Category Archives: justice

Ok, I’m not going to let my anger and sadness weaken me

Hey, dance event organisers and teachers!
Feeling pretty bloody awful about sexual harassment? You’re not alone. Want to _do_ something? You can!

Do you have your sexual harassment and OH&S policies and strategies up and working? No? It’s not that hard. And it makes you feel really good and powerful. Like you’re really making a difference and being the boss of jazz.
You don’t need to worry about ‘being a downer’ by addressing these issues. Making plans, training up, and then acting on them will make you and your peeps happier, healthier, and fully legit awesome.

If you want to talk about how we’re going about doing things with Swing Dance Sydney, with the events we run, and in working with other organisers – drop me a line! Email me on sam at dogpossum at dogpossum dot org

We have:
– A code of conduct (with helpful tips on how not to assault/harass someone);
– Explicit tips for not being a poop to other dancers in our FAQ:
– Response strategies for our volunteers, managers, and organisers (getting hassled at the door? Tag in your ninja-like event manager! Call the cops!);
– In-class teaching strategies for tooling up students with mad harassment-destroying skills, and getting teachers fighting fit for dealing with dodgy behaviour;
– Super powers: saying NO and STOP with confidence and pride, being cool when someone knocks you back for a dance. Like GUNS;
– Guidelines for teachers who work with us (both weekly and for big weekends): we are looking out for YOU;
– Strategies for teaching musicians how not to be pervs, and how to be forces for jazz GOOD (rock on super-powered musos!);
– Draft agreements for DJs, teachers, bands, and organisers to lay out the rules, and remind them that we all deserve safety and wellness;
– Event management rules to reduce stress, and increase joy (including the 5 minute time out rule; knowing your limits; work with a buddy; running events should be fun; listen first, talk second; speak slowly and clearly into the microphone, and be sure to point out where the toilets are).
– And most importantly: the ability to improvise, innovate, and change our strategies. Because we are jazz dancers, and that is what we DO.

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And more.

Honestly, maintain the rage, but also get into the agitate-educate-organise side of things. If learning the Big Apple makes you feel powerful, imagine what learning to kick a sexual harasser out of a venue can do for you. If we’re a community of dancers, then we got to look out for each other. Step up.

[edit]Something I added to this post on fb:
Oh, and if you are running teeny tiny events or classes, and not sure you’re ‘ready’ or ‘big enough’ to tackle these issues? NO way! You’re in the perfect position to get started on this. Just like we start learning to social dance right from our first classes, you can learn to develop a good, solid oh&s policy/process with just your weekly casual practice session, or your irregular DJed party night. You’re totally in a great position to pwn this stuff.

[edit 2]And I also think it’s important to think about the things that you can do if you’re not an organiser. Punters are powerful. Organisers make money from events, they garner status and respect. Don’t buy any of that ‘I’m just doing this for the community’ bullshit. That is fucked up martyr bullshit. YOU are the community, and organisers have a duty of care to provide as safe an event as possible. So call them on it!

1. Have a look at the event’s website. Do they have a code of conduct? No? Ask them publicly on their facebook page where it is. Public questions are important, because it says “Hey, this is important to me.”

2. Most of the dance code of conducts I’ve read are completely token and useless. No practical tips, no definitions of harassment. If you read a code of conduct and you’re left with any questions, it’s not good enough. And there’s a code of conduct, but no information about what to do if you need help, ask a public question on the facebook page.

3. If they have a code of conduct but some sort of vague line like ‘see one of our staff’ (rather than ‘speak to Person, contact a door person (who will speak to Person), then you should ask a question like ‘How do I know who can help me? Will they wear a name badge? What happens after I tell them?”

4. If you are volunteering at an event, do you know what to do if someone comes to you saying they need help? Is there a written handbook or emergency process? Who is your point of contact? What do you do if there’s an accident? When do you call the cops or an ambulance? You should know this information before the event starts.

5. Check in again after a week or two. Still no response/code/strategy? Ask again. Be a pebble in their shoe. A little big of niggling can keep you and friends safe, and it can make it clear you mean business.

6. And if you want to say not to a dance/drink/whatevs, just say “No thank you” and leave it at that. If someone says “No thank you” when you ask them to dance, say “No worries” and move on. If you aren’t ok with people not wanting to dance with you, you haven’t grasped the fundamentals of _social_ dancing. No one is obliged to dance with you.

You are watching the room all the time, right (RIGHT?!)? That puts you in a super powerful position for keeping an eye on creepers and dodgy behaviour.
But you’re also stuck at a desk with a computer. Virtually every time I’ve DJed at a big event, some random dickface bloke has hassled me. I’ve been groped by sound guys, hit on by punters, hassled by dickhead dancers. I’ve had dancers take photos of my computer screen without permission, random men (they’re always men) have touched my computer and scrolled through my sets. Most recently I was hassled by some fuckwit dancer from Canberra while I was DJing at SLX. If I could remember who he was, I’d name and shame.

This shit is happening to all of us. If it’s happening to me – who’s pretty darn intimidating – you can be sure worse things are happening to your less scary friends. You need to step up and speak out for them. And for yourself.

Statistically, one of you reading this facebook comment is a harasser or offender. We DJs are WATCHING you. The door staff saw you come in, they took note of your vibe. They’re watching you too. And if you see me in the room, you can be damn sure I’m going to call you on bullshit if I see it. Have done before, will do again.

It’s important that organisers see that we take this seriously, and that your attendance will depend on how safe you and your friends feel at an event. If you don’t raise the issue, organisers won’t do anything about it.
Volunteers are particularly powerful, because events simply can’t work without masses of free labour. So you can really make a difference.

Organisers: if people are asking you these questions, it means you’re not doing a good enough job. So don’t get narky, get ON it.


Code of Conduct – draft

Nicole Zonnenberg’s post A Contribution to the Discussion of Sexual Harassment in the Swing Dance Community (21 April 2015) is great because it clearly and simply explains how a code of conduct could have reduced distress or provented conflict in specific instances.

I’ve decided a code of conduct is essential for dance events. But they can’t be randomly copied documents of meaningless. You have to really mean what you say. And be prepared to act on this code. I’ve finally put together a code of conduct and am working on specific response strategies. You can read a draft version of it here on google docs. I am interested in your comments (though you’ll need to add them as comments to this post, not directly into that google document, because I don’t have time to moderate one million sites).

I’ve also started formalising and compiling my various workers’ agreements. I’ve been using these for years, though each copy has a slightly different form, as it is a negotiated agreement including the worker’s preferences and stipulations. This is important: this is an agreement, not a contract (it’s not legally binding!), so you must have consensus between all parties.

There are, of course, plenty of other relationships that require contracts or agreements – and these above should technically be covered by contracts rather than agreements – and you can find templates for them on the Arts Law Centre of Australia website. Note, you must pay for these.

A friend added an interesting comment to my post about this on facebook:

Really appreciate you keeping us all accountable Sam. I think Codes of Conduct are great but as you say, they’re useless if people don’t know how to take action with them.

This person has right-on politics, so I want to start here. Who is accountable for our actions? Are we only responsible for ourselves and what we do and think? Are we only responsible for the people ‘below’ us in a power structure? Are we responsible for each other – all of us? Are men responsible for the actions of other men, or just for their own? Is sisterhood an important idea, that women are accountable for the safety and actions of each other?
It’s a tricky one. I personally feel that I have a responsibility to look out for the safety of other women and girls. That’s where I start. I’ll also call out people who make racist/sexist/ist jokes. That’s my job, that’s one of the responsibilities of privilege (for me). To speak up.

So why don’t men call other men out on their behaviour? Why am I the one who’s telling men to stop pulling air steps at social dances? Why aren’t men doing this? Why did that male teacher try to discourage me from talking about and responding to sexual harassment by insisting that women harass too? What makes men feel like this isn’t their job too? Maybe they just don’t realise how powerful they are. Maybe they really don’t realise how much ‘safer’ patriarchy makes them.

Maybe this is a symptom of liberal individualism. This idea that we are own bosses, and we all need to work harder, and if we are poor or vulnerable, it’s our own fault for not working hard? Maybe this is the most important part of feminism: collectivism. Socialism. Caring about other people. Doing things for them and with them when we can.

I dunno. Aren’t you a lindy hopper? Isn’t the whole point of what we do to be awesome in partnership with other people?

I’ve been thinking about this. I don’t actually like the idea of one person making other people accountable for their actions; I don’t want to replace patriarchy with matriarchy. The thing that bothers me most about codes of conduct is that we all KNOW these things are totally not ok, and yet we still do them! And we don’t call other people out on their behaviour! So rather than deconstructing this top-down power dynamic, we reproduce it with a code of conduct, which we assume the ‘management’ or ‘powerful’ will enforce.
What I’d like to see is a) more women feeling powerful and in control of their lives and bodies, b) more men calling other men out on their behaviour – it’s not a women’s issue, it’s a men’s issue!, and c) more men regulating their OWN behaviour, and questioning their own assumptions about who and what they are entitled to do with their own and other people’s bodies.

But how do you do all that in the _context_ of patriarchy? The commodification of dance in formal dance classes doesn’t help, as it reinforces this power structure. …I guess that’s why I think you can’t talk about responding to s.h. without acting to prevent it with broader cultural change. Sets of rules and then punitive measures just reproduce unjust power dynamics.

…maybe the best sorts of response strategies are those that everyone can enact, not just an ‘authority’? Anyways, I’m still struggling with this part of the process.

Let’s get material about sexual harassment

As part of my 3-part response to sexual harassment in the lindy scene, I’ve started getting keen on the idea of visual assets. ie paper postcards, a useful website, etc.

My 3-part response:
1. Develop a code of conduct.
This is basically a set of ‘rules’, but also a clear statement of intent.
– the in-progress code of conduct and sexual harassment policy I’m developing

2. Working towards cultural change through:

Teaching in a way which explicitly helps women feel confident and strong, and provides tools for men looking to redefine how they do masculinity.
– using tools like the ones I outline in Remind yourself that you are a jazz dancer and Uses of history: Frankie as teaching tool

Teaching in a way which implicitly discourages sexual harassment, by encouraging good communication between leads and follows.
– I am keen on the rhythm centred approach as a practical strategy. Less hippy talk, more dancing funs.
– I like simple things like talking to both men and women about being ok with people saying no to you.

3. Developing strategies for actually confronting men about their behaviour.

– I talked about how I do this in class in Dealing with problem guys in dance classes
– I’m working up to addressing the more nebulous issue of sexual harassment by practicing on more concrete stuff like telling men to stop pulling aerials on the social floor
– Talking to and about men confronting other men. Because it’s men who are doing the dodgy stuff in most of these cases, and we need to ask men to take responsibility for their own actions. Whether those actions are harassment, or condoning/enabling harassment by not using their power to speak up.

Working on this, I’ve discovered that a bunch of words is next to useless. We need simple graphics, pictures and posters. Using a range of resources (the AFL’s response to sexual assault is particularly powerful and useful), I’m thinking that we need to add a few things to the prevention/response strategies. I’m considering making up a simple, powerful website and postcard outlining what’s ok, and what’s not. They have to have a light-hearted, fun vibe (because lindy hop), but they also have to be very useful and not too twee. The tone of these texts should suit the vibe of my business, but also give an idea of national and international lindy hop culture (as if there was such an homogenous thing!)
These two assets could work in concert with a poster or sign, and with a practical training program for teachers, door staff, and ‘safety officers’ (ie the people you go to when you need help).

Luckily, lindy hoppers have already gotten on to this. We actually have a discourse of ‘etiquette’, which is the way we manage and control social interactions in our scene. We also talk a lot about ‘floor craft’, which is another way of managing how we take care of ourselves and others on the dance floor. The basic message of both is ‘Look out for others or you won’t get any dances.” Lindy hop has a powerful shaming tool at its disposal, and we should make greater use of it.

I think we can just tweak these two sets of ‘rules’ a little to make them a bit more powerful and directly address sexual harassment and assault. A lot of dancers don’t want to address rape and sexual harassment explicitly because it’s a downer (and lindy hop is supposed to be all happy clappy all the time), and it’s a bit of a social taboo to talk about sex and sexual violence in an explicit way. And it’s really difficult to talk about sexual assault and violence without actually talking about breasts, vulvas, vaginas, penises, bottoms, and how we touch and use them.
Added to this are the broader social myths about women’s bodies, women’s sexuality, and men’s sexuality. The bottom line in responding to sexual harassment and assault is that you have to accept that it’s about power and violence more than it’s about sex and sexuality, and you have to accept that patriarchy exists. A tall order for people who ‘just want to dance’.

But I don’t want to reinvent the wheel when there’s fab stuff like this around:


This is an etiquette guide produced by Holy Lindy Land, the Israeli lindy hop community. Which of course you should know about, because they sent an open letter of peace and friendship to the lindy hoppers of Palestine, which makes me cry like a little baby with the love. (You can read more about the two scenes’ work in this lovely piece).

I like this poster because it does simple things like replace my awkward description

Avoid ‘boob swipes’, touching a partner’s bottom, groin, upper legs – you know the deal. If you accidentally do so, apologise immediately. If you do this repeatedly, you will be warned, if not ejected from the event.


I think that lindy hop could also do with some of the sharper edged humour that would help us get real about sexual harassment.




There was a most excellent swing memes thread on yehoodi years ago, where most of the images are sadly missing now :( I’m especially fond of Good Guy Greg.
And of course tumblr brings the gif with people like lindy hop problems.

But these are, of course, not ‘official’ responses to sexual harassment. They are very important, because they give us a way to comment on issues, and also to ‘talk back to power’ if we don’t think organisations are stepping up.

I’m thinking something by an artist like Tomeito would be pretty useful:


At any rate, I’m working on it. Slowly but surely…. :D


  • Mobtown ballroom code of conduct (casual, human tone to the talk)
  • the SES (State Emergency Services) position sexual harassment as an occupational health and safety issue rather than a ‘women’s issue’ or ‘sexual issue’, and have some EXCELLENT training material available
  • AFL (Australian Football League) have Respect and Responsibility, a hardcore response to s.h. and assault which targets men (because it is a male-dominated sport), and uses the Australian discourses of ‘mateship’, ‘team’ and community responsibility (or club-loyalty) through the language of the sport (‘taking the tackle’ etc) in a powerful way. Their posters are great. I admit it, my Uses of History: Frankie as Teaching Tool in-class strategies are an attempt to do the same thing. To use the language and model of our most important and powerful cultural imagery as a strategy for dealing with sexual harassment.
  • Australian Human Rights Commission (for identifying and defining s.h., and researching the legal status of s.h.). My federal government’s current push to destabilise and ultimately destroy the AHRC is making me very angry.
    AHRC’s ‘know the line’ campaign, which feels a bit naff to me, but uses a strong poster campaign and website/poster tie-in.

Where are we at on this sexual harassment and assault thing?

This post is a three-parter.

Part one: Where are we at on this sexual harassment and assault thing?
Part two: Be ok with people saying no to you.
Part three a: How To Get A Date With A Lindy Hopper, by Sam (currently entrenched in a happy, healthy 13 year relationship with a lindy hopper)

So, since that incident a few weeks ago when the lindy hop world were faced with incontrovertible evidence that sexual assault happens in the lindy hop world (and that it might in fact happen everywhere), we’ve seen a series of responses:

  • Shock and disbelief.
    People simply couldn’t accept that someone they admired/hired/learnt from/loved attacked people. So they got angry about it and blamed the victims of his actions for their distress. Either explicitly or implicitly.
  • A lot of talk about ‘victim blaming’ and what it meant.
    A lot of the people who were shocked and disbelieving were doing ‘victim blaming’ but weren’t ok with admitting it. Understandably. First your hero does something shocking and awful, then you’re accused of attacking the victims of shocking and awful actions.
  • People and organisations rushed to slap together ‘Codes of Conduct’.
    Some of these are wonderful, some are token gestures. I personally feel that it truly is a token gesture if you don’t
    a) have a clearly achievable process for enforcing them (or responding to breaches of these codes),
    b) make broader cultural changes, and
    c) address the fact that the perpetrators of sexual assault and harassment are often the most-popular, most-liked, most-powerful people in a community. In other words, the people putting together these Codes of Conduct are quite likely to be the perpetrators. YOU could be sexually harassing someone. I have yet to see a strategy or code of conduct which deals with this issue.
  • People, organisations and individuals start talking about sexual harassment as a real thing, and not just as ‘feminist ranting’ or ‘feminist paranoia’. And they found this realisation – that it’s all true – deeply upsetting.
    Some of them have been doing brilliant work – truly wonderful Codes, response strategies, and so on. It’s been truly inspiring to see.
  • Women are speaking up.
    The women who are experiencing sexual harassment and assault are speaking up. Just in my city alone, I’ve had so many women tell stories about frightening, intimidating, harassing behaviour by men, that it just makes me want to cry. But I will NOT be overwhelmed! Men are not volcanoes or wild bears, forces of nature that we have to protect women from. Men are capable of policing their own behaviour. And it is so NOT my job. So, you men: get ready to be noticed, and to pick up your act.

All these things are great. But I don’t think they address the real causes of sexual harassment in a community: the culture itself. The power dynamics. The everyday behaviour that makes sexual assault a possible and forgiveable action. In other words, we haven’t developed broader strategies for dismantling rape culture in the lindy hop world. Mostly because it’s fucking hard. But also because it’s difficult to see how ‘small things’ that seem ok contribute to making sexual assault possible, if not easy.

I think that many of us were convinced that the lindy hop community was this magical space where hatred and violence and assault and so on didn’t exist. Because we’re lindy hoppers! We’re nice!
Those of us who have a background in feminism or gender studies, or who are, well, you know, women know that sexual harassment and assault have always existed in the lindy hop world. And have been talking about it for a while.
This community is a subset of broader ‘home’ communities and cultures. Who we are on the dance floor is a reflection of who we are and how we behave in the wider world. We simply don’t just leave all that behind when we dance with people. So because sexual assault happens in our houses, it also happens in our dance venues.

And you know what: most of the sexual assaults and the sexual harassment that happen in the lindy hop world are perpetrated by men on women.
So this is my next point, and it’s going to be controversial:

MEN. Stop raping women. Stop sexually harassing them. No, don’t give me you’re #notallmen talk. If you aren’t calling other men out on their behaviour, you’re condoning it. You are enabling rape and sexual harassment. You are an accessory to it.
So, actually, ALL MEN have an obligation to stop raping or to stop other men raping. It is your JOB. It is your DUTY. And it is your RESPONSIBILITY.

Yes, women do sexually harass men. But MEN do most of the assaulting and harassing. So let’s start right here: STOP it.

Right now it’s pretty much heart breaking to think of this. Especially if you haven’t ever really had to face this before. Especially if you’re in a position of power or relative ‘safety’, you’re a teacher or organiser.

But don’t be disheartened! Remind yourself that you are a jazz dancer. You are capable of amazing things!

If I stop and think about this stuff for too long I get utterly depressed. I love jazz dance and music so much, it’s almost unbearable to think that there are people I dance with (and like!) who are out there harassing and assaulting my friends. I feel guilty and awful and powerless. But then I remind myself.

Start small.
Make incremental changes.
Change what you can.
Encourage people to be better.

I wrote this a while ago:

I think that we need to bloody well open our eyes and engage with the everyday places in our lives where we can make a difference. On the bus. At the shops. In cafes. On the dance floor. Make eye contact, hold doors open, step in when someone needs a hand, ask your employer if they do maternity leave, even if you don’t need it yourself. And I also think it’s a good idea to make it as fun as you can.
Getting angry is useful. But in and of itself, it’s not productive. You need to be an agent for positive, constructive change, as well as a mighty smashing force of rage. Find small ways, everyday, where you can fuck shit up. Or at least vibrate at very low frequencies until you rattle that patriarchal bedrock to bits. (I vant to be alone)

And I try to remind myself: the small things are actually the important things. We dismantle rape culture in small ways. It’s something that we all can do. And the very process of talking about and taking acton on these issues can empower women and dismantle rape culture!

Wait, what we do?

Part two of this talk: Be ok with people saying no to you

Remind yourself that you are a jazz dancer

There’s recently been a fairly loud and emotional discussion about sexual violence in lindy hop. I don’t want to rehash it here, because I find it very upsetting. Rehashing this stuff in detail disempowers me. I don’t want to discuss the male teacher named in this discussion, because I don’t want this to be all about him. Again. I want to take that power away from him. I want to find power in this, for me, and for other women.

Here is something I wrote on facebook today, in response to Gwen Moran’s piece How We Can Help Young Girls Stay Assertive. This piece described Deborah Ann Cihonski’s article ‘The experience of loss of voice in adolescent girls: An existential-phenomenological study’. I don’t know what that original research is like (haven’t read it yet), but it’s an interesting place to start.


This article is particularly relevant to the current discussion about assault and safety for women in the lindy hop scene.

I am deeply disturbed by comments emphasising how we might ‘protect’ women and girls in our communities. I think it is problematic (to say the least) to perpetuate this idea of femininity as vulnerable (and passive), and masculinity as dangerous (and active).

It’s important to remember that most sexual assaults happen in privates spaces (dance halls, practice rooms, bedrooms, lounge rooms and so on), and most women are assaulted by people they know. ‘Rapists’ aren’t wild bears or volcanoes: they aren’t forces of nature that we have to protect women from. They are people who need to fix their behaviour.
We need to remind women that they are powerful and capable of caring for and protecting themselves, and for making decisions about their bodies and lives.

So I think that one of the most effective tools for making safe spaces in lindy hop is is empowering women. Some practical tips:

  • Do use gender neutral language in class (ie follow does not = female by default). I have heard many male teachers resist this, saying that it’s ‘too hard’, or ‘not important’. Believe me: it is important. If you are a woman leading in that class (or thinking about leading), it makes you feel part of the group. It makes you feel like a lead.
  • Follows are not passive; following is an active process (ie leads don’t ‘tell follows what to do’, and follows don’t ‘carry out’ leaders’ creative ideas)
  • All partners should take care of each other (ie it’s not that ‘leads look after follows’, it’s that we all should look after each other). eg follows are responsible for floor craft too.
  • List the female dance partner in a teaching team first. This is ridiculously rare in lindy hop, and we need to make up for lost time by over-representing women as the ‘first’ member of the teaching team.
  • Teach female students how to say “No thank you” if they are invited to dance, but don’t want to. Teach yourself how to say this.
  • Don’t use sexualised humour in class. This makes it clear that classes are learning spaces. If all the sexy jokes in the world were gender-win, it’d be ok. But most of the sexualised jokes teachers make in class use gender stereotypes that disempower women.
  • Have female role models in your scene: women MCs at big events, women musicians (!!), women organisers, women teaching on their own, women DJs, women publicly making decisions and solving problems (ie female managers), women doing physical labour (beyond cleaning, aye?), women eating well-balanced meals with enthusiasm at shared tables (and not talking about ‘being bad’ when they eat delicious food).
  • Value other types of work, particularly the types of work dominated by women. Working the door is as important as DJing. Make that clear. Name all your volunteers in your PR copy.
  • Talk about old timer dancers who are women. Al, Leon, Frankie: they’re all wonderful. But so are Norma, Sugar, Josephine, Dawn, Big Bea.
  • Research women dancers and teach their material, in their names. And that means more than just another class on swivels. Talk about women choreographers, troupe leaders, and managers.
  • Teach solo dance. Women dancing alone is an act of agency and power in a partner dancing world. And teach a variety of styles: sexy, sweet, powerful, aggressive, humorous, gentle, sad, athletic, witty, cerebral….

Congruently, men in lindy hop need to be taught some things too:

  • Work on your own strategies for speaking up when you hear a sexist joke. You know you should call that guy on it, but what exactly will you say or do? Will you walk away? Will you laugh along?
  • What are your limits, when it comes to ‘blokey’ or ‘boys own’ behaviour? Sexy jokes? Talking about women you see in the room in a sexual way? Competing with other men to ‘get’ a woman? Know your limits, then act on them.
  • Defer to female opinion and example: if you’re in a discussion, listen to women before you speak. In all matters, not just sexual safety. Once you’re good at it, then start working on ways of expressing your opinion in a collegial way.
  • Don’t call women girls unless they are actually girls (ie under 13). It’s patronising. Don’t call women or girls ‘females’, unless their gender is what you want to discuss: eg “Female dancers are as capable of leading as following” is as good as “Women dancers are as capable of leading as following” but “Females are good leads too” is not ok. Women are not meerkats.
  • Encourage women to take up leading. Encourage women who lead. Encourage women to comment on leading. A compliment on their technique is good, but asking a woman for her opinion on leading is even better. If a woman chooses to lead in class, don’t make a big deal about it, and make it easy for them to stay in that role (deal with uneven follow/lead ratios in other ways – eg talk about how if you’re standing out, this is a chance to work on your dancing)
  • Seek out women DJs. They may be harder to find, but don’t default to the usual male DJs at your events. Men are more likely to speak up, so you need to keep your eyes and ears open for women DJs.
  • Proactively encourage women DJs, women leads, and women organisers.
  • Use your online time to support women, and to support other men. Men are less likely to chime in with a supportive comment on a general thread about dance than women are. Men generally speak up more often, but they aren’t as likely to just say something like “Hey, great idea!” and then leave it at that.
  • Support men who are doing good gender work: compliment or say ‘yeah!’ when you see guys doing good stuff.
  • Support male follows: don’t make that sexy “wooo!” noise when you see two men dancing together. When you make that noise it announces to everyone that you are uncomfortable with two men dancing together. Probably because you think that two men dancing together is a sexual thing. Which means you probably think partner dancing is a sexual thing. Which means you need to check yourself.
  • When you thank the teachers for a class, say thank you to the female teacher first.

There are a bajillion ways we can be better humans in lindy hop. They don’t have to be formal policies or official responses. Be the change you want to see: men should assume that if they’re not pro-actively changing things, they are part of the problem.

The nice thing about all this, is that being a better human is really quite nice: you get to be nice to people, and that makes you feel good. Doing genderwin stuff can be an empowering thing for you. If it feels a bit hard (eg some guys say using gender neutral language is too hard), then remind yourself that you are a jazz dancer: we love hard things! We love challenges! We dance the most complex, wonderful dance in the world, because we love complex, we love challenge, we love creative solutions!

The point of this, of course, is that feminism is good for all of us. Change can be confronting. But that’s why we love break steps, right? Because change is exciting and stimulating too!

A final note: it’s ok to have heroes. It’s totally ok to fansquee for a big name dancer. Having a crush on your dancing hero (no matter what your sex or theirs) is also ok. It means that you are inspired by what they do.
But don’t stop there. Use the inspiration they bring to become a better dancer yourself. Tell them you love what they do, but stop there. Then move on and tell someone else you love what they do, even if they aren’t a big name dancer.

And remember that if we are all to be held accountable for our actions, we need to be sure that we all have the power, the agency, to make our own decisions, and to control our own bodies and actions.

I have written about these issues many, many times here on this blog. I am an old school feminist, and I believe in the idea of patriarchy, and in discourse and ideology. The bottom line is that I believe that if you want to prevent sexual assault, locking up rapists is not the solution. The solution is in dismantling ‘rape culture‘, or a culture of sexism and patriarchy. I know! It seems like so much work! Good thing we have jazz to sustain us, aye?

Here are some of these posts:

DJing is not politically neutral

Lots of DJs talk a lot about mac and great their products are. I use mac products. I’m not in love with them the way many mac users are, but I certainly enjoy using them more than the Microsoft products I’ve used, and I’ve not explored Linux or other options. But how should I feel about apple now that I’ve listened to Mike Daisey’s story about factories in manufacturing China? This This American Life story explores the issue in detail, doing more than shouting about awful working conditions in sweatshops to explore why western communities feel ok about buying products from and supporting companies which use sweat shops.

I think this is an interesting topic for DJs. We tend to think of ourselves as workmanlike people, just playing the music, or doing our art for the sake of the dancers, who’re doing their art. But if the tools we use are created with the fairly horrific exploitation of others, is it really art? Can we really justify what we’re doing as being in any way a good thing?

I’m not sure what to think or how to act. Living in the global north (ie in a developed, wealthy country), being a part of demograph is which is empowered by the exploitation of others, I think that the first thing I have to do is recognise my own privilege. How is my life made easier by the difficulties of others? My own privilege comes from the disadvantaging of other people. It’s not a neutral thing, the happy happenstance of my own or my parents’ or my grandparents’ hard work and good fortune. I live this life because other people cannot.

[edit 16/3/12: apparently Daisey fabricated much of his story. I don’t think this negates the original point (that factories making electronic goods for affluent consumers exploit their workers), but the details are not as Daisey would suggest.]

[edit 18/3/12: another interesting discussion of the Daisey issue as theatre/performance and suspension of belief]