’ll respond more personally in comments below.

I read this as a continuation of an earlier discussion about managing excessive talking/cohort distraction.

I missed the point, that she was asking: how do I keep myself from getting distracted. Which is so interesting.

Anyhoo, the discussion continued.

[comment]

If they’re getting bored and distracted, you’re being boring. :D
They’re here to dance, not listen to someone talk about dancing.
Instead of hauling their attention back to you and your voice stop talking and dance. I struggle with this because I’m a total show pony. I LOVE an audience. No, Sam, it’s not all about you.
-> move from teacher-centred classes to student-centred classes.

We used to teach in a crowded public bar venue, with lots of ambient noise and crowding. Things we did:
– we do the ‘come in close’ in a circle thing, then say, “Ok, this venue is quit noisy, so when we say ‘come close’, everyone come in close, we’ll talk, then we’ll all scatter again to dance.” Very effective. I like them to come _really_ close. From here it’s quite fun to demonstrate dancing stuff, so they can see how little room you should use on the social floor anyway. And they can see better as well.
-> I still use this technique now in our bigger space.

– Talk less, dance more. So they don’t get distracted, because you only have a minute or so to talk/listen. So instead of explaining how a move works, the ‘we’ll do it three times’ method keeps them focussed.

– “We’ll do it three times only, then you will dance it _perfectly_.” Gee they pay close attention. But this also trains them to learn-by-watching, which means they really _focus_ when you demo.

– Give them the task, _then_ say ‘rotate partners’ and put the music on. That way they can take as long as they want rotating, and you don’t have to fuss with managing noise, distraction, etc. They figure out: if they dick around, they miss out on dancing time.

– If you give them a ‘tip’ or a thing, they have to dance on it immediately. Don’t load them up with three or more things you saw that need ‘fixing’. If it’s lead or follow specific, you also give one to the other role, then they all dance on it immediately. One thing only for each (or both). Then dancing. Less talk, more dance. Less distracting.

– Rather than stepping in to ‘fix’ something you see while they’re all practicing, let them dance and experiment and fix it themselves. If you step in, they rely on you to help, and they lose focus and get distracted. If they get used to figuring it out, they learn focus and patience and can work on a challenge for longer. Your challenge: knowing when to step in before they get dejected.

– Learn the natural patterns of conversation and noise in the room. Give them a task, then let them do it on their own with music (and a partner). If you’ve already shown them how to talk to a partner (eg your demo about how to touch someone), they have the skills to work with a partner.
Let them go. For a _whole_ song with one partner. It’s only 3 minutes, but a lot of teachers _never_ do this!
You’ll see there’s immediately a rush of noise as they try it. Then a lull as they get ‘bored’ and act all ‘there, done it.’ Then the noise rises again as they a) start yapping randomly, or b) start trying again. The random yappers actually stop yapping and eventually try again themselves. Then the noise crests again.
It’s really hard to learn to not step in; learn to hear those crests and troughs, and observe them, and figure out when you’re really needed. I find they rarely ask for help unless they’re really confused. They prefer to work with a partner, or with their partner and a neighbouring couple!
– During this pattern, they learn to stop and restart themselves. When you do all come back together, make sure you point out that you saw people doing this and you loved it: “I saw people get all confuzzled, then stop, say ‘can we try again?’ and then restart. That’s genius.” I often point out a specific dancer or couple who do this really well – I say, “I saw X and X stop, chill, groove a bit, then start in again.” If you do this, rather than saying “When you get stressed, do X, not Y.” They only hear the negative thing. But if you do it the positive way, they realise a) you’re paying attention, b) you trust them to figure out stuff, c) they can trust themselves to figure stuff out.

c is the most useful, because then they learn to focus and stay on track.

-> Anyhoo, I think this is the most important skill ever. For teachers. Let the class get really noisy and rowdy. They want to socialise and talk.

– Don’t rush them to start dancing after they rotate partners. Give them time to do a proper social introduction, to slowly get so they touch each other. Good social skills, good boundary negotiation, but also good vibes.
-> They come to class for each other’s company. So let them have that time. It’s solid gold. It’ll be noisy, but it’s a _good_ noise. And learn to recognise the difference between good noise and antisocial noise.

I really love this approach. I don’t have to stress about being the centre of attention. I let them actually let their partner be the centre of their attention. You know – lindy hop. <3 <3 <3

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The original poster then reminded me: hey Sam, we’re talking about getting distracted as a teacher rather than distracted students. Particularly when you’re managing anxiety and ADHD while also managing a class.

[comment]

Rather than finding it difficult to stay focussed, my problem is that I tend to find it difficult to stop focussing, and to switch topics or tasks. Obsessive thinking r us. Great for practicing or working on my own dancing, not good for teaching.

I think Byron’s point about using your partner is really good. I often rely on my partner to give me the ‘that’s enough talking’ sign so I stop. Especially if my brain is racing ahead and I forget to let them practice something 2 or 3 or 4 times instead of just once.

I’ve seen other teaching couples use the 2-teacher vibe in a few good ways: – they tag in and out for managing little chunks of a class – eg Pete runs the big apple warm up, I do the i-go-you-go rhythm warm up, Pete does the next bit, etc etc. That way the one who’s ‘tagged out’ can gauge the overall flow and step in with the next step at the right time.

– one teacher may ask the other a question about what’s happening, to help refocus the class: “So, Sam, are you saying that we should _practice_ more instead of just thinking about this idea?” or even “Can you show me how you’d lead that, Sam?”

– switching between teachers leading bits also helps students refocus or retune, because different people use their voice in different ways, or explain/demo in different ways. -> peeps with ADHD can also get really _tiiiiired_ because they’re on adrenaline overload rushing from one thing to another. So swapping in and out with a teacher can give the tagged out teacher a little rest and break.

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I’ve just been thinking about how we may talk about neurdiversity and students, and the needs of students who are managing adhd, anxiety, depression etc, but we don’t talk about teachers managing these things.
I feel as though I’ve been working with that very limited idea of teachers as somehow homogenous monolithic neuro-same. FAIL. Odysseus’ recent blog post about how to attract and appeal to culturally and ethnically diverse students makes me realise: start with MYSELF, and stop making my own identity markers disappear.

More talk about consent and blues dance: the consequences of trauma on discourse

In a continuation of the discussion begun by Damon’s post, Kelly posted a lengthy, intelligent piece on facebook. This one was only visible to friends (not everyone), so I won’t copy and paste it here. But she did begin some interesting discussion about being a white woman engaging with this topic. I chimed in there in a less careful tone than I would on Damon’s post, as I know Kelly better, and I wouldn’t splash my feels all over the page of someone I don’t know.

Anyhoo, this is how I responded:

While i can get behind the statement, ‘Some historic blues dance styles are defined by a close embrace’, i cannot endorse the line that walking through the door at a blues dance event _is_ giving consent for a closed embrace.
Whatever the history of a dance, drawing an equivalence between those two points is rubbish.

I’m also very unkeen to just recreate the past. Honour our history, yes, but i’m not just going to give a blanket ok for wholesale reenactment of ‘history’.
I go to dances with my brain and eyes open. One of the most important parts of the cultural transmission of dances between generations, communities, and cultures, is adapting them to make them socially relevant. That’s why canel walk in 1930 and camel walk in 2018 aren’t exactly the same.

So i’m saying it bluntly: even if the historical ‘truth’ was that you (women, it is implied), give up the right to withdrawl consent at blues partirs, i am NOT ok with that now. And i do not want to revive or preserve that little nugget. And i sure as shit won’t tolerate retrosexist bros who use this ‘history’ to enable contravening women’s rights.

No punches pulled there, right?
But I’m finding it so difficult to stay chilled on this topic.

A couple of black men responded, but again I won’t cut and paste their comments here, as they weren’t publicly visible. When a post and comments aren’t public, we assume that the authors assume a degree of anonymity or ‘safety’.

But I did continue, after some thought, with the following post. I think it best sums up by difficulties in dealing with this topic. It’s so, so hard to unpack privilege and assumptions about race and ethnicity when your brain is being pounded by the effects of vicarious trauma.
Lately the topic of intergenerational trauma has entered Australian discourse about indigenous Australian rights and compensation. Part of me would like to talk/write about the physical consequence of trauma and violence (and living with the threat of violence) for people trying to participate in public discourse. Basically: it’s fucking hard to be calm and coherent when your brain is pouring adrenaline through you. And I think that this is why we need allies. We need people who have the privilege and advantage of not being physically threatened by patriarchy to do some heavy lifting.

I’ve been trying to figure out why I get so upset about this particular point. I understand with my brain, but then my emotions just come raging in.
I think it’s an old school trigger. I have heard men use exactly this argument -“It’s a blues hold”, “Relax and go with it,” “This is how you do blues dance” – when a woman asks them not to hold them so tight it hurts, not to touch their breasts or groin, or gets so upset they cry and leave the dance. I’m dealing with these men in my local dance scene at the moment.

So when I hear just the beginning of this sentence, it’s like a switch gets flicked in my head, and I hear those women literally crying, ashamed, and telling me what the man said as he held her down and groped or assaulted her. Repeatedly. “Relax. It’s a blues hold.” It’s line built for gaslighting.

I know I feel this way because I’m dealing with vicarious trauma from working on so much s.a. and harassment stuff. But my brain isn’t in control here. My emotions are.

At this stage, I simply can’t accept this approach. As I type this, I’m starting to feel a bit distressed. But right now, I’m 100% not ok with even getting anywhere near supporting or even taking apart this argument to see how it works.

I’ve also been wondering: am I doing some low-key racism here? Am I policing a topic for my own privilege? I’m not sure. I do know that I’ve heard white male offenders appropriate the ‘this is authentic black history’ argument to justify serious harassment, as social dancers, and as teachers, _teaching_ other men that this sort of behaviour is legit. And that makes me super, super angry.

So I’m going to sit on this for a while until I don’t get so seriously triggered. Then revisit it.