If you are in Herrang this week, we are doing feminist fika at 2pm in Bar Bedlam. Come fika with friends. Feminists and those who love them are all welcome.
Bring your questions, rants, curiousity, fika money.
If you are in Herrang this week, we are doing feminist fika at 2pm in Bar Bedlam. Come fika with friends. Feminists and those who love them are all welcome.
Bring your questions, rants, curiousity, fika money.
Are you going to be in Herrang weeks 2 and 3 (ie in the next two weeks)?
If so, a few of us are planning to meet up and share tips and experiences for the sort of work we’re doing in our own scenes on sexual assault and harassment. Or – more likely – we’re going to meet up and have FIKA! and make friends. Because arse kicking chicks need their sisters.
We’re also hoping to do some practical sessions for developing skills. Everything from learning how to say no to a dance, to how to kick someone out of an event. Maybe we’ll get someone awesome like Naomi Uyama to talk about being a woman band leader, or something equally awesome. ImagINE A WHOLE LIBRARY TALK PANEL ON FUCKING ACE WOMEN IN DANCE!?!?!!?!
If you have ideas or want in, drop me an email on firstname.lastname@example.org, or grab me in person. Week 3 will be the big week (traditionally radical feminist week at Herrang), but there will be plenty of opportunities to scream GIRLS TO THE FRONT! ALL THE GIRLS TO THE FRONT! in week 2 as well.
See you soon!
ps if you’re bro who’s going to be at Herrang in these weeks, here are some radical things you can do to be more awesome:
“It shouldn’t just be one person’s responsibility to deal with fuckers.”
An internet friend was responding to a discussion about black and white victims of violence, and noted the privilege of whiteness (in response to this piece). She wrote:
i tend to thumb my nose at a lot of the “safe practices” for being a woman.
And then continued, engaging with the issue of privilege and public space.
I wanted to respond to her post there, but I don’t want to get her in trouble on fb, so I’m writing it here instead.
This is an interesting one. I’ve been thinking more and more about the importance of private v public space for women and women’s bodies. The common (mis)perception of sexual assault, is that it happens in public places (eg dark parks) and is done by strangers to us. While we’re certainly at some risk of assault in these circumstances, we are far more likely to be assaulted in our own homes by people we know.
So to protect ourselves, we should be more critical of the men in our immediate, private spaces, and we should ask men to question their own behaviour and own perceptions of ‘who does violence to women’. It is not strangers; it is the men we know. Who is it who assaults white women? It is white men. White men who are our friends, family, colleagues, and employers.
I’m at the point in my work with dance spaces and violence, where it has become clear that the only way we can move forward, beyond ‘awareness’ is to a) dismantle the broader systems of power that privilege men and their desires, therefore objectifying women, and b) to say ‘yes all men’. That last statement is proving to be the most provocative. I have a sparkly sticker on my laptop that says ‘yes all men’. A friend made it, and it is meant to be a provocation. Each time I take my laptop out in public, I imagine how I’ll respond to people’s commenting on the sticker.
I think I’ll say “Yes, all men. All men are responsible for the violence of men against women. All men have a responsibility to police their own and other men’s behaviour. Because men have more power than women in these situations.”
Because the point we are at now – and this is the difficult part – is one where men must begin to give up privilege and power. They need to give up the idea that rapists are ‘strange violent (black) men in public spaces’ (ie people completely unlike themselves), and accept that rapists are their friends, families (ie people completely like themselves). They need to take responsibility for their own actions, and for those of other men.
Frankly, I can’t see too many men being ok with that.
So each time I scroll past this post of yours, and I read your line “i tend to thumb my nose at a lot of the “safe practices” for being a woman” it makes perfect sense. Because ‘safe practices’ aren’t about women’s safety. They’re about safeguarding myths about men’s responsibilities for their own actions. By staying away from dark parks, you’re not being safe. You’re accepting the bullshit about who rapes who. By choosing to walk through dark parks you are saying “Hello, rapists are responsible for raping; where and when I choose to walk does not make me responsible for the violence of others.”
Now, when we’re being asked to talk about safety and race and ethnicity, it’s made clear that the people who most need to ‘be safe’ are white men. They need to take responsibility for making the world safer for the rest of us, by policing their own behaviour. White men – men with the most power in our communities – have the greater responsibility.
It is not my job to tell you not to rape and attack women. It is your job. It is every man’s job to choose not to attack women. And the people who have the greatest power have the most opportunities to assault people. And they must choose not to. I can make a code of conduct, I can ban offenders and police those bans. I can skill up my volunteers. But at the end of the day, all men have to choose not to rape and assault and attack.
Yes, all men.
First off: soz this post is a bit shitly written. Still dealing with jetlag in Germany.
This is an interesting little piece about Finland’s anti-bullying program KiVa: Anti-bullying program focused on bystanders helps the students who need it the most (Feb 1st 2016).
Reading it, I was struck by one key factor: children are encouraged to take a position of mutual responsibility. To think and care about others, and to take responsibility for their own behaviour. In other words, they are encouraged to see how they can be powerful in a social situation, and how being powerful and feeling powerful can prevent bullying. This makes particular sense in the case of bullying, where (we’re reminded), bullies target less powerful peers to make themselves feel powerful and in control.
This is the next step in my approach to responding to and preventing sexual harassment and assault in lindy hop. At this stage a lot of the work on this stuff in lindy hop has focussed on the role ‘organisers’, teachers, and other powerful people can play. But I see this emphasis as just rehashing and shoring up heirarchal power structures. When what we really need to be doing is deconstructing patriarchy – which is a very hierarchal system of power that privileges straight, white men.
Having a ‘boss’ (a teacher, organiser, or other powerful person at the top of a hierarchy) responsible for dealing with offences and offenders isn’t so great. Instead, we need to rethink relationships between individuals. In this little piece about bullying and Finland, kids are powered up and encouraged to take responsibility for situations (even if that just means understanding why they don’t/can’t step in). In the context of sexual harassment in lindy hop, we want to power up women, so they will speak up, but we also want to power up men to take responsibility for each other’s actions.
This is one of the reasons why I really dislike the expressions ‘scene leader’. We should all be scene leaders, all be engaged with community development and safety.
And I think that this is why some people will never truly get on board with wiping out sexual harassment: it means that some people will need to give up on autocracy. Which they’ll be reluctant to do, as so much of contemporary lindy hop culture is focussed on having clear hierarchies of power and status. Competitions have winners and runners up, and these competitions are then presented as defining factors in a dancer’s social and economic status. ‘International’ teachers are flown in to teach one-off workshops (and then fly out, taking no responsibility for what’s left behind). Even social dancing and ‘likeability’ is categorised with ‘people’s favourite’ awards for social dancers and general competitors. DJs are divided into ‘staff’, ‘head’ or ‘volunteer’ DJs. And so on.
If we are to get really serious about sexual harassment and assault in lindy hop, white blokes are going to have to give up power. Male DJs will have to openly and deliberately ‘give up’ high profile gigs for female DJs. Male MCs will have to ‘give up’ high profile gigs for women MCs. Male dancers generally will have to get used to the idea that they can’t just walk into workshops at a cheaper price because there’re ‘too many follows’.
There’s simply too much to be gained from these prosaic structures. These formalised systems of power privilege straight white men, and I can’t see many of them giving up this power any time soon.
A useful resource Erin hooked me up with on the facey tody: Feminists are not responsible for educating men by Cecilia Winterfox.
I’m quite regularly asked by random dudebros to help them understand feminism or whatevs it is we grownups are talking about. The questions usually start out quite reasonable (I discuss one in this post), but gradually escalate until I realise dudebro is snowing me under with bullshit questions that turn into mansplains and manrants. I tend to give them one or two questions, and then I shut shit down. That means I delete their comments and often block them on fb. Because, mates, I just cannot be fucked. And I don’t want some niggling bastard following me around fb being a pain in the arse.
But the important part of being an ally (ie a bloke who digs feminism) is that you go out and get your learn on. This isn’t a bullshit lindy hop class where the teacher just ‘gives’ you a bunch of moves, counts you in all the time, answers all your questions in detail (instead of having you test the theory yourself), and generally babies you. This is feminism, where you are responsible for your own learns. And as a bloke, you’re in a better position to do that learning.
Your annoying questions are getting in the way of grown ups kicking the patriarchy.
Teaching and caring is labour, emotional and intellectual labour. And part of feminism is uncoupling ides of the feminine from the notion of ‘carer’. It’s giving women permission not to take on the role of ‘mother’ if they don’t want to. Or don’t have time to.
I’ll have another go at some point in the far away future.
Ok, Sydney’s jazz scene is A1.
We have so much live jazz on Sundays that even our huge scene can’t field enough dancers to cover them all. We do all the styles: hot jazz, classic swing later swing easing into bop, NOLA reactionist stuff, NOLA purist stuff, big band swing, small group swing, neoswing, jump blues. One of the best badns I’ve danced to – the Ozcats – is from Sydney. Adrian Cunningham is from Sydney. The scene has a reputation for being quite competitive and kind of seriously Professional, less casual than Melbourne’s more open, friendly scene. But that’s also led to some seriously professional, hardcore jazz acts.
Two of my favourite bands have recently gotten it pretty seriously together. One is Andrew Dickeson’s Blue Rhythm Band, and one is SwingRocket. I’ll talk about the Blue Rhythm Band in this post.
Andrew Dickeson’s Blue Rhythm Band
The Blue Rhythm Band is my current favourite. Band leader Andrew Dickeson is a jazz history nerd and a Basie specialist. He’s also my current favourite drummer (after Lynn Wallis, but then Lynn is everyone’s favourite drummer), and he’s my friend. I’ve been working with Andrew and his band on a number of projects lately, including having them as the house band at the Little Big Band recently. This band understands lindy hoppers, and what we want. So they do it.
They’re so good, they’ve been booked for every major Australian event this year. Yes. MLX, SSF, Sweet n Hot, Canberrang, Jumptown Jam, Little Big Weekend, SLX… and probably more I’ve missed. One of my concerns is that they’ll be over-exposed by all these gigs. Can their repertoire hold up? Can they keep it interesting? Yes.
The rhythm section stays the same, but Andrew uses his serious connects and sound judgement to bring in great talent. These aren’t just a bunch of random musicians, or dancers who’ve been playing instruments for a few years. These are the best musicians in Sydney, with years and years of professional musicianship and national and international tours under their belts. They are fully legit. And they do not compromise this professionalism and ability for dance gigs.
The last party I booked them for, George Washingmachine played violin and it was quite special. Though George does a lot of manouche and western swing, this was solid Ray Nance with Ellington.
The following night they were booked to play another party in the Last Minute Exchange, and I was worried they’d sound a bit samey. But on that night they had Dan Barnett playing trombone (plus a different bass player – a nice guy who was also a tapper!) and it was a completely different sound. Both nights they played Take the A Train, but it was a completely different song each night.
I’ve also booked them to play in a larger formation, with Bob Henderson on trumpet (you can see him playing with Andrew and Brendan in this video), and Dan Barnet on trombone again. Completely different sound and feel.
My ambition is to have the core rhythm section (Peter, Brendan, Andrew) do a skanky barrel house blues session with Brad and perhaps a good, fierce woman shouter on vocals. I’m certain it would make people dance extremely skank.
So what makes the band so great live? We’ve heard all these guys a million times before in different bands. Why do they work so well in this incarnation?
Perhaps most importantly, Andrew’s a strong band leader. The band has a clear focus and direction, guided by Andrew’s leadership, vision, and taste. And he listens when I talk to him about the music dancers like. He thinks about tempo and song length and energy.
But he doesn’t compromise on musicianship. He makes sure the band play music they have strong feels for. When the band sets up on stage (or on the floor, usually :D ), his drums are right in the middle of it all. The other musicians are gathered around, with Brad in the front. This is pretty much as Andrew described the way Basie’s rhythm section working – the bass set down the beat, the guitar added, and then the drums filled in around all that.
Andrew’s not the sort of drummer who pushes things forward. He fills in, letting the bass set the beat. And one of my favourite things is the way he treats his entire kit like a set of percussive instruments. It reminds me of a good NOLA style drummer (like Lynn Wallis :D) where the drummer makes all sorts of sounds. He doesn’t just ride that high hat or bonk on a drum. He makes taps and thwocks and shushes and pings.
I often think of Andrew as the brain or bigger structure of the band, calling solos, songs, etc, as a good band leader should. But Brad Child really brings the feels when he’s in the band. He has a very good ear (heart?) for the feel, the energy of a room. Watching him in the band, I’m reminded of a very good DJ. He knows when to adjust the tempo, or beef up the energy, or back off the chunk. Between him and Andrew, you have a very nice band dynamic. The two work so well together, you don’t get a sense of conflict or competition between two leaders. You really feel as though they have a good, solid collaborative relationship. Andrew listens to Brad’s ideas, and goes with his suggestions. Brad lets Andrew set up the structures and guidelines for the show.
This was really brought home when I saw Dan Barnet sit in with the bigger band for me at Little Big Weekend. Brad and the others had worked with vocalist/lindy hopper Georgia Brooks, and guest tappers Ramona Staffeld and Ryan Campbell-Birch a few times now, and had figured out how we dancers approach the feel of a song. He also clearly realised that Mona and Georgia and Ryan aren’t just ring-ins to be tolerated.
When Ramona got up to tap with the band, there was a moment when Dan was about to come back in after what he clearly thought was Ramona’s ‘turn’, and Brad touched his arm to keep him back. Brad had seen that Ramona was just pausing a moment to listen to the band, before replying. And there was a sudden flash in Dan’s face, as he realised what was going on. Dancers: part of the band. And then he got excited.
It’s this collaboration between dancer and musician that’s really made the Blue Rhythm Band fantastic for us over the last six months or so. These musicians are really, really talented. They know how to work in an improvised band (this is where the riff-based sets come in – they are always improvising within a structure). They know when to back off, to pause so someone can play, when to step up an intensify. And they’ve realised that this is what we do as lindy hoppers too. We know how to jam. We do it within a swing out. Within a jam circle. And I’ve seen these musicians suddenly go, “Ah-HA!” and figure out that we’re not just stooges who’d dance to a metronome. We are jazz dancers.
This relationship has been made clear by (and developed in) having the band play for a jam-style lindy hop comp we held recently for the first time (the Harlem Spoon). We all had to figure out how to do this, both organisers and musicians. Talking to the band after a practice contest before the main event, I was just so delighted when Brad said “Was it ok? I tried to give each of them something to work with.” He just understood that each couple needed a bit of feel or something to work with. They didn’t just want a random drum solo or boring bit of fill.
I can’t help but gush about working with this band. They’ve just fitted into the lindy hop jazz dance vibe like we were meant to be together. Because we were! Having them as the house band at an event with Jenny Deurell and Rikard Ekstrand, and tappers like Ryan Campbell-Birch and Ramona Staffeld, has been wonderful. They’ve talked to these dancers and started seeing that we are really all in the same family. And their lovely cooperative approach to playing as a band has just been the perfect, BEST articulation of the philosophy of dance Jenny and Rikard and Ramona in particular have been teaching. And when we started working with Ryan earlier this year, it all just seemed to click into place: we’re all jazzers. We might embody that in different ways, but we are all working with the same principles, practices, and skills. These are:
I think that this is why this band is so good: they have figured out that as jazzers, if musicians and dancers work together in an intelligent, creative way, it is the BEST FUN OF ALL TIME. It can really push your art to the next level.
Musicians: Andrew Dickeson (drums), Brendan whatsit (bass), Peter Locke (piano), Brad Child (sax, clarinet).
Style: classic, four on the floor small group swing, riff style (that means they don’t work from scores, and they improvise a lot).
Website: Blue Rhythm Band
Contact: email Andrew on email@example.com
Recordings: not yet – hassle Andrew for some!
Georgia, Brad, Andrew, Brendan, Peter playing at the chillaxed Sunday party for the Little Big Weekend.
I have no idea what is going on. Something is borked with the following post and I can’t figure out what.
We recently did something cool in Sydney.
The Sydney Swing Festival was cancelled at the last minute, for a range of reasons, and the local Sydney dancers were concerned visitors would be left with nothing to do. One woman in particular, Christine, started a facebook group. Her first post on the 2nd of June was this simple:
This group is to share local Sydney events and contacts with people who are travelling to Sydney for the (now cancelled) Sydney Swing Festival.
Please add anyone you think would like to be in the loop.
Locals: please share your knowledge and extend your hospitality for any social activities underway.
Visitors: let us know what you need (link).
At about the same time, there were a few conversations getting about on facebook messenger, with people beginning to Make Plans.
And then everyone jumped in and got involved. It was GREAT.
By that evening we had a rough program for the whole weekend. One week before the event.
By the Monday before the event, we had a solid weekend of dancing sorted out. Including three live bands, DJs, picnics, late night parties. All organised by a bunch of different Sydney people. Including:
It was one of the best exchanges I’ve been to. Certainly the best one I’ve been to in Sydney in years. Each event was run by a different group of people, all of whom put their hands up at the last minute to make the weekend fun. It was put together in a week, so there was no long term stressing. All the promotion was word of mouth or via facebook. I did run up a dodgy paper version of the program that people could print out themselves, but it wasn’t really necessary. All sorts of people volunteered lifts between venues, hosting for guests, generally took care of each other. There were heaps of volunteers running the door, bumping in and bumping out at events. And all the organisers worked together to be sure everyone had DJing covered, etc etc.
I booked one of them – Andrew Dickeson’s Blue Rhythm Band – who I’ve worked with before heaps of times, and who are just about to become THE band of the year, booked for all (and I do mean ALL) of the major Australian lindy hop events this year. They were also playing Saturday night, and I was a bit worried that they’d be a bit samey too nights in a row. But NO. On the Friday we had George Washingmachine play violin with us, and OMG. You know those 50s Ellington live recordings with Ray Nance playing violin? That’s what it was like. They played C Jam Blues. Oh. My. God. This band. I just can’t gush about them enough. Fuck. Holy fuck. They are 100% four on the floor solid swinging jazz. Andrew is a big Basie fan, and he knows his shit. He works with VERY good musicians, and they play riff arrangements, not from scores. Anyhoo, they also played Saturday night, but with a trombonist, not violin. Andrew on drums, and then a bass and Peter Locke on piano. Shit was HOT.
The Sunday band was the Unity Hall Jazz Band, also full of amazingly good musicians. But more a hot jazz band than a solid swinging band. Which was a great contrast.
I wasn’t impressed by any of the DJing, which is a shame, but then, I’m a hardarse. I thought Sharon’s band break DJing on Saturday was grand, and well chosen to complement the band. But otherwise…
Ah well. The bands were so good, and I danced so much to them, it was all ok.
If you went to everything, it would have cost you $86. Which is ridiculous. Because everything was pulled together in one week. And as a serious music nerd, the music was fantastic: three REALLY good bands. Two of whom were left out of pocket by the cancelled event, but were ‘rescued’ by the last minute gigs. Why was it so cheap? Because there weren’t any of the extra expenses that make a weekend more exy: no printing or publicity design work; only one event for each organiser to pay for; very few volunteers on the roster; no flights or accommodation expenses; no sound engineers (we cobbled it together on the night); no paypal fees to cover; etcetera and so on and so on.
As I said, it was the best exchange I’ve been to in ages. Great live music. Good will and good company. I only had to organise one party, then I could just party on, Wayne. There were 6 different groups involved in running events during the weekend (3 of the 4 other Sydney lindy hop groups were involved in other ways – promotion, attending, etc), and the good will and general enthusiasm was most excellent.
It was like going to an old school lindy exchange.
One of the interesting challenges that I saw come up, though, was how to coordinate a code of conduct/oh&s process that covered the whole weekend? One of the groups have an existing code of conduct and safety strategy. We have our Code of conduct, and one or two of the others also have various policies. Some don’t. The issue then becomes, how to create continuity in safety and OH&S policies at an event like this one?
My first instinct would be to have a team of ‘safety officers’ who are present at each event, and are clearly trained in how to respond to OH&S issues (eg injuries, assaults, etc), and are clearly visible at each event. You’d also have to be sure each of them was vetted and cleared. I actually think that this approach would have been quite successful over the weekend.
Since we instituted our policies, I’ve found that while I haven’t had any reports of sexual harassment, I have found that people are more likely to look out for each other, and actually come to the door peeps or me asking for things like a quiet place to sit down; a snack to deal with low blood pressure; ice packs for injuries; bandaids or pain killers for minor problems. This has been a very nice result: people don’t suffer in silence, and other people watch out for each other.
So I’m wondering if we could make up a ‘safety pack’, delegate and train a team, and then set it in motion, with the go-ahead of the organisers. You could even offer to fill this role at other events for organisers at other events.
I’m finding that the volunteers on my teams are actually so experienced now, they know what to do. And punters are getting just as good: if they see someone, or dance with someone who’s feeling rough, they know what to do. And they do it.
I think a scheme like this would also give general people a way to step up and take care of each other.
Anyhoo, the weekend was GREAT, and it really invigorated the Sydney dancers. You could see people saying, “YES!” and getting involved. And it was also a really GREAT event – lots of good dancing, good company, and good fun. It really showed just how diverse, and how amicable the Sydney lindy hop scene is.
I was just thinking about why women telling their stories about being assaulted or attacked or harassed in the lindy hop and other jazz dance scenes is so important.
It’s about consciousness raising.
In an old school feminist consciousness raising group, women would speak about their experiences. They would just tell each other about the things that had happened to them.
The assumption was that their experiences were important, and unique. Worth listening to and sharing.
Kathie Sarachild … noted that the pioneering feminists had initially thought to use consciousness-raising as a way to figure out what their next action would be. They had not anticipated that the group discussions themselves would end up being seen as a radical action to be feared and criticized. (link)
I’m always surprised by the aggression in people’s responses to suggestions that we might actually talk about, let alone do something about, male sexual violence. But I shouldn’t be: it is a profoundly powerful act.
Women should be quiet. We should do as we’re told. Because we are overly emotional and can’t be trusted to be strong and capable. So many things in our day to day lives tell us to shoosh and sit down.
You’re too fat! Too uncool! Your hair is weird! Your skin is bad! Don’t draw attention to all that!
Don’t draw attention to yourself on the train (you’ll get hassled)!
Don’t wear a short skirt (you’ll get catcalled)!
Don’t ask too many questions (you’ll be seen as needy)!
Stop! Don’t! Think twice! Question your choices! Question yourself!
We’re encouraged to doubt ourselves, and that doubt keeps us in our seats. It makes us want to be invisible.
We’re also encouraged to believe that sexual assault is something that strange men do to women on the street who aren’t careful.
But it doesn’t. It usually happens in our homes, and is perpetrated by people we know.
But because women’s voices are drowned out by film, television, popular music, books – patriarchal discourse – women assume their own experiences are an aberration. Unusual. Probably their own fault. If those things even happened at all. ‘Gaslighting‘ is a particularly horrible way of making women shut up. People tell these women that what they’re talking about isn’t true, and didn’t happen. And women believe them.
So when women do speak up – just as Sarah and those other women did – it’s consciousness raising.
It tells other women that their experiences aren’t (sadly) unique.
It tells other women that they are not alone.
It tells men that they can’t get away with their actions in secret; women won’t keep those secrets for them.
It tells men that their friends, family, and partners – not strangers – are hurting women.
Because it’s the secretiveness that enables male crimes of violence.
Carol Hanisch said that consciousness-raising worked because it destroyed the isolation that men used to maintain their authority and supremacy (link).
This is why it’s not only important to speak up, it’s important to speak up in public, and to speak to other women.
Once these women have spoken up, it’s our job to take the baton. We can’t ask them to do everything: this one thing that they have done has taken monumental strength and bravery. We owe them a response that is as brave and coherent as action.