Language is important: decolonising dance jargon

‘Gliding’* came up in a fb discussion about great things to teach brand new dancers.
Gliding is just moving around the dance floor in closed position without any particular rhythm, with or without music. In our classes, we want them to experiment with working with a partner in closed, with no pressure to perfect a rhythm or shape.

Gliding teaches them:
– closed partner connection
– floor craft
– the joy of being with a partner with no pressure to do a rhythm
– confidence to experiment on their own
– how to change direction (as a lead and/or follow).

In this discussion, there was a comment by someone using a lot of dance industry ‘jargon’. And a couple of words that I wasn’t entirely sure were being used correctly.

…or, more generously, were being used in ways I wasn’t sure I understood.

Anyhoo, I asked for clarification. And got some more jargon. Partly an ESL issue, but also partly… a confusing thing.

The biggest problem I had with this comment, was the author’s correcting our use of the word ‘gliding’:

…gliding is a modern subculture term, progressive ( in line of dance) would be the common teaching terminology.

I immediately felt very uncomfortable with this correction. Because Frankie Manning used the term ‘gliding’ to describe a more organic, natural movement about the floor (distinct from a very clear straight line). So I asked for clarification. And felt it was… massively patronising and also WRONGTOWN and full of some bullshit white elitist crap. So I figured I’d just ignore it, because life is too fucking short.

Luckily Damon Stone was feeling patient. I’m sorry I didn’t step in; it’s not cool to leave all this hard work to POC.
This is Damon’s great answer:

It feels like you are using te[rms] from one subculture of “ballroom” and applying to all other dances done in ballrooms.

The terminology of different American ballroom chains at one point differed from each other and there are still terminology differences between American and International ballroom studio associations.

When you compare both style technique, composition, and terminology between ballroom studios and the people who created the dances it isn’t uncommon to find slight to wild variations between those created by African American or Latinx peoples.

Progressive definitely implies line of dance, gliding doesn’t. Frankie definitely used the term in my lessons and classes with him to indicate dancing within a general space as opposed to on the spot or line of dance.

You absolutely could glide in line of dance and yes the earliest version of lindy hop appears to be rooted in a progressive structure but, in my experience, that was not how Frankie wanted it done.

There is nothing fundamentally wrong with using American or International ballroom terms of you get a lot of dancers with that background, if you teach in a that type of studio and how your lindy hoppers will also study that style of ballroom, but this dance also has a language developed by its own originating and innovating dancers, keeping that terminology in the dance is a great way to pass along parts of the culture.

I’d be super careful about correcting someone’s terminology if it can be traced to people who danced at the Savoy even if it was terminology they added to the dance well after the Savoy was torn down.

I did end up chiming in (of course I did). Paraphrasing Damon’s clever (and patient) comment, I added:

I want to emphasise this idea: if we use the language of the white-run and owned ballrooms and dance classes of the day (and now), instead of the language of black dancers who invented and owned this dance, then we are recreating and reinforcing white colonisation of black dance. An insidious sort of appropriation of black culture for white profit.

In more practical terms, a lot of the language and ‘technique’ of OGs who danced on crowded dance floors reflects the practicalities of a crazy packed dance floor. You have to behave like social creatures when you social dance.
An insistence on straight lines, slots, fixed figures, etc etc is often profoundly anti-social as ‘rules’ don’t account for crowds of humans with varying skills and attention. Not to mention actual live music.
I think that this is one of the most important parts of vernacular dance. It changes and improvises to account for the needs of real humans in social spaces <3 It _belongs_ to the people dancing it, not to a rule book and codified pedagogy. *Do a search for 'gliding' here in this blog and you'll find a bunch of posts.

Where you might begin in developing a code of conduct or safety policy

Ok, so I’ve been looking at how we might develop a ‘how to develop a safe space policy’ guide.
I’ve only got a sample size of two, but I wonder if this is a useful approach:

  1. You need to know your local laws regarding sexual harassment and assault. So a google search will help. I begin with these sorts of search terms “Australia” “Sexual harassment” “laws” .
  2. From here you can often find a link to the specific law or act referring to harassment, equity, human rights, etc etc. Each country will address this issue in a different way. And each legal system is different – eg we don’t have a bill of rights in Australia.
    BUT it’s hard to figure your way through an act if you’re not used to the language.
    Luckily there are good community education bodies to help you make sense of it. They often come up in the first page of your google search.
  3. I use the country’s human rights commission or similar body as a source to help me untangle this language. They often have simple language versions of the law, and specific examples of harassment.
  4. I’ve noticed (in my two examples  ) that sexual harassment is grouped with other types of harassment and discrimination as infringing human rights. This is useful for us as dancers in the current ideological climate, because the relevant act may refer specifically to discrimination on the basis of race, ethnicity, gender, age, sexuality, sex, etc etc. This gives us a starting point for addressing issues like the black roots of lindy hop _and_ sexual assault in the same policy.Here, the link between discrimination and harassment is key.
  5. At this point, it really helps if your organisation has a statement of intent, or a mandate or manifesto or something. eg the Melbourne Jazz Dance Association (which runs Melbourne Lindy Exchange (MLX)) has this one, which was a legal requirement for setting up a nonprofit business structure:

    The Melbourne Jazz Dance Association is a non-profit organisation devoted to the preservation and promotion of vernacular jazz dance and music in Melbourne, Australia. Our goal is to produce affordable dance events for Melbourne and visiting dancers, promoting the history of the dance as well as the current dance community.

    From here, this sort of statement helps us rough out a general policy or way of making our code of conduct fit in with our existing statements. If I was to rewrite this mjda statement, I’d add ‘accessible’ before the word ‘affordable’, which would cover us for talking about harassment and discrimination.

From this point, you have some very useful tools.

  • A legal definition of sexual harassment and sexual assault (note this isn’t legally binding or even legally accurate – you’ll need to consult a lawyer for this stuff)
  • It’s culturally specific. ie it reflects your country’s legal and social understanding of sexual assault and harassment. This is important because your event, and your actions, are governed by your country’s laws.
  • You have specific examples of sexual harassment and assault. This is important for helping the targets of harassment (women and girls, for the most part) put a name and a limit to their ‘bad feeling’ about an interaction. It validates their experience. It also gives you language tools for explaining to offenders why they are banned from your event – they did X, Y, or Z. And of course it helps you feel more confident in your actions. You’re not just acting on ‘a feeling’. You’re acting on facts.
  • You can connect sexual harassment and assault up with discrimination. This is important because it lets us talk about racism, ageism, sexism, and other forms of discrimination in one conversation. Our code of conduct can group these different types of discrimination together and let us address a number of issues at once.
    This is the ‘missing link’ for addressing the way sexism dovetails with racism and class in the modern lindy hop scene. It gives us a way of talking about how come male teachers are paid more, there are more male DJs at high level events, or why women are overrepresented as volunteers. It’s about power. Sexual harassment is about power more than it is about sex. And racism is about power and privilege. About who gets to tell the stories, in their words.

Now you can start writing up a very rough draft of your code of conduct.

  • What are your values?
    What do you want your event to be about? Good live music? Great social dancing? Innovative class structures? Huge crowds? Small crowds? What?
  • What are your rules?
    What do you not want to happen at events (in general terms, but also specifically)?
  • What are the consequences for breaking rules?
  • How can people report harassment or assault?
  • How do you respond to reports, document reports, and then store your reports safely?

At this point you’ll see that you have a very dry, often very long list that’s both really depressing and really exciting. You aren’t ready to publish this yet. It’s definitely not something that’ll work as a public document, let alone a intra-organisational document.

From here, you need to do some testing.
Develop a few scenarios, and role-play the process. Horribly, we have a fair few real life examples in the modern lindy world to work with.

Some examples:

  1. A big name international teacher is publicly reported for sexual assault in a blog post. He has previously taught in your country. You scroll down your facebook feed and see he’s just been announced as teaching in your city. What will you do?
  2. You receive an email from a person acting as an agent on a reporter’s behalf. This agent is a reliable source – someone you know and trust. The reporting woman is terrified of repercussions and wants to remain anonymous. Her report outlines in detail how a male teacher assaulted her at an event in the previous year. You have just booked this teacher for your event in 9 months time. The reporting woman discovers this booking as you’ve just announced it publicly. What will you do?
  3. You see a guy in his 20s physically lifting a new female dancer into a pop jump on the dance floor at your monthly party. She clearly doesn’t know what she’s doing. You can’t tell if she’s actually enjoying this, or just faking it. What do you do?
  4. Two young Asian women come to you at the party you run fortnightly, and tell you that an older Anglo man has been making sexual suggestions to them during class, holding them in too tight an embrace, and sending them facebook messages. He is at the party. What do you do?

And so on. Scenarios like this are very useful for testing your own values and process. And an important part of this process is to flesh out your imaginary people:
Give your ‘big name international teacher’ an age, gender, ethnicity, teaching speciality, comp wins, teaching experience, etc.
Flesh out your agent working for the reporting woman – are they male, female, trans, older, younger, white, black, a teacher, a DJ, tall, short, what?

Do the same for the staff responding to each situation – make them real people. And try to make them people representative of the members of your local area. Not your local dance scene, but the real, live people who live in your city. Census data is very useful here.

Now swap around some of the identity markers. What if the Two young Asian women are also trans? What if they’re anglo and their person hassling them is Asian?

Document your scenarios.

Ok, now go back and rewrite your code. And your rules.
What would have helped in the scenarios? Would it have been useful to have a small printed copy of your rules to give to that guy when you tell him off for hassling those women at the party? Then make one.
If you needed to call the police at one point, would you have called the emergency number, or your local police station? Do you have both numbers? Do you need a little sign with this info on it for volunteers? Make one. How big does the font need to be? Can you read it in a dimly lit dance room?
How do your door staff know what to do? How would you train them?
Where do you keep written reports? Where do you write the reports? Who has access to them?

And so on.
Yep, it’s a fair bit of work. But some of it is actually pretty fun.
You’ll never be done with this work. Each time you encounter a new incident, you’ll get new skills, you’ll revise your processes, and you’ll revisit your values. Maybe ‘good music’ is less important than ‘don’t hire DJs who’ve raped someone’. Maybe ‘good music’ means telling your band leader explicitly that the musicians cannot arrive drunk or play drunk. And then perhaps you need to be specific about defining ‘drunk’.

For me, there are some overarching ‘rules’ in this work:

– the reporter’s safety is paramount. That means anonymity, confidentiality.
– the safety of the staff handling the report is paramount. This may also mean anonymity and confidentiality. It can also mean training for staff, having access to a quiet, safe room with a lockable door, knowing when and how to call the police (or if it’s safe to call the police), etc etc etc.
– ask the reporter what they need to feel safe. You don’t have to do these things, but it’ll be helpful to know.
– limits and boundaries are key. Knowing when to stop working is essential.
– I need to know when I will stop working on this issue. What is my limit?

My own, personal rule – the reason why I do this – is this:

I am responsible for my fellow humans. I choose to care about what happens to them. I choose to do what I can, whenever I can. Not just because it feels like the morally right thing to do. But because caring, and doing right makes me a better person. A stronger, braver, better person.

I could quote you long passages from my favourite feminists (Nancy Fraser, anyone?) about why being a feminist means being a pragmatic feminist. Being an activist. I simply define feminism as being about thinking and doing. It’s about social justice, but it’s about actively choosing to get involved. To do something. This is an act of power and resistance for a woman in my culture. We are trained to not act, to not get involved, not to agitate, educate, or organise. So the very act of speaking up, standing up, and acting is an act of feminism. It is liberatory. But that’s not the whole thing.

I guess it’s really about my believing, very strongly, that I have a responsibility to do what I can for other people. I choose not to be a bystander. I choose to be an agent. Because I find sitting by while other people need me untenable. I just can’t do it. If I can do something, I do it. Not because I want to be a ‘troublemaker’ or an ‘agitator’, but because I feel it is the right thing to do. To care about other people. To care for them, and about more than just myself.

Dealing with men who use classes to pick up

Men propositioning women in class, touching too much, touching inappropriately, and all that other gross harassment stuff sucks. But you can totally resolve this!

We always begin the ‘touching’ part of class (ie after warm ups, etc) by saying, ‘this is a partner dance. I’m the follow, x is the lead.’ Then we demo some lindy hop, and explain that the lead is suggesting a move/rhythm and the follow is deciding whether or not they’ll get on board and do it.
Then we say, “Now you need to choose: do you want to lead or follow. Make that choice. Next, we need to find a partner. Watch us do this thing”
And then we do the little ‘asking someone to dance role play’:
eg I approach pete, and say
S: “Hello, I’m Sam. Would you like to dance?”
P: “Hi. I’m Pete” (we offer each other hands and shake hands). “Yeah, sure. Do you prefer to lead or follow?”
S: “Following, ,please”
And then we move to join the circle.

Then we say, “Please find a partner and have that conversation.”

Then they do it. We let them take a bit of time to do this.

Things they learn here:

  • Don’t touch someone without knowing their name and asking them to dance (we repeat this MANY TIMES in class, verbally, and we teachers always ask permission before touching students in class).
  • Don’t assume someone leads or follows, ask instead.

All this stuff may scare off your Difficult Men. If not, there’s more!

Then we teachers get into the middle of the circle, gather them all reeeeeally close, and say something like “Now, we’re going to touch our partner.” And they all giggle. But we get into closed and say, “This is how we’d like you to hold your partner” (it helps if the follow says it). “Please observe us, then have a go.”

We don’t tell them to do anything, or say anything, we just demo it.
Ramona says: “The museum is open. Please come and have a good look.” If they don’t have it, you can say, “The museum is still open. Please come and look at the display again.”

They get into closed position
Then we say, “Because we’re all different sizes and shapes, we need to see if we have this comfortable for our partner.”
Then we do the ‘am I touching you right’ role play:

S:”Pete, is my left hand too far around your shoulder?” And Pete visibly thinks, then takes my hand and moves it, saying “I think it’s a bit too far around for me.” And I say “Cool, ta.”
Then Pete does the same.

Then, and this is KEY: You say “Please have this conversation with your partner.” And you leave them to talk about it and try it until you see them move into non-touching related talk. This is THE MOST important part – they really need to actually practice verbalising asking someone to change how they touch their bodies, and practicing responding to this. So don’t rush them. Intermediates will try to brush off their partner with ‘it’s fine’. Don’t allow them to do this; ask for real conversations.

After the first two or three times they rotate, we say, “Remember, each human is a different size and shape, so you need to figure out if the fit is right. Please check in with your partner.” And they have that conversation.

Anyway, all this skills up your students to:

  • ask permission to touch,
  • ask for feedback on how they’re touching someone,
  • actually practice giving that feedback (they are told explicitly that they can’t just say ‘yeah fine’. They have to stop, think, feel, then articulate their feels).
  • practice responding to feedback,
  • Think about the way their _whole bodies_ touch someone, not just their hands (we often drop this in when we’re talking about how follows are touching the leads with their backs).

This will skill up your women to deal with the too-touchy men, and it’ll train the men in how to touch respectfully.
You won’t need to police the students all the time. You can step in when they’re all dancing and experimenting for extra one-on-one comments, but mostly they police themselves and each other.

Best of all, the truly dodgy bros will get the shits and stop coming to class, because they can’t get away with any bullshit.

We do other follow up stuff in class to compound these skills:

  • eg when they finish practicing to music we say (Because we always see it): “I really liked it when one person in a couple got in a mess, said, ‘hey, can we start again?’ and both people stopped and grooved before starting again.”This emphasises what we _like_ and how they can handle these issues.
  • We might also say, “I saw some really nice, relaxed bodies. I could see people holding each other comfortably, and asking their partner if what they are doing is ok.”
  • I often say, “If you’re not sure if you’ve got it right, ask your partner – they’re a specialist in how their body works.”
  • The teachers often ask each other things like, “How did you know I wanted you to stop there?” as a way of modelling how to talk to each other, how to avoid ‘leader first’ language (so we ask the follow how they knew, which requires follows think actively about what they’re doing, not ‘just following’, etc etc).

I think using positive language (telling them what you liked) is better than ranting at them about what not to do. Because you’re just repeating the bad stuff and that’s all they’ll remember. So just repeat the good stuff. We also add in ways follows can eject from dances or moves if they don’t like it, and how leads should respond (let the follow gooo, let her gooooo).

From practical cultural change to broader ideological change and back again

I’m just rewriting a draft teachers’ agreement and editing my teachers’ agreement template for dance events. This is my new favourite bit:

Teachers’ expectations of organisers:
– Provision of safe, clean teaching environments without unnecessary crowding, and including head mics (where necessary), sound gear, venue coordinator to manage the workshops.
– Will teach workshops of no more than 80 participants.
– Will teach classes of no more than 30 participants.
– Will teach for no longer than 1.5 hours without a 15 minute break, and a minimum 1 hour break after 3 hours of teaching.
– Flexible workshop hours to allow for nursing and care of infants.

I’m not there yet, but it’s looking pretty good.

The nice thing about working with teachers who are nursing mothers (this is my second time), is that their needs (eg breaks for nursing, being flexible in class start times, asking students to work independently, or while teachers are nursing/caring for infants) translate to good conditions for everyone.

If we make nursing mothers’ requirements our ‘norm’ for teachers’ requirements, we end up with much better working conditions for everyone – students and teachers!
I’ve found the same when managing DJs’ working conditions, when working on safe space policies, and band’s conditions.

The invisible straight white able bodied cisman norm doesn’t really benefit anyone. Not even straight white able bodied cismen without dependents.

I’ve also found that asking teachers to prioritise self-care (eating real food at regular intervals, taking rests, taking time out, drinking water, having at least 3 hours between classes and parties, going home when they feel like it, only dancing at parties when they feel like it, etc etc) models good stuff for students.

This is especially important for women, where we’re seeing a bit of body dysmorphia coming into play: young women who don’t eat enough for their high-impact lindy hop and solo jazz dancing. When we see women teachers eat well, with enthusiasm, and with great pleasure and none of this ‘I’m being naughty’ talk, we see that eating well and self-care are part of being a professional dancer. Something we owe ourselves, and our bodies.
It’s also important for young men to see men practicing self-care, and to see women practicing self-care, and prioritising self-care above the interests of others.

You can see how this all feeds into a safe space policy, right? And how I build safe space stuff into an OH&S policy?
And of course, it all comes under our statement of intent at Swing Dance Sydney: Take Care of yourself, take care of your partner, take care of the music.

If you tip this list of points upside down, you’ll see that a way to get to safe space policies is to begin with:

A value statement (or statement of intent).

Then to see how this translates to general policies like ‘good working conditions for teachers’.

And finally to practical, real-life actions like ‘teach for no longer than an hour without a break’ or ‘we all sit down together for a meal’ or ‘if you don’t want to dance when someone asks you, just say no thank you.’

I think that this last practical level is where we do cultural practice (ie actual practical cultural change), whereas the two higher levels is where we do ideological change.

The real challenge then comes in keeping track of all these policies and processes. I can remember most of them, but the person who comes after me might not know why we instituted a ‘classes are no longer than one hour’ rule. So we need to document.
And of course, to be really good at this, we need flexibility. Iterative design. So after this Jazz with Ramona 5-7 Oct 2018 weekend, I’ll get some comments and feedback from Ramona, her partner John, peeps in the classes, etc, and I’ll rewrite these guidelines again.

If you are resisting addressing sexual assault at your event, you are actively enabling it.

The thing is, the only possible reason for aggressively resisting addressing sexual assault at your event is that you’re an offender. I’d add ‘or you’re actively concealing offenders’, but that’s pretty much par for the course. Aggressively resisting addressing sexual assault prevention and response processes conceals and enables offenders.

If you don’t develop policies for prevention and response, you leave the actual work up to your people on the ground – your volunteers, your door staff, your ‘middle managers’. And because they don’t have a clear policy guiding their decisions, they’ll be forced to either develop their own policy, or respond in an ad hoc way. You’ll also be making _them_ entirely responsible for OH&S at your event. Which is fine if that’s their job – OH&S officer. But if they’re the Registration coordinator or the head chef in the kitchen, then that’s not appropriate.

None of us are just naturally born knowing how to prevent and respond to sexual assault and harassment. In fact, many of us are trained by our families and home cultures to _avoid_ addressing these issues. And women are even further trained to be _afraid_ of addressing these issues, trained to perceive themselves as the ‘natural’ victims of assault and harassment. But despite this training – this socialisation – women in the lindy hop world have started figuring out how to respond to and prevent assault and harassment. And done a pretty darn good job. Our time line has been relatively short, from the public reports about Steven Mitchell to this moment. It’s been less than ten years. We’re pretty bloody good at this.

So if you want to run an event well, just as with decisions about what food to serve, and what to charge for tickets, you train your staff, or hire staff trained in these particular areas.

In the lindy hop world, we now have a fairly large body of first hand experience with dealing with s.a/h specifically in dance communities, _as well as_ a whole range of literature and training from other social spaces and bodies. And we are very, very good at learning and working in collaboration. It’s the one defining feature of the modern lindy hop world: we specialise in learning how to touch each other.

So why not offer your staff support and direction with a clear policy? If you’ve hired the right people, they can then go on and develop specific processes, training, and support for your event and your staff.

As I said above, the only reason to _not_ actively address these issues is that you are an offender attempting to conceal and enable your offences. The other implicit or explicit consequence of your inaction or resistance is to conceal and enable _other_ offenders.

But as a final point, I’ll also add:
Even if _you_ discourage work on these topics, your staff will be working on preventing and responding to sexual assault and harassment. Because dancers are reporting offences and expecting your event to be safe. And that is a reasonable expectation: that we will be safe at your events. So your staff are already acting on these issues.
The key issue then becomes: will you support their work, and provide them with the resources to do this well, or will you get in their way and fuck shit up?

DJing band breaks: my rules

So far as skills for playing band break sets go, I usually have a few rules:

  • Don’t go into the hardcore high-energy territory. Keep the vibe bubbling along, but never quite climaxing. The band should be the peak;
  • Don’t get too low energy – keep the room bubbling along;
  • Play something with a ‘building’ energy just before the band goes on (like that brilliant version of One o’clock Jump), so that the band go on stage to an amped up, excited crowd;
  • Don’t play songs the band will play. So this means introducing yourself to the band, getting a set list, and getting an idea of the type of music they’ll play;
  • You’re not the star here, your job is to be the support act for the band, warming the room for them, keeping the dancers interested, and generally helping the band have a good gig. So don’t show off, don’t do any stunt DJing, don’t be a jerk, be on time, be easy to work with, MC if you have to, keep you eyes on the band and be ready to play with zero notice;
  • Introduce yourself to the sound engineer, the MC, the band leader, and the stage manager. Be helpful and useful, and do a soundcheck if you can;
  • Don’t play hi-fi stuff, especially not hi-fi 50s bands like Basie’s, because no modern band will sound as good;
  • Complement the band’s style, but don’t echo it too perfectly. eg SSAS often play a lot of Ellington, so I try to stay away from the Ellington favourites;
  • Don’t go nuts on tempos; keep the music accessible and don’t tire out the crowd before the band comes back;
  • Don’t play anything too crude or too memorable. A band break DJ is just filling in music, keeping the vibe going while the band literally take a break. So don’t outshine the band.

And finally, all this holds true if the band is good. If the band really sucks, then you follow all these rules, except you play really good songs that give everyone a chance to dance.

How I describe connection in lindy hop

Someone on the facey asked ‘how do you describe/explain connection?’ and this is what I said.

I don’t often talk about connection in class. I usually use the word to include a whole bunch of stuff:

  • the human/social connection between partners (mutual respect and collaboration).
  • the physical contact (ie where we are actually touching each other)
  • the rhythmic connection (ie our shared relationship to the music, our shared sense of groove v two people just randomly grooving independently).

ie my three ‘rules’: take care of your partner, take care of the music, take care of yourself.

But my favourite description is: We are a team, and if partner X does something cool, it’s a win for both of us in the team. I also like the Jenny/Rikard description of lindy hop as a rally car: the lead is reading the map, and pointing out that there is a turn up ahead, but the follow decides whether to take the turn, how fast to turn, whether to stop and reverse, etc etc etc.

I don’t talk about all the technical body stuff in class if I can help it, as a one hour dance class is not the place to learn about turning on your pelvic floor – we go to pilates for that.

But if I want to improve the way two dancers are ‘connecting’, I will ask them to do a few things that have effects on their biomechanics:

– Look at each other (because the gaze actually affects the way we hold our heads on our necks, how we orient our torsos, and all the way to our feet. eg when the lead bows to the follow on the beginning of a swing out, if the lead looks at the follow, they won’t collapse their head and shoulders by looking at the ground, and they won’t create a strange off-set connection by looking to their right shoulder).

– Ask them to observe how they are touching their partner, and what messages this contact sends their partner (eg I ask the follows to observe their left hand on the lead’s shoulder – are the fingers making a claw? what message does that send their partner?) I don’t ask them to change what they’re doing, but to observe their own bodies. There’s nothing at all wrong with telling your partner you are freaking out by having your fingers clench into a claw on their shoulder; it’s important to communicate like this.* I also ask them to observe _themselves_ rather than their partner at first, because follows are often pressed to think of their bodies as a conduit for the lead’s ‘vision’ of a move, erasing their own sense of self and volition.

– Find a shared sense of groove with the music. So first we may do some grooving alone (usually with purpose in a game where groove is a side effect, not the stated goal), then we work on dancing _together_ and finding a shared sense of groove, where we don’t sacrifice our own sense of timing or rhythm, but we don’t ignore our partner’s. One of the consequences of this approach is that they really ‘listen’ to each other, using their sense of touch, and also their visual sense.

– Looking at each other, and doing lots of call and response work. I think that a lot of hardcore technical classes neglect the sense of sight. But we use our eyes for so much communication, it’s ridiculous to abandon it. And also we are social humans use rely on body cues and nonverbal visual communication all the time. Lindy hop is about visual communication with a partner too.
So I am quite against exercises where you close your eyes.

*This is why I am impatient with technical discussions of ‘connection’ that encourage us to adopt a ‘perfect’ physical connection via biomechanics. A ‘perfect’ connection prioritises ‘perfect’ leading and following, and suggests that a perfectly executed move is the end goal. I would much rather people reminded themselves that they know how to communicate with their bodies, and to trust their own physical reactions and accept them. So I want to see dancers smiling or laughing or frowning or jiggling with excitement or stopping dead or whatevs, _not_ maintaining a ‘perfect’ connection at all costs.

Gendered language in class

I’m ok with talking about gender and using gendered pronouns in class. I just like to be sure I’m not just using the same two boring pronouns all the time, and that I’m using people’s preferred pronouns.

I’m not ok with gendering leading and following, or skills related to leading and following.

This is partly why I’m not ok with some elements of the ambidance movement: I don’t want to do away with all gender.
But I do want to do away with the essentialist coupling of skills and ideas with two gender ‘norms’.

How then do I work to deconstruct gender in lindy hop when I’m teaching?

1. Use the words ‘leads’ and ‘follows’ (or the role name, and I’m with Dan when it comes to avoiding leader/follower) rather than ‘ladies and gentlemen’, ‘men and women’, ‘she/her/he/him’ etc etc.

2. Use people’s actual names rather than the role. It’s nicer generally, but it also encourages us to think of people as individuals, not roles. I try to use my teaching partner’s name.

3. Rather than talking about or around your teaching partner (eg “The follow will do this,”) speak to your teaching partner, asking them to describe what they’re doing (eg “How do you know I’m asking you to move forward, Alice?”).

Then there are trickier, less obvious things.
1. Always ask permission before you touch someone. It’s quite common for leaders to simply ‘grab’ a follow in class/their partner to demonstrate on them as though they were an object. I always try to ask them if I can touch/demonstrate. And I always apologise if I’ve just thoughtlessly grabbed them.
I started doing this after we started asking students to always introduce themselves and ask someone to dance before touching a new partner. It rubbed off on me :D
This stops us treating our partners like objects/just ‘the follower’. And this issue happens more with leaders grabbing follows than vice versa.

2. Conceptualising lindy hop as something other than ‘leader says, follow does’.
We are currently using ‘call and response’ and both partners can do it. We also use ‘leader invites follow to do X, follow decides whether to do X, how fast to do X,’ etc etc etc.

3. Don’t use words that position follows as objects.
eg never using words like ‘push’ to describe what leads do: ‘the leader pushes the follow’. No. This a) not technically accurate, and b) disrespectful.

4. Always try to talk about and think about your partner as a human with feelings and emotions.
When we get really technical, it’s easy to reduce our partner to an object force/momentum happens to, or a subject who generates force/momentum. We are real people with real feelings. So while physics is at work, our feelings and emotions are much more important. So we use language that describes what’s happening from that POV first. In nerd terms, this means using ‘external cues’ rather than ‘internal cues’.
eg. I ask Alice if she’d like to go to the snack table, then I take her hand and go with her to the snack table. vs ‘I hold her hand with my fingers in X position, then I engage my core, prepare, and then lift my left foot, swing it back 20*, place it back behind me, and then she engages her core and activates her frame…..’
The technical jargon encourages us to talk about our bodies and partners as technical objects, not as real live humans. It also slows down learning :D

5. Speak and act as though your partner and other dancers have opinions, and that these opinions may differ from yours.
We often try to hide the way we ‘make the sausages’, but it’s more useful for learners to see us discuss things, perhaps disagree, share different ideas. So ask your partner and students what they think and feel. Allow yourself to learn from your students and be surprised and delighted by this new information.

-> all this stuff is about deconstructing not just a gender binary, but a hierarchy of gendered power with straight white bro at the top.

And what of historical accuracy in all this?
I think it’s important to talk about gender in a historical context when we talk about lindy hop. So while a gender neutral pronoun is very much something white, middle class Australian teachers are experimenting with, that’s not how black dancers might have spoken of each other in the 30s.

Again, though, I like to take care about generalising. While some dancers today would have us believe that the 30s were a time of rigid gender norms, that’s not entirely true:
– There were women leads and men follows (and every gender ID ever) in the olden days,
– There were queer dancers and musicians (I’m currently reading about queer culture in NY in the 20s-40s… helllooooo genderflex ID and jazz dance!) and genderflex lindy hoppers fucking up the patriarchy then. Lester Young, anyone?
– Some of the most supportive teachers I’ve had have been black OGs, who’ve used gender neutral language and openly said they support women leads/male follows/genderflex dance IDs.

So when we talk about ‘ungendering’ lindy hop, that’s perhaps not helpful. It’s more that I want to widen my understanding of gender (and sexuality) in dance to more than just straight men leading and straight women following. The world is huge, and jazz asks us to improvise and innovate.

I have written about this many times before:

Clicker training and positive reinforcement

I’ve recently been pushing to teach lindy hop using only positive reinforcement.
When the students are doing an ‘experiment with these things please’ session in class (and they do a lot of this independent, self-guided learning in class), we used to watch until we saw common errors or patterns of messed up movement. Then we’d stop and correct the students, saying things like “Instead of doing this, do that.” I had been advised by a teacher friend (Shane McCarthy in Perth) never to ‘correct’ a student in class in front of the group because it’s embarrassing and trashes their morale. But it’s taken me until just this year to realise that I never need to correct a student again.

‘Correction’ is another word for ‘telling students they’re doing things wrong, that they’re wrong.’ And this is shit for morale. Both students’ and ours. Because if you’re going to tell someone they suck, you feel terrible. Unless you are a somewhat shit person. I used to go home from class worried that I’d said the wrong thing, or taught them something bullshit.
Until I noticed that when I said, “Oh, you know what I saw that I really liked? ….” and then pointed out where someone specific had done something really nice, or in general when I saw something I liked, the students felt great, and I felt wonderful.

In our teaching pairs, we used to have a rule for reducing the amount of time we spent teaching: say one thing for follows, and one thing for leads. Thing is, these things were almost always ‘tips’ or corrections. So we were effectively making a rule: ‘say one thing to trash the follows, then one thing to trash the leads.’ Boo!
But then we started encouraging each other to say “Something that I saw that I liked…” And YES. The world got really really good. Yay!

So this year I made a rule for myself, which I’ve then asked all my teaching partners to do when the teach with me: if you want to guide students towards a particular behaviour, wait until you see a student or students doing that behaviour (or on the road to that behaviour), and then say, “I saw some people doing X. It was really nice.” You be very specific about what you saw, and if you think that student can handle the attention, name them: “I saw X and Y dancing away, then get into a tangle, and you know what they did? X said, “Can we stop for a tick so I can try again?’ And they stopped and chilled for a second, grooved til they found their timing, then they started it again. That was a really cool way of dealing with a mess.” If you see a bunch of people doing a thing, say that: “I saw a bunch of people doing X and I loved it.”

Or if you see ALL of them doing something – tell them! I tend to gush on this one: “Oh! That looked so nice and _grooving_ because you all took a bit of time to make friends with the music before you got going, and then you kept that groove!” I also like to point out how people have managed their own mistakes: “I really liked the way you guys started dancing, and it was nice, but a bit square” [demonstrate timing], “And then the music started, you all heard the musicians, and you all changed your dancing so it swung” [demonstrate swinging timing].

So now my rule is: no ‘corrections’, no ‘tips’. Just positive affirmations. If you don’t see the behaviour you need or want to see, wait. Because they’ll get there. If they don’t, then you need to show them again. And that’s ok.
Key to this is that you are looking at students looking for ways in which they are wonderful, rather than ways in which they are rubbish. It just made teaching so wonderful.

But let’s look more at this idea of positive reinforcement replacing correction in teaching.

Today, I read a book called ‘Getting Started: Clicker Training for Dogs’ by Karen Pryor, because we’re trying to teach our nutty, somewhat panicky rescue dog a few tricks, but also so she feels more confident and happy when we’re out, and when we’re around the house. This book is just lovely. Mostly because clicker training rewards good behaviour rather than punishing or correcting ‘bad’ behaviour. It also encourages you – the trainer – to look for goodness in your subject, not badness or errors. And hence, brings good vibes. As the book says

Once you get used to thinking the clicker way, you are much more likely to notice good behavior and reward it, instead of giving your attention to a child only when it’s doing something wrong.

More importantly for trainers, it’s much easier to maintain preferred behaviour with this method than with “physically correcting erroneous behaviour”.

Let me just note that point: it encourages teachers to actively look for good behaviour. It changes the teacher.

How does it work?
First, you encourage learning-by-exploring.
When your doggo does a behaviour close to what you want, you click your clicker and give it a treat. So if I want Frank to sit, if she stops, she gets a click and a treat. If she starts to lower her rear haunches, I click and she gets a treat. If she actually sits – click! And treat bonanza (lots of treats)! Important: you only click once, exactly as you see the desired behaviour. They then associate the click with approval for what they are doing _at that time_. You never punish or correct or tell them off. If they deviate substantially from what you want, you put the clicker and treats away. No more treats.

So we have the second point: you encourage learning by approval and positive reinforcement, not correction and punishment/disapproval.
I’ve heard of positive reinforcement, of course, but I’d never really thought about what I was doing as a teacher as positive reinforcement.

The goal: the doggo learns that their behaviour gets you to click and give you treats. So they start thinking: what can I do that will make the human click? And they start experimenting.

You can immediately see how this works for lindy hop: what can I do that will make my partner smile, and dance really well making for a good dance and fun time for both of us? You can also see that this approach forces you to shift the learners’ focus from you, the teacher, to each partners. Ha. Yes. Your ego will need to be set aside for minute!

But this approach also works for teaching: what sort of things can I try to that will get me a good result? What interesting things can we do to make the students and us happy? How much fun can we actually have in class? And I tell you, friends: it’s addictive. If you can have a little bit of fun once, you suddenly think LET’S HAVE A LOT OF FUN ALL THE TIME.
This encourages a happy, creative pupper, but also happy, creative dancer. Ta da! Lindy hop!

This book extends this approach to teaching other animals besides dogs (it was actually developed with dolphins), and then to teaching children. Apparently this method works particularly well with humans learning physical skills, because it’s so quick. Not only are you giving positive reinforcement, but you’re also physically making a nonverbal sound (clicking the clicker) when you see the behaviour you want. And retention of these skills is permanent, with learning happening twice as fast as with verbal instructions.

The question then becomes: can we use a clicker in a lindy hop class? If not, what non-vocal substitution would work?
As a clear example, when you learn African dance with drummers in class, the drummers signal a change in the exercise or step or rhythm with a very clear rhythmic sound. And if you’re doing a nonverbal warm up like i-go, you-go, the teacher moves on from one rhythm or one shape to another when you get it right. Hmmm. Close, but not quite right.

I have noticed myself that if I use words to signal my approval or to signal ‘Yes! you are on track!’ to students, the language itself interrupts their processing of information. This is no doubt because, as we know, humans can’t/aren’t much good at processing words and physical lead/follow information at the same time.
So let’s look at another example from black culture (which is where of course lindy hop began): the call-and-response “Amen!” of a congregation responding to a preacher. It is a word, but it’s used so often that it has become more of a ‘sound’ than an actual Word. It means ‘yes!’ and ‘I hear you!’ and ‘praise that/you!’
Even within a mainstream white culture, women talking in groups use non-verbal signals of approval to encourage speakers in conversation: the raised eyebrow, the exclamation of breath, a laugh-sound.

What sort of nonlingual verbal cues can we use?

The other key element in clicker training is to do with the trainers: you learn to

respond in new ways. You become used to the idea that behavior needs to be built in small pieces, not in big chunks. You stop expecting too much, too soon, and just look for what you can reinforce – and so in fact you get more results, and better.
If you see a behavior you don’t like, …instead of rushing in to prevent it or stop it, you take it as a training opportunity: what is it this learner needs to know? What’s missing? What can I add that would replace this bad behavior?… you have a better way – reinforcing what you like, instead of attacking what you don’t.
…The experience can lead to less stress and more fun in life in general.

Ah!
This is another approach that we’ve really jumped onto in our teaching. The idea of slowly building up skills in pieces. So instead of starting a class by saying, “Today we will learn the swing out!” and then proceeding to show a move, then break it into pieces, then map it out, then have them do each bit, we start with a related foundational skill. We need a few things for swing outs: a sense of timing (ie the beat), a rhythm (ie a way of moving through space predictably), and a partner. To work with a partner, we need to know how to touch them, how to communicate with them (to know what they want/like and to tell them what we want/like), and to know how they feel the music.

So we begin with the first part: how do we move our bodies? Then we move on to the next part: how do we dance with a partner? Then we get them using all these elements (rhythm, shared beat, partnering skills, movement, etc) to do a simple task – move around the room randomly, experimenting. We ask them, “What helps? What makes this easier? What was the funnest part?”
Then we ask them to do a specific task: to dance a circle. But we literally say, “Now look here.” We show them. They watch. Then we say, “Please give your best approximation of this.” They do it. Boom circles. This has taught them not only a specific move, but it’s also taught them to experiment and try. And they get rewarded for that. But the move itself also teaches them to feel and experiment with rotational momentum… or, in human words, to feel that wonderful spinny roundy feeling.
Then we say, “Please let go half way.” And they basically recreate throwing a ball on a string. A swing out. And you give them TREAT BONANZA. Both in terms of praise, but you also point out: now you have a very fun move. And you set them loose to play with it to music.

All this plus a couple of jazz steps and warms ups and things is our first class. They have learnt a swing out. But they have learnt a million other skills as well as this one move. And the skills are more important.
For us, as teachers, we’ve learnt that a swing out isn’t a ‘thing’ that you give a student. It’s a thing that they discover through guided experimentation.

You want to keep doing positive reinforcement because it gives them the confidence to try, and to make mistakes, and then to see what happens when they do it in this way or that way. Which is, of course, how the swing out was born historically.

Clicker training in brief

– click the behaviour you want, exactly when it happens
– reward/treat after you click
– only work positively: reward what you want, or actions that get closer to what you want; never punish
– work in incremental steps towards a bigger goal

Key elements of clicker training:
– encourage the learner to experiment with all sorts of things until they figure out what behaviour will get a click (and a treat)
– you, the teacher, have to look actively for things to reward/click. This often means the learner does things you don’t expect, which gets them closer to the goal
– you, the teacher, get more flexible and learn more  
– the learner is learning experiment with doing all sorts of things with the goal of changing _your_ (the teacher’s) behaviour (ie to get you to click)

Conclusion
It is epic fun for everyone, because you focus on positive outcomes and reinforcement, rather than correcting and punishing.

Interesting thing:
The clicker is absolutely key because it is an aural, nonverbal cue. It gets twice as fast learning than a verbal cue. Because it side steps the longer word-processing-learning of verbal cues. It’s _faster_ because your brain doesn’t need to untangle the words. Your brain is faster with nonverbal cues.

It also works on doggos.

Challenge: clicking is kind of harsh, socially.

An example of a pretty structured tagteaching (which uses clicker training).

Cognitive load and lindy hop

Leah Jo linked up this interesting article, ‘Cognitive Load Theory
How the cognitive load of a learning task affects a person’s ability to memorize it’
on facebork.

It’s very interesting.

Fran then asked about the point that because processing more than one type of data increases cognitive load, we should avoid it.

I’m not entirely sure I understand the article’s point, as I haven’t read the original research. But that won’t stop me blabbering on.

I’ve just read that bit, and I reckon it means:

  • Different types of data are processed in different ways (eg auditory info – sound – and visual info – stuff we see).
  • Processing more than one type of info at a time increases cognitive load (ie it’s more work.)
  • Therefore (this article suggests) we should only present data in one form at a time.
    In our case, that’d be just scatting a rhythm, or just dancing a rhythm, not dancing and scatting.

I think I can dig this, especially for total beginners who are just learning to dance for the first time. They can be learning to process visual info (bodies in motion), auditory info (clapping), etc etc etc.
So what we’ve found (coincidentally – I’d never heard this theory before), is that we demonstrate one thing at a time. eg we dance the whole move. Then we clap a rhythm. Then we may tap the rhythm with our toes. Then we may step it out with no sound, but shapes. This way the info (ie the rhythm) comes to them as lots of different data types, but one at a time.

Having said all that, as we know, dancers are super good at processing a few different types of data at once: we can be led through a routine and see the shapes, we can listen to the music and hear the melody, we can feel the physical cues and respond with the shapes.

But these are skills we come to after practicing and learning for a while.
I think retention (memory) is under-emphasised in our skill sets. I mean, we learn complex rhythms (which are essentially like learning complex mathematical formula or series of words), retain them, and then repeat them back with or without variation. We also learn whole sequences of steps during our dancing years, and then recreate or revise them in real time.
So one thing we learn when we do a dance class is to see/hear/feel data in one way, then retain that ‘way’ and information while we’re watching and retaining a section, third, fourth set of data. Then we synthesise it all and do it with another human being surrounded by heaps of other human beings also dancing or playing music!

That’s some seriously heavy cognitive load. So one thing we need to do in classes is teach students how to cope with a) the pressure of increased cognitive load, b) how to actually carry increased cognitive load. And lindy hop is awesome because it’s so fun: it rewards increased cognitive load management with good endorphines and happy times. :D

We can also just start with simpler tasks, then increase the complexity. For example, begin with one type of data at a time, then gradually increase the combinations. I think we do this with our beginners. So we may just give them one rhythm in the baby version of i-go, you-go, but as they get more experienced, we increase the number of things they have to do during that task (eg the next step in this game is to have the pair take turns dancing a rhythm at each other, in real time, so they have to invent a rhythm while they’re watching and retaining their partner’s rhythm. The simple solution to this is to take something from your partner’s rhythm and build on it in your rhythm, so you don’t have to make something entirely different. This is what tappers do in jams. It also provides rhythmic coherency or consistency).

I’ve been interested to compare teaching in a quiet environment after teaching in a noisy environment with lots of distractions. The former is very much the marker of middle class, anglo-european teaching philosophy. The idea that we need a quiet ‘room of one’s own’ to do good solid thinking and learning. But if there’s one thing we know about lindy hop, it’s that it was born and thrived in loud environments full of information and noise and other people. One of the very first things you learn in a tap class, for example, is how to handle the cognitive load of a very loud learning environment. A lot of people simply can’t get past that first bit (I personally really struggle with this).

I also noticed that when we started welcome small babies and children (and doggos) in our teaching space, at first I found it impossible to stay focussed. Then I just learnt to ignore it (as I suppose mothers learn to ignore random kid noise, but respond to particular noises or lack of noise :D). So you learn to filter out extraneous data to decrease your cognitive load.

…following that thought on. We know that people learn best in environments where they feel happy and safe. This is probably because when we feel unsafe, we are ‘hyper vigilant’, taking in lots of information about our environment, _and_ keeping our bodies ready to fight or fly. Which is why anxiety or social phobias or trauma are so exhausting.

So while I dig this article, I think that it’d be really useful to compare it with learning in other cultural spaces. I haven’t checked the samples in this piece, but I wonder if they used predominantly white, middle class people between 18 and 25 (ie university students) in laboratory environments as their samples?

Perhaps one of the most important things about thinking of lindy hop as a black dance, is that we remember where and how people learnt to dance: in vernacular spaces. Everyday spaces. Spaces full of noise and stimuli and other people. Which is not only why we see the influence of everyday stuff in lindy hop (eg rhythmic movements borrowed from stuff like sweeping or hammering or ball games or playing hop scotch; familiar personalities like pimps and kids skipping; familiar animals like chickens and cows), but the ability to bear massive cognitive load while completing complex tasks…