Gofund me update

What’s going on with my Australian Safe Space Legal Fund?

Here is the latest update:

Hello friends!
You’ve no doubt been wondering what’s been happening with this project. Well, here are the details.

I’ve paused the fundraising element of this campaign, as we have raised enough money to cover the latest round of legal fees. Phew.
Now I’ve been able to honour my work commitments in our scenes. And to take advantage of this work to meet and learn from safe space workers all over the world.

I (Sam) was booked to DJ in Korea (at the Rhythm Korea event), and at the Herräng Dance Camp in Sweden. Mid-June I left Sydney for Korea, where I was not only a staff DJ at this event, but catching up with local dancers and organisers.

Korea is, of course, home to the Dance Safe Korea organisation, which is one of the largest and best-organised safe space organisations in the international dancing community.
Each time I visit Seoul, I take note of the public posters, pamphlets and information brochures DSK have at all the dozens and dozens of swing dance ‘bars’. There are posters with information about how to treat dance partners respectfully, and how to get help when you need it. And these posters have been printed by the hundreds, and distributed all over this city of 10 million people.

Rhythm Korea also gave me a chance to meet and catch up with dancers from outside Seoul (Incheon! Busan1), from Thailand, from Japan, from Hong Kong,… and other Asian cities. Not to mention visiting teachers from Sweden and France.

I am always inspired by the DSK team. Their awareness-raising work is backed by some of the most comprehensive survey and statistical work I’ve seen in the dance world. And they are truly great people.

After Korea, it was off to the Netherlands. I spent time in Amsterdam and Rotterdam, two very different Dutch cities, and had a chance to meet and speak to teachers, organisers, and dancers from both those cities. Each local organisation has a different approach to safe space policies and actions, but it’s fascinating to see how the socially progressive Netherlands fosters a very different (and diverse!) dance culture.

For me, it was wonderful to see and speak to Dutch friends who have been working hard on tricky issues, and it was really _nice_ to take time to hug and be hugged by friends and colleagues who are so determined to do good stuff. <3

Right now I am in Stockholm, with a couple of meetings planned, but no firm dance safety sessions organised. From here, I will go into the Swedish countryside to work as a staff DJ at the Herräng Dance Camp.

 

Sweden is culturally very different again, and this huge, long-running event has been dealing with a range of safe space challenges. As a staff member, I look forward to the latest iteration of my (DJ) department’s action and response plans. The Security Team has had a personnel reshuffle, with changes like increased gender parity, and my own DJ managers have been developing schemes that run across the five weeks and dozens of DJs on staff during this time.

 

I’m also looking forward to meeting up with my European friends in Herräng to talk safety policy internationally. In previous years we’ve run ‘Feminist Fika’, a catch-up session for dancers visiting from all over the world. This year I’d like to talk about peer-centred safety initiatives, and to hear about all the hard work my international friends have been doing. I’m also looking forward to more of those comforting hugs and supportive conversations.

I’ll also have the chance to meet up with black dancers from the US who are addressing black lindy hop matters, and doing the hard work of interrogating the intersection of race and gendered violence in the dance world. I’m particularly keen to see what they’ve been up to since January.

If you’re doing safe space work in your local community, or at events as you travel, make sure you take time to look after yourself. Not all the stories we hear are good, and we all need time to rest, relax, and _dance_.
You’re not alone: we are here to hold your hand or lend an ear. Reach out!

Sam.

Eat Your Jazz: Herräng’s ‘no’ list and the advantages of limitations

The now-infamous ‘Herräng no list’ came up in my interview with Ryan for his podcast. I’m not sure how it developed, but this ‘no list’ was a complement to the ‘yes list’, which sadly gets a lot less attention. These lists were playlists on spotify developed as a general guide to the type of music you may or may not choose to play at Herräng. The ‘yes’ and ‘no’ titles are typically Swedish. Functional. :D

The first year I DJed at Herräng (2015?), there was an actual booklety thing, setting out the same sort of information, but as a pie graph, with percentages.

Last year I made up a new version of this pie graph for myself. You can see it at the top of this post.

That’s three ways of saying the same thing: this is the type of music we’d prefer you play, as a staff DJ at Herräng. This is a fairly specific description, and it aligns nicely with Herräng’s branding as ‘vernacular jazz dance’ blah blah.

The rules for DJing at Herräng are as you’d expect:

  1. Play swinging jazz from the 1930-40s (with a smear of 50s)
  2. Don’t just lean on the standards

So really it should be a ‘do’ list, not a don’t list.

Does it sound like there are a lot of rules for DJing at Herräng? Not that I’ve noticed. In fact, DJing at Herräng is lots of fun because our bosses simply assume we know all this and won’t play any bullshit, then they just set us up with a time slot or a task, and say “GO.” And then we just go sick. There’s a microphone, there’re lighting switches, there’s a dance floor full of Europeans in a democratic socialist country with far too much daylight. NO RULES TIL BROOKLYN

Advantages of each of the ‘rules’:

Point 2.
You have to really work on your set, not just play your easy-win faves. This makes you work harder and play more interesting sets.
This is especially true because we are on staff for a week, playing every night. One set in a weekend means you can phone it in, but 7 or more sets in a week means you really have to stretch.
This makes the whole week more interesting for dancers, because they’re hearing a wider range of music (within a genre): they get a deeper taste of swing music. But it also makes it more interesting for DJs, and much more creative. You’re more likely to take risks. Here is the good bit. More risks = potentially more errors. But really good DJs know how to recover from errors, and how to avoid them.
So while a DJ’s collection is on display, their skills are too.

I actually love it. I come away from the event with a much better understanding of my collection, having played far more than my usual ‘safe’ songs. And I’ve heard sets that are far more than just a handful of Naomi Uyama and Gordon Webster favourites.

Point 1.
This seems obvious. Playing from the swing era makes for good swing dancing. I see far better lindy hop at Herräng, in part because the music makes it easier to lindy hop.
Less jump blues. This is one that caught me by surprise. I hadn’t realised how much I leant on 40s jump blues. Louis jordan, Big Joe Turner, and others. Wonderful, but when I pushed myself to limit the number of these in my set, again they improved. How? a) different rhythmic emphasis and structure to the songs, b) less vocal driven, more ensemble driven melodies and structure, and c) a shift away from jump blues = shift towards small and big band swing. More complex songs and arrangements. Much more interesting for dancing lindy hop.

So the point isn’t that the no list stops you playing songs. It’s that the no list asks you to start playing a whole heap of other songs. Songs that are just much better for lindy hop and balboa.

I know I come away from the event a much better DJ. Two thumbs up from me.

Buy more drinks, or fund jazz in new ways?

The Unity Hall Jazz Band had the longest running jazz residency in the world.

Their host, the Workers’ Bar and Restaurant in the Unity Hall Hotel, has just announced changes to their monthly program. Now the Unity Hall Jazz Band only play two weeks out of every four in the month. The third is given to the usual monthly Dan Barnet Big Band gig, and the fourth week has just been given to rockabilly bands.
This is not good news.

A couple of weeks ago I spoke to one of the younger band members, who was worried about the gig, and more concerned about the band leader, Gary Walford, who’s been leading the Unity Hall band for all the forty seven years of this residency. The venue owners had told the venue manager to increase the earnings at the bar, or the band would be cancelled.
My friend asked me what we could do, and I suggested the usual call-round to dancers to encourage them to spend more at the venue. I had no hope for this ploy. It never works. And I have no shortage of reservations about promoting drinking in the local community. Particularly when alcoholism is a real problem in the jazz musician community.

But I’ve been thinking about this issue.

All over the world, free weekly live jazz gigs get cancelled because there’s a lack of income over the bar. Before they get cancelled, there’s a push to have dancers spend more at the bar.
And then the gig gets cancelled.

We know that lindy hoppers are a bad market for bars, because they don’t drink, and they don’t eat. Because they’re up and dancing, and lindy hop is too tricky if you drink more than a drink or two. At least the way people like to dance it here in Sydney. And the scene generally tends to be people who don’t drink much. Good news for our livers and our domestic lives. Bad news for pub economies.

We also know that bars will book bands specifically to help people have fun and spend money at the bar. If the people don’t have fun and don’t spend money at the bar, the band gets cancelled.

We also know that keno, pokies, and other automatic gambling systems (specifically not social things like bingo) bring heaps of money into a venue (if you have a licence).
And we also know that bands distract people from gambling.

So big corporate venues (who are also members of clubs Australia and have gambling licences) are more likely to encourage gambling, because they make money.
-> there are studies all about these things, and evidence to support this.

So I’m thinking:
– Encouraging dancers to spend money at the bar won’t work, as they don’t spend enough to compete with the pokies and keno. And there are no good consequences to pushing for cultural changes that see dancers increasing the amount they drink;
– Encouraging mixed dancer/drinker audiences won’t work either, as neither bring in as much as a gambling clientele;
– We need another income stream for venues.

I’ve been wondering if venues like the Workers, even though they’re all about money and gambling rather than music and socialising, could be encouraged to apply for grants.
Ironically, there is funding available from the Office of Responsible Gambling in NSW to subsidise arts/live music projects in community venues.

So the venue could apply for grants money, or the group as a whole could do it.

I’m not the first to have this thought about live music venues in Sydney. Our live music culture is at risk, mostly because the venues in which it is played and enjoyed are struggling. And even though they’re not applied in Balmain (home to the Unity Hall Hotel) and the inner west (home to most of Sydney’s lindy hop), the lock out laws haven’t helped with Sydney’s night life.
Fewer gigs, so bands move south to Melbourne or north to Brisbane. The decline in arts funding nationally and in NSW has seen younger jazz musicians going overseas for work. Last year’s ethically dubious redirection of funding from successful applicants to Opera NSW by the state minister, and the Liberal party government signalled not only a general decline in funding, but a deliberate redirection of funding away from community arts projects, and towards high arts projects.

Of course, this government funded approach to paying for live jazz runs contrary to the free market, small-government-advocating capitalist ethos. The Liberal party is doing its best to deconstruct arts funding. And to promote gambling (and gambling revenue). The welfare state, the state that fosters the arts, and public funding for creative thinking in the arts and sciences, has been steadily undone by previous and current governments. And with a newly elected Liberal government in NSW, things won’t be getting any better.

While jazz is no longer vernacular music, a free, afternoon live band gig in a pub is certainly community arts practice, engaging ordinary, local people of all ages. And there is a connection to be made between the NSW state government’s dependence on gambling income (taxes) and the decline of ordinary, community arts practice. Gambling, it seems, is not only destructive to families and small business, it is also dangerous to community arts practice and community social spaces.

And that’s as far as my thinking has gone.

What is gliding?

Basically, it’s just moving around the dance floor in closed, doing whatever rhythms you like.

“Just grab your partner and move over the floor”

I’ve been in classes with all sorts of teachers, who’ve taught it in different ways. Because it’s so simple, you can adapt it to teach all sorts of skills and concepts.
eg when we teach our week 1 beginners, they do solo jazz warm up, then solo rhythm work, then we change gear completely, and get them to partner up and try gliding. We usually start with music on, but with no specific rhythm. We literally just demo what we want them to do, then say ‘try this’.
After a few minutes or a song, and they’ve rotated a bit, we do the “here are some things we saw that were really cool,” and we focus on the things we want to see more of – eg stopping to apologise when you kick someone.

That last one is REALLY important, not just for good social skills, but also because it encourage them to think about where their body is in space, in relation to other moving objects. This is the great thing about gliding: you move all over the floor. So students have to learn about moving through space without bashing into people. And if they _do_ hit someone, they have to recognise that, stop and see it as significant, then make contact with the other people in the room to apologise. And then they reset with their partner to start again.

Then we may point out that someone has started adding in the rhythm from earlier (someone always has), and we ask everyone to try it.
We add in the rock step around about here, after a bit of practice on this, because someone always asks “How do you change direction?” And we introduce the rock step as a good direction changing tool.

Having them all over the floor is also great, because when you say “Please ask someone else to dance,” they learn to move around and ask new people to dance. If you’re using a small floor (joy), it really feels like a laughing, happy party. And that gives them a good taste of how much fun dancing is. It’s also a relatively simple task, so they get confident and have good feels. Teaching win.
And so on.

The specific limitations or tasks you ask them to consider really depend on what you’re teaching. eg I’ve done this in higher level classes where we’ve been asked to _not_ rock step, or to use only a specific rhythm. Heck, peabody is just gliding, but at SPEED.
In terms of dance nerdery, I really like gliding both partners are moving in the same direction at the same time. There’s not the obvious compression and extension that you get when you introduce rock steps. This is a kind of ‘pre-lindy hop’ historical moment (in my brain).

When you add in rock steps (and hence compression/extension in closed, if you like nerd concepts), they level up their physical abilities, and also move through dance history, away from that ‘always flowing in one direction’ type of dance. They start experimenting with staying in one spot on the floor. Once you have that physical limitation, you can see how swing outs happened: if you can’t have fun moving across the floor, you need to have fun on the spot. And rotating on the spot (a good circle) is a way to have energetic fun in a small space.

You can signal this historical stuff if you want, which makes them think about dance in social context. Or you can signal the technical stuff, which makes them think about dance as biomechanics. Or you can signal the music changes, and have them think about the dance as music.
And so on and so forth.

[We do find that after a chunk of this they want some clear structure or a solid ‘move’. Promenades are a good option here, or flip flops.
eg at 0.53 Asa and Daniel bring the flip flopping shit. Actually, this video is great for lots of closed position ideas.]

BLACK lindy hop matters

My problem with discussions about the ‘lindy hop revival’ is that it is centred on whether or not the lindy hop died out.
This way of talking and thinking about lindy hop and black dance and music is all about non-black people trying to force a particular paradigm (way of thinking) onto black history and culture. Wanting these cultural practices to fit into a linear understanding of dance, where one thing gave birth to another in a nice straight line.

When it wasn’t that way at all.

There’s stacks of literature and oral history and discussion of black culture (esp music and dance), _by black people, from black communities_ that point out that music and dance don’t work that way in these communities. Did everyone read Odysseus’ piece that he posted in this group? Did we read Katrina Hazzard-Gordon? Tommy deFrantz? Jacqui Malone? Joann Kealiinohomoku?
No?
It’s time to set your Marshall and Jean Stearns aside, and read some work by actual black authors.

The prevalence of multi-generational spaces (where young people and older people got together) in black communities is unlike white American, and other colonialist spaces. BBQs, cookouts, street parties, church dances, dances, parties, weddings, baptisms, engagements, birthday parties, anniversaries, etc etc etc. All these cross-generational social spaces where people danced and talked and listened to music and did all sorts of cultural stuff. There’d be different dances happening all at once in one space. And steps and rhythms moved between generations as well.

The term ‘revival’ is highly problematic, because it implies, necessarily, that something was ‘dead’, and then ‘revived’ – brought back to life. To declare something ‘dead’ or irrelevant, or gone, is an act of cultural power. To do it retroactively, from a position of cultural and social power (white colonial power) is full-on, epic-dodgy, do-not-do-this.
1. Because white people did not and do not have access to black spaces*,
2. Because white eyes aren’t so good at seeing black culture in this colonial context,
3. Because fuck off mate, that’s an arse-act.

As I said earlier, to declare a culture ‘dead’ is an act of imperialism. It’s what British colonists did when they invaded Australia: they declared Aboriginal culture dying, and on its way to dead. They literally declared the continent terra nullius: uninhabited. Both these positions were justification for British imperialism, invasion, colonisation. It’s fully hardcore oldschool racism.
-> I am referencing this chunk of postcolonial theory because it is directly relevant to a discussion of American history, and of slavery within American history. Bodily autonomy – the freedom to move one’s body at will – and cultural autonomy – the freedom to share or not share culture – are determined by race and class throughout the colonial history of America and Australia.

Anyway, this is why I don’t like to use the word ‘revivalism’ in the context of 1980s lindy hop.

*A note here about desegregation in the jazz era: desegregation gave _white_ people access to black spaces. I do not in anyway condone segregation, but the movement of white bodies and persons into black community spaces was pretty good for white cultural thieves, but not always so great for the black communities they were colonising.

Black lindy hop matters


(Dee Daniels Locke, teacher at HJDF, pic from the event’s fb PR, photo by Ben Hejkel).

While bunches of white people were organising dance events to celebrate the white revival of lindy hop day with a bunch of white teachers this year, Tena Marales-Armstrong was bringing the shit in Houston.

The Houston Jazz Dance Festival is run by Tena, a black woman living in America, it features poc in all the promo material, and it stars a team of black teachers (and Mike Pedroza, so I guess we’re talking poc :D ), TWO BLACK WOMEN MCS, a black DJ, and a black band. It’s a part of Tena’s bigger event, the International Swing Dance Championships, a project which celebrates the living dances of black communities in America today.

This is vernacular dance.

Let’s stop and talk about Tena Morales-Armstrong. She’s not only a great dancer and all round impressive woman, she’s also the co-manager of some of the biggest events in the lindy hopping world. ILHC. Swing and Soul. Lindyfest. International Swing Dance Championships. The modern dance world likes to talk a lot about competition winning dancers, young and flexible performers, popular teachers. But the people who help build these careers are the business people and organisers behind the huge events that employ them. Tena is one of these people, and she is important.

Let me spell it out.

A black woman runs some of the biggest name lindy hop events in the world, and she is running an event with an all-black list of artists, as part of a dance event which proves, definitively, that lindy hop didn’t die and need reviving. It just grew up into hand dancing, fast dancing, Houston Two-Step, Chicago Stepping, Detroit Ballroom… living, healthy black dances in black communities.

And I want to go back to that teaching team.
Latasha Barnes, Mike Pedroza, Josh McLean, Dee Daniels locke, Michelle Stokes, Laurel Ryan, Alexis Davile, Cyle Dixon, Nel Lopez. Two of those (Alexis and Cyle) were junior lindy hoppers at ILHDC a few years ago. Michelle and Laurel were the MCs (I saw them MC at Focus. They are the BEST). These are some big names, here. Just try getting Latasha for your event any time in the next twelve months. The woman is seriously popular at the moment. So this isn’t just a random grouping of dancers. This is some top shelf talent.

If you are interested in the ‘decolonising lindy hop’ project that’s gaining ground in the US, you should probably have attended this event. Yes, it’s all very nice and well to attend a panel session at Lindy Focus, or to drop some cash on the Frankie Manning Foundation. But actually putting money down on an event like this – black owned, black run, black attended, black community – is important. I so wish I could have gone. It kills me that I couldn’t. So, NEXT YEAR. I will put my money where my mouth is.

Kate Wadey’s Presidential Holiday is very very good

Kate Wadey is a gem.
Based in Sydney, she is a jazz singer in the proper sense. Informed by history, but not constrained by it, she’s one of the few modern jazz vocalists that I really, truly enjoy. No, I love her singing. As a person, she’s warm, interesting, clever, and engaging. As a vocalist, she’s warm, interesting, clever, and engaging.

Last night I saw her sing with her band Kate Wadey’s Presidential Holiday, and I danced every single song in the first set. Which is a big deal, as I haven’t been dancing as much as I like lately. But the band came in with a lovely, accessible dancers’ favourite at a comfortable tempo, and then continued, moving up and down tempos, in and out of classic swinging jazz styles. And i danced every one. Then I put the band break to good use, and had a drink of water and a nice sit down.

What made the band so great?
I think it was the combination of voices in the band. Sam Dobson on bass has been anchoring the younger generation of Sydney jazz bands for a while, and in this band he set down a swinging beat that managed to rein in even the overly enthusiastic OG drummer Ian Bloxsom. He has that type of playing that melds into the whole sound of the band, not pushing forward, but you’d miss it if wasn’t there. Just right for lindy hop. Andrew Scott, band leader for the Corner Pocket Trio and other good swinging combos, plays piano, and that is also nice. But the real business is the relationship between Kate and Chris O’Dear on saxophone.

They’ve recently done a show of Billie Holiday and Lester Young music, and you can really hear that influence in their musical relationship. It’s not that they’re trying to be those two icons, it’s more that they’ve paid attention to the way the two musicians worked together, call and response, combinations, echoes, conversations. Kate and Chris are both talents to watch, but together, they’ve developed a mutual sensibility that really makes you _listen_.

I think that’s the most interesting part of Kate’s style: she draws you in. She’s really present in every single note, really singing every single note to _you_, to the band, to us all. And we can’t help but pay attention. What is she saying to us? We need to know. If she was a dancer, she’d be present in every single step, committing her weight, playing with time and rhythm, but right there, giving every single beat her whole attention. There’s the delay and stretch of a very good blues dancer, but with jazz sensibilities. As a singer, she fills up the room, and you can’t look away.

For dancers, it invites us into the music. What does this mean, here?
When she sang My Baby Just Cares For Me, an almost too-tired standard in the dance world, suddenly it became interesting and new. I wanted to know _what_ her baby cared for, if it wasn’t Lana Turner or shows or clothes. And then, Kate added a note of… was it smugness? that he cares for her. The tone is just perfect. She moves us from that that confidence of a woman with a man who loves her, to an almost-feeling of sorrow. Perhaps he’ll leave. After all, she asks, ‘what is wrong with baby, that he just cares for me?’ The song builds, with Chris taking turns, adding clever notes of humour as he picks up the riffs from other standards, and by the end of the performance, we are all dancing.

I was too busy dancing to take photos or record any snippets but that last vocal number. And I’ve been listening to it over and over since I got home last night. I’ve never thought so much about the lyrics. I’ve never realised that balance of pathos and love. But I think that’s the talent of a good vocalist: we find new meaning in old standards.

Kate’s band doesn’t have an album (yet), but she does have a solo release, which is just lovely. Watch out for her recording of ‘Sit right down and write myself a letter‘. It features some of Australia’s best musicians (Eamon McNelis!), but Kate’s vocals gives Fats’ hit just a little more melancholy.

linky

on bodily autonomy and abortion

I’ve seen this image being circulated a bit on facebook this week.

[Text reads:]
“My body, my choice” only makes sense when someone else’s life isn’t at stake.”
reply:
Fun fact: If my younger sister was in a car accident and desperately needed a blood transfusion to live, and I was the only person on Earth who could donate blood to save her, and even though donating blood is a relatively easy, safe, and quick procedure, no one can force me to give blood. Yes, even to save the life of a fully grown person, it would be ILLEGAL to FORCE me to donate blood if I didn’t want to.
See, we have this concept called ‘bodily autonomy’. It’s this…cultural notion that a person’s control over their own body is above all important and must not be infringed upon.
Like, we can’t even take LIFE SAVING organs from CORPSES unless the person whose corpse it is gave consent before their death. Even corpses get bodily autonomy.
To tell people that they MUST sacrifice their bodily autonomy for months against their will in an incredibly expensive, invasive, difficult process to save what YOU view as another human life (a debatable claim in the early stages of pregnancy when the VAST majority of abortions are performed) is desperately unethical. You can’t even ask people to sacrifice bodily autonomy to give up organs they aren’t using anymore after they have died.
You’re asking people who can become pregnant to accept less autonomy than we grant to dead bodies.

[/]

I have a few problems with this chunk of text.
The first is that it’s based on a false premise: that ‘we’ all have the same bodily rights, and that these rights are applied to us equally. I’m going to assume that the author was writing in, and about the US. And I want to state, very clearly, that even beyond the world of childbirth and reproductive medicine, we do not all have the same bodily autonomy. Women of colour, people of colour, first nations people, women, children, gay men living with AIDS… basically everyone other than straight, white, wealthy men have their right to bodily autonomy curtailed by the law, by the state, by medical institutions.
The history of the US is based upon slavery, the clear legal fact that some people can be owned by other people. First nations people were not (are not?) considered people at all by invading colonisers. People of colour are more likely to be incarcerated. Women’s accounts of their own physical pain or illness are less likely to be taken seriously by doctors than men’s accounts. Children are legally not capable of bodily autonomy.
..and so on.

We cannot talk about abortion without also talking about social context. Women and girls are not considered capable human adults or citizens in the way that white men are. We are not considered capable of making sensible, logical decisions. About anything. Let alone our bodies.

I feel that a debate about abortion is a misdirect.
Access to free, safe contraception and good sex education are the demonstrably better way to reduce abortion rates. And incidentally increase women and girls’ autonomy and social power.
By focussing on abortion, rather than sexual health, the discussion is framed as one of individualism, rather than collective responsibility. If we focus on women’s choices, we can avoid a discussion about the state’s role in health care. If we suggest that women’s bodies and their choices are the problem, the we don’t have to talk about the importance of the welfare state in caring for children. Because there, of course, we are reminded that women were once girls, and girls’ education and bodily autonomy is the real issue here.

The abortion debate is about legislating women’s bodies, but more importantly, it’s also about restricting women and girls’ knowledge of their own bodies. I want to expand from this to tie contraceptive rights to access to education generally in a more direct way.
We know that access to education – going to school – generally reduces birth rates (ie girls are less likely to have babies, and fewer babies). For a range of reasons including (but expanding far beyond) knowledge and tools for preventing pregnancy.

The thing I’m often struck by in this sort of debate is the implication that the only reason women and girls have lots of babies is that they don’t know how to stop themselves getting pregnant. Or that they don’t know penetrative vaginal sex with a man leads to pregnancy.

But we know that choosing when and how to have a baby is about more than knowing how to stop sperms get into eggs. It’s also about having a range of choices and options for employment, education, community participation, etc etc etc.
Good education isn’t just about ‘not getting pregnant’ it’s about being able to choose when and how we do have children.

An educated girl is a mighty person. She knows how to access all sorts of resources. She’s not confined to a domestic space and domestic isolation. She’s a _citizen_. This is far more frightening for fundamentalist christians and other patriarchal institutions.
As an addendum, I’ll also note that good sex ed isn’t just about how not to get pregnant or STDs. As that story about the young Swedish men who intervened in a rape in America shows, good sex ed also teaches men and boys about how to communicate with and empathise with their partners’ needs and desires. I think that this is the other thing that terrifies the patriarchy: that men and boys might begin to think of us as humans.

I need some help paying my bills

In which I uncomfortably ask for your help… https://www.gofundme.com/AustralianSafeSpacelegalFund

As you may or may not know, in addition to ranting about stuff on facebook, I also do a bunch of practical things about sexual harassment and assault in the swing dance world. These include:
– developing policies and processes for my own events,
– consulting with and responding to questions from people in other scenes about issues in their own scenes,
– intervening in actual situations where I see women being harassed,
– etcetera.

All this can be risky. There are plenty of physical threats and intimidation, but also legal threats. It seems angry men don’t like being told they can’t assault women and girls by a woman.

I like to do all this work properly. So I have a law firm that specialises in defamation law give me advice on:
– how to write guidelines for our events,
– how to notify people that they’re not welcome at our events,
– how to enforce our codes of conduct.

This protects me, my partners, my contractors and employees, and my volunteers from law suits.

And it costs a bit of money. A whole bunch of money.

I’m at the point now where I need _your_ help. I don’t feel comfortable asking, but I figure, if half this work is reminding us we can ask for help when we need it, then I should learn that lesson too.

If you have a few bucks to donate, you can contribute to my gofundme. All this money will cover ongoing legal fees. I’m happy to talk about and give details of these fees (as far as I’m legally able).

[photo of dancers by Dave from WW photography.]

Being a woman in a gallery enjoying art


I remember once reading a blog post or art review where a reviewer tells the story of two young women (teenagers?) experiencing a gallery. They were basically running and laughing and trying to do the poses of the statues, and just generally having a very good time. The reviewer made a very good point about how this way of enjoying art was given lots of frowns in the gallery, but that they thought it was a really interesting, active way of enjoying art.

This image really stayed with me, and now when I go to galleries I try to remember that: I can experience art in lots of ways as well as just as standing and watching. The whole ‘stand and watch’ model is a bit elitist and assumes you have time and $$ to do art like this. When I’m in a gallery I give myself permission to skip things or to just wander about randomly, stopping if something catches my eye. And the ‘recreating poses’ thing is always really fun. It helps you understand poses and point of view and perspective and all that. And I LOVE making selfies with pictures. I found instagram gave me a good way of engaging with art and then sharing it with my friends. Next challenge: not taking too many pics :D

btw this is my favourite statue. I saw her in… the Rijksmuseum in Amsterdam? I can’t remember who it is, but she was a queen*. I adore her. Taking a photo helped me remember her, and how I felt when I saw her, a strong mature woman in a sea of male artists and nymphs.

*She is Caroline, Queen of England (Bust of Caroline, Queen of England, John Michael Rysbrack, 1738). Looking at the photo on the website doesn’t feel the way it did looking at in person, on a plinth in the middle of the room. She was at my eye height, more or less, and she had presence, even in terracotta.