Responding to comments about my post ‘Stalking: online and face to face harassment’

I address some issues raised in response to my previous post, Stalking: online and face to face harassment.

Every man will feel like they’re being watched.
I hope this is true. Because they need to realise that they will be held accountable for their actions. I like to think of it more as men will feel as though they are being held to account for their actions. As Teena says, women’s behaviour is constantly observed and assessed.

The men reading this who are harassing won’t listen and consider changing.
I agree with this in part. Some men, for sure. But I’ve seen a few reports lately where it’s not clear whether the men realise what they’re doing is not ok. I’m kind of flabberghasted by how few men realise that a woman saying “Please stop touching me,” or asking their friend to ask him to stop touching them

New dancers will see this and feel threatened and not come back.
…I’m not sure about that one. Most of the women targeted by these men _are_ those newer dancers. So hopefully, it might help them realise that this behaviour isn’t ok, no matter what these men say. Some of the newer dancers I’ve spoken to or have reported stuff to their friends, etc, have said that they didn’t know what was normal or not….
But I think this is a good point.

This harassment happens to men as well as women.
I think this is an important point, but in my post I’m talking specifically about behaviour men’s behaviour towards women. It’s a deliberately gendered discussion. Not all of these men are actually straight or sexually interested in women. And by ‘women’ I’m including girls and anyone who presents femme (and I specifically include trans women _as women_ here). But this topic needs much more attention.

I’m certain men are also harassed and assaulted _by men_ (because these behaviours in the dance scene reflect what’s happening in the broader community), but I’m also certain these harassers use different strategies. I haven’t been dealing with any of these reports, and I haven’t heard any reports from friends overseas. This doesn’t mean it’s not happening, it just means we haven’t found a way to make it possible for these men to report.

Women do harass and assault, but in this post, I’m specifically speaking to _men_. Again, we will see different behaviours by women harassing other women and harassing men.

Stalking: online and face to face harassment

NB this post is part of a series:

Hello!
This year I’ve received, on average, about a report per month of men harassing or assaulting women in the lindy/blues/bal scenes. Which puts us at about 9 for the year so far.
Most of these reports have been about Australians, and most of them have been about men in Sydney. Yes, including who are part of this facebook group. Yes, if you are harassing women, we have seen you, and we have written reports. Even if you are hassling women interstate.

Most of these reports have been about harassment. So I thought I’d write a quick bit of info for the men in this group who’ve been harassing women.

The most common report is about a combination of face to face and online harassment. So, here bros, stop doing this stuff (especially to brand new dancers or young dancers):

  • Asking a woman for her phone number so you can ‘Help her find out about dancing’ the first time you meet her at her first dance. This is creepy. STOP IT.
  • Immediately facebook friending a woman you’ve just met at a dance and then sending her HEAPS of messages, commenting on all her posts, tagging her a lot, asking for her phone number, address, dates. This is creepy. STOP IT.
  • Taking photos of her and then posting them online and tagging her. This is epic creepy. STOP IT.
  • Sending lots (ie more than 2) facebook messages within an hour or two, or a day or two. If she doesn’t reply, or doesn’t send the first message, she’s not interested. STOP IT.
  • Sending lots of texts. If she doesn’t reply, doesn’t send the first message, or responds only with emojis, she’s not interested. STOP IT.
  • Demanding a woman reply to messages and texts, and getting angry or upset/saying how sad you feel if she doesn’t answer your messages IMMEDIATELY.
    This is crap. STOP IT.
  • Driving her home after a dance the first night you meet her, then ‘dropping in’ at her house randomly afterwards. This is hella creepy. STOP IT.
  • Asking her about her relationships (boyfriends, husbands, girlfriends), sex life, or intimate history. This is CREEPY. STOP IT.
  • While dancing: holding her too close and then passing it off as ‘a blues hold’ or an ‘experienced move’; touching her inappropriately (on her breasts, buttocks, groin, upper legs – you know what we’re talking about). This is really gross. And other people in the room see you and will do something about it. SO STOP IT.
  • While dancing: Physically lifting or pulling a woman into a dip, lift, or jump, even if it seems ‘small’. This is not respectful or safe. STOP IT.
  • At dances: touching too much. Unwanted cuddles or hugs, massages or ‘dance lessons’, constant ‘platonic’ touches, hand holding, ‘accidental’ touches. If you haven’t asked for and received permission for this stuff, STOP IT.
  • Continuing to do any of these things if she’s asked you to stop, or said something like “It’s a bit full on to get so many messages.”

NOTE: We SEE YOU. Other people in the room see you doing stuff that isn’t ok. And they will do something about it. So STOP IT.

— CONSEQUENCES —
If you’re doing this stuff, you’re going to get busted. What usually happens:

  • you get warned,
  • you get banned from local events,
  • you get banned from interstate and international events.
  • bans are enforced by security at events, and all event organisers are very willing to call the police if offenders try to turn up anyway.
  • yes, organisers and teachers do talk to each other about this stuff, both within Sydney, and between states and countries.

— PROCESS —

  • The woman/women you’re targeting speaks to their friend who then speaks to someone like me who organises events, to a teacher, or to a dancer who’s been around for years.
  • This person then tells you/the harasser to stop that shit, or they tell a person who can do something about it (eg an event organiser).
  •  You get an in-person warning, or an emailed warning. If it’s from me, you will get an immediate ban from all my events and parties.
  • The organiser/friend will tell other people, including other organisers and DJs in other cities and countries, who will then ‘watch’ you or warn you when you visit their town.

It is common for offenders to threaten the woman/women they’re harassing if they ‘tell someone’ about this.
Most organisers have a process in place to keep the reporting women safe: a friend or agent does the reporting, and the woman stays anonymous.

NB: most offenders harass more than one woman, and we are finding more women are reporting now.
Most offenders are seen by _other people_ who then report them. Yes, other men will report your behaviour.

— SOME DEFINITIONS —

  1.  “Sexual harassment is any unwanted or unwelcome sexual behaviour, which makes a person feel offended, humiliated or intimidated.”
    (ref: https://www.humanrights.gov.au/…/…/guides/sexual-harassment…)
  2. This can be online or face to face.
  3. Face to face harassment can include (and this includes examples of stuff I’ve read in reports this year):
  • Staring or leering eg Staring at a woman while she’s dancing or talking;
  • Deliberately brushing up against you or unwelcome touching eg Squeezing past someone to get to the water dispenser, touching her while she’s talking to her friends, holding her too close and in a sexual way during dances;
  • sexy or sexualised comments or jokes eg asking a woman about her sex life, or how often she has sex, or about her sexual preferences;
  • insults or teasing of a sexual nature eg making jokes like “X likes it a bit risky don’t you?”
  • intrusive questions or statements about your private life eg “Who is your boyfriend? Do you have a boyfriend? Why isn’t he here?”
  •  displaying posters, magazines or screen savers of a sexual nature eg Showing women explicit vintage ‘cheesecake’ pictures and photos on his phone at a dance;

4. Online harassment can include (and this includes examples of stuff I’ve read in reports this year):

  • displaying posters, magazines or screen savers of a sexual nature eg Sending women explicit vintage ‘cheesecake’ pictures and photos of sexualised vintage wear to women via facebook, suggesting she wear this outfit or would ‘look good in this’;
  • sending sexually explicit emails or text messages
  • inappropriate advances on social networking sites eg lots and lots of messages on facebook, or text messages, asking for dates, or asking invasive questions about her private life;
  •  accessing sexually explicit internet sites
  •  requests for sex or repeated unwanted requests to go out on dates eg Asking a woman to come for coffee after dancing, or to go for dinner before dancing.
  • behaviour that may also be considered to be an offence under criminal law, such as physical assault, indecent exposure, sexual assault, stalking or obscene communications. eg groping a woman’s groin, buttocks, or breasts while dancing, forcing kisses and ‘cuddles’ at the end of a dance or at the end of a night of dancing.

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?

Why should DJs play standards/favourites?

At Jazz BANG on the weekend, we set up a little story about jazz history and music. The band would play a song in a particular style, and the dancers would dance to it.

I just said to Andrew something like “Make it feel like this, in the 30s, swinging properly,” and I gestured 4 beats to the bar with even emphasis. And he figured out (because he is a genius) that I meant a standard 32 bar chorus type structure (ie 4×8 to the phrase) in swinging timing.
Then he played a standard – Honeysuckle Rose: https://www.facebook.com/sam.carroll.545/posts/10155437058953483

And because we all know Honeysuckle Rose (because it is a standard/favourite), the dancers could dance to it, even though they’d never heard the band play it before. Then when they were done (after about 4 phrases (or 16×8 or 32 bars), they’d leave the stage, and the band would play a final phrase or chorus to finish up.

And we did that about six times.

It’s only because we have a shared vocabulary that this could work. We had a shared set of jazz standards – the songs that DJs and bands play over and over – and a shared sense of timing and swing. This gave us the language to do an improvised performance.

So this is why DJs should play favourites. Not Lavender Coffin, so much, but Honeysuckle Rose, Jive at Five, Flying Home, Shiny Stockings, Tiger Rag, Sweet Georgia Brown, etc etc etc. It allows us to do improvised art over a shared structure.
Then end,
By Sam.

Thinking about sexual assault and harassment as OH&S

I’ve started to get really interested in the way labour relations and workplace bullying/safety feeds into these issues. After all, the work place offers a model for describing and engaging with the patterns of power at work in these spaces. It also allows us to shift the idea of ‘work’ from strictly pay-for-labour to ‘paid and unpaid labour’, which of course lets women, POC, and other people into the discourse.

I’ve actually chosen to take the OH&S policy approach to responding to and preventing s.h. and assault in my dance work. From documentation and training to reporting and policy. Partly because I run a dance business, but also because OH&S discourse has all sorts of useful language tools: responsibility, legal responsibility, moral responsibility, mutual responsibility. I have been quite excited by this idea of ‘responsibility’, and have turned it around to become the phrase ‘we have each other’s back.’
I found that my repositioning s.h. and assault as a ‘safety issue’ for everyone, just one example that sits next to things like unsecured ladders, a lack of fire escapes, violent punters, and professional bullying, it gives the community a way of engaging with it. We can bypass the sexual stuff (with all its attendant taboos and gendered assumptions) and consider s.h. and assault as just one example of a harassment, bullying and exploitation. It also turns out to make perfect sense, to see s.h. as just one tool in an offender’s tool box. It’s very unusual, I’ve found, to see an offender _only_ s.h. They are likely to exploit in lots of other ways as well.
This approach also makes it clear something that many feminists (except perhaps Garner and Alcorn) realise. Rape and harassment aren’t so much about sex as about power. So if we set aside the ‘sex positive’ subtext (where it’s implied that I’m supposed to think about assault and harassment as sex, and if I’m against anything sexual, I’m a prude), and position s.h. and assault as a failure to ‘look after each other’ – a safety issue – we can rock on.

In my work on s.h. and assault in the dance community, I regularly have to point out the difference between a happy, consensual sexual touch/interaction and uncool stuff. This helps me move away from dichotomies of consensual and non-consensual, and repositions the whole discussion as asking the question, “Do you have your fellow dancer’s back?” I use phrases like:
– we have your back
– we’re looking out for each other

And in our training manual, I require all workers to practice realising when they need a 5 minute break (self care) and realising when their colleague needs a 5 minute break, and how to step in and encourage them to take that break (mutual care).

In our dance classes, we also spend quite a bit of time on learning to observe our partner. I often phrase this as ‘check in with your partner’, and we practice verbal ‘checking in’ (how to give it, how to respond to it), visual ‘checking in’ (what does their facial expression tell you?), and physical ‘checking in’ (what does the way they touch you tell you?, how is their body communicating their feelings?). In a dance setting, it’s quite simple to then make the next link, and say ‘a successful dance is one where both partners are working happily together, communicating well. And we have plenty of practical dance games and specific moves that require lots of ‘checking in’ with your partner, including copying, call and response, building on something a partner introduces.
I think we can make that same practical connection in non-dance spaces. eg being an audience and a speaker at at conference, managing employees and being managed, carrying a table from one room to another. etc. The key is to have practical, real time experience with these models, where people actually experience the benefits of them.

So the important parts seem to be:
– a discursive repositioning of s.a. and s.h. from ‘sex’ to ‘safety’ (and specifically OH&S)
– putting s.h. and s.a. in the same family as ‘if you see someone who feels sick, help them get a cup of water or take a break’ and ‘running a safe event includes preventing s.h., fires, and underpaying workers.’
– providing a language and model for _positive_ and happy, healthy physical contact. ie knowing the difference between sex and social dance, knowing how to talk about and ask for specific things, men in particular learning to read women’s emotions nonverbally

Most importantly, repositioning s.h. and s.a. as one point on a spectrum of exploitation helps us get past social taboos and discomfort associated with sex, and to think about the actions not as sexual, but as exploitative, violent, aggressive, manipulative, etc etc etc.

Should teachers ask to be paid for social dancing?

A well known and relatively high status teacher, Åsa Heedman posted this (public post) on faceplant yesterday:

Today I learnt that some Lindy hop teachers take an extra charge for 1) showing up at the dance evening and 2) charge even more for dancing with the students. Ridiculous! Organizers in the world: don’t support this, it is not gonna help creating a good Lindy scene.

There were a range of responses, from wholehearted approval of the sentiment to profound disagreement.

Me, I got opinions. Of course. Let me premise yet another poorly written post with the point that I feel that sexual harassment is just one point on a continuum of exploitation and misuse of power in the lindy hop world. So if we want to get rid of assault and harassment, we need profound restructuring of institutions and social conventions throughout our scene. Teachers and teachers’ working conditions are just one of these. The premise here, of course, is that teachers are at once powerful and influential people, but also disempowered and exploited in many of their teaching roles.

One of my general comments was this:

I reckon it’s fine for teachers (and other workers) to charge what they like. The market will let them know what it can bear :D
But i also think it’s totally fine to discuss pay rates and who charges what. If we didn’t, then pay inequities (eg male teachers being paid more than female) and exploitation (eg workers not increasing their rates annually, not being fed or housed properly, or overworked) wouldn’t come to light.

One of the most interesting comments on this post was by Alba Mengual:

Asa i completely agree. On the other hand we have had a contract sent to us that specify “that we must show up to the evenings and dance with the students” and i felt i didnt want to sign it (even if i do it allways) because i do it for the LOVE not because of a professional obligation. Also..how about if i only go 1h to the party bc im tired? Will i get not paid because i breached the contract? .and how many students is enough?? To have this in my contract kills my soul and my love for what i do…i want to have joy at night inviting people and sharing..as i do in any party bc i love dancing…and not feel that im working..really really for me its a big difference

This was my response to Alba’s point, and to the issue overall:

I think Alba’s reluctance to sign a contract where she’s obliged to social dance a lot (has to social dance) is justified. She has a right to say no to dance invitations. Everyone does. I think that it’s not only important for her well being, but for her to model self-care like that.

I always clarify with teachers whether they charge for social dancing. I’m ok if they do.
When I write up agreements for events where I have booked teachers, I always specify the terms:
– whether or not teachers are expected to come to parties
– whether or not they’re expected to social dance
– whether or not they’re expected to arrive at the beginning or stay til the end.

As long as both the organisers and the teachers (ie employer and contractor) understand and agree to those terms, it’s fine.

From an industrial relations/workers’ rights point of view, I don’t mind whether teachers require payment for social dancing or not, and if they do require payment, they should set that out very clearly in their terms and conditions document.
Similarly, organisers need to state very clearly in their own terms if they want teachers to arrive dead on time, dance every song only with students, and only leave at the end of the event.

-> These points are very, very important if I’m talking with non-Australian teachers. Especially if they come from a culture where workers’ rights are strongly protected (eg Sweden) or not protected. Or just plain different to Australia. I have legal obligations to not only protect contractors’, volunterers’, and workers’ rights, but to be sure they understand their rights.

Personally, I say this in my agreements with teachers:
– you’re not obliged to attend parties, but it’d be nice if you did;
– you’re not obliged to social dance, or to turn up at the beginning, or to stay all night;
– you’re definitely not obliged to come to late night parties.
-> I tell them to prioritise their health, and if that means they need to take a longer break between classes and parties, that’s good. If they need to leave earlier to get more sleep, that’s also good. If the sound levels are an issue, if they have kids to look after, etc etc – all those things are more important than their coming to a party.

I just make sure I hire the best bands I can find, bands that makes people want to DANCE. Or sit and watch and listen. Or have a drink or two and talk to people!
I also make sure I hire teachers who enjoy social dancing. And then I make sure that their working conditions and experience makes them feel like dancing.
And I also try to say clearly in my event PR “please welcome guests to sydney – invite them to dance, say hello” etc etc. And that means teachers, musicians, visiting dancers, volunteers, etc.

I also have terms in my agreements with teachers about drinking (ie don’t teach drunk; don’t drink while you’re working because OH&S; abide by the code of conduct).
The code of conduct makes it clear that drinking to excess while working or in a position of authority is not ok; and I’m clear about sexual relationships with students at events.

Åsa then replied:

Sam Carroll, it sounds like you are one of those organizers that teachers really appreciate to cone and teach for. Great! That’s the kind of circumstances that bring out the joy, please come but you don’t have to. But as you are also good with that some people charge for attending social dance I just want to ask you how you handle the fact that maybe one teacher is getting paid for being at the social dance and the rest is not. Is that fair? Is then that teacher getting paid while somebody else is not. For the same kind if “work”?

That’s a tricky one, Asa. It’s a bit like asking ‘how do you feel if one teacher is being paid a higher rate than their partner for teaching’, or ‘one dj is being paid more for their djing than another.’
There’s actually lots of work done on negotiating contracts and collective bargaining by unions. When you are part of collective bargaining via a group like a union, you may accept a lower pay rate so that everyone can be paid and have better conditions. Bosses of big businesses often work to dismantle unions and pressure workers to sign individual contracts. This saves bosses money, and gives them greater negotiating power.
So individual teachers have a right to charge different rates, after all, we don’t have unions, nor do many events observe local industrial relations laws.

I feel that it’s better to go legit as an organiser, as it offers you legal protection if things go wrong (so you can call the police if a teacher assaults someone at your event), and you pay tax in return.

Similarly, if teachers ‘unionise’ (ie talk collectively about terms and pay and so on), they can push organisers to provide better pay andconditions or risk a strike/boycot by teachers.

We are seeing the beginnings of this collectivism now after the public talk about teachers assaulting people. Some teachers are saying, “I will not work at events that don’t have a code of conduct”. This is a way of saying, “i won’t work at events that don’t respect health and safety laws.”

Similarly teachers saying “you must pay me to social dance,” is a way of saying “you must respect the fact that social dancing is physically and socially hard work; you must allow me sufficient rest time after classes; etc etc.” You can still love your work and be paid for it. In fact, there’s a theme in the lindy hop world that you shouldn’t charge or be paid for wonderful, creative work you enjoy. Why not? You can love your job and be paid for it.

So when i read that some teachers charge for social dancing, i ask myself, “what experiences have led them to this action?” Perhaps this is a response to poor working conditions:
– too little rest time between long days of classes
– very late nights
– not getting enough sleep or rest (because they don’t have real beds or doors that close)
– terrible parties with awful music
– a scene vibe that encourages dances only to dance with ‘the best’ dancers instead of people they like,
…and so on.

So this pattern in teachers’ pay rates tells us a lot – far more than just ‘they want money.’ There’s nothing wrong with wanting money. But there is something wrong with exploiting workers.

Btw, i have to give specific props to Ramona Staffeld on this issue. She is brilliant to work with: she’s very clear about her terms (and explains why), she tells me when i’ve erred, she’s super professional. She balances self care with an intense, hedonistic love of social dancing, AND she’s a brilliant teacher and dancer. And just plain nice.
Working with her has made me a better organiser. But it’s also led to my doing wonderfully fulfilling creative work with musicians, tappers, and lots of other volunteers and contractors.
I actually don’t do late night parties, but i do always book bands. Musicians who love to socialise with dancers. And Ramona’s generosity of spirit is what leads her to yell approval at a band mid-song, make friends with them, and get up and jam with them. So our evening parties tend to be very rich and intense, whether you’re dancing or talking!

I know i work well with clear structure, but Ramona has also taught me how to let loose and just revel in the jazz as well.

After this, there are a number of posts arguing against having contracts at all.
And I’m not ok with this.
Here is an example from Matthias Müller:

We never signed contracts with our teachers and made great experiences with it. The better you treat the teachers, the less you have to fix by contract and the more you get rewarded by them.
So, thats the big thing for me: Don‘t blame anybody for anything, this is the free market. But choose well and reflect your own setup as an organizer…

I replied:

I disagree vehemently with this, @Matthias. Clear agreements are important. There is a clear correlation between no-contract (no code of conduct) events and underpaying, exploitation, sexual harrassment, bullying, and straight up bullshit.

..i’m also deeply suspicious of any organiser who pushes contractors _not_ to have agreements. All the ones like that i’ve worked with (as dj and head dj) have been fucking dodgy, and later proved to hire and cover up for sexual harrassers and rapists. Dodgy approaches to OH&S issues are a big alarm bell for me.

A contract or agreement is just a way of writing down clearly what you have all agreed on.
Note: the events that hired Steven Mitchell here did not have written agreements with all contractors, and have been the very worst for not paying teachers or djs, overworking staff, etc etc etc.

It is possible to have a contract and still be good friends, guests, hosts, and so on. An agreement just ensures clarity.

At this point, Carla LaRue Heiney commented. I enjoy her contributions. She makes interesting points, and is very thoughtful.

What if we shift our paradigm here….
When I was teaching with Kevin St Laurent and we put in our contract that we needed a “real bed”with a door that closes to the room, people thought we were crazy, but it was because we were trying to take care of ourselves so that we could do the best job possible and also be present. We valued social dancing with the students at the evening parties, but we also valued getting some sleep and eating healthy.
I remember people talking about us and gossiping that we had certain things in our contracts. We had to do this because we honestly were not taken care of and I don’t think it was anyone trying to really “get away” with something, but rather a new scene and people trying to figure it all out still. I don’t think we even knew what we really needed until we had been traveling a bit and realized how poor sleep conditions and lack of time for things manifested in sick instructors, grumpy instructors and more.

So, we talked to some other professionals and we decided to have a contract that just stated what we wanted and needed and nothing too crazy, we hoped. Real bed, private sleeping areas, 3 meals a day, down time, maximum number of hours teaching etc. I am wondering if these newer contracts and requests from both sides are not just another attempt at people trying to take care of themselves and simply need refinement. To me, personally, I think of how nice it would be if some of the dances were earlier or didn’t go quite so late, but that is the mom in me talking.
I have also hired instructors are are known not to social dance as often as others because I still highly valued their instruction and take on the dance and the other things that they added. I tried to balance this choice with hiring instructors who were known to be on the social dance floor throughout the night. And I also made a lot of mistakes along with some good choices, hopefully, too.

The big thing is, let’s try to figure out why and not try to think negatively about the organizers making those requests and the teachers asking for certain things. I am all about choices and freedom and understanding. There is always something to learn.

This point is most important, I think: “The big thing is, let’s try to figure out why and not try to think negatively about the organizers making those requests and the teachers asking for certain things”.

Later, Tonya Morris added this comment:

You know, when Sugar Sullivan taught in Seattle, we couldn’t keep her away from the dance floor at night…one night she ended up in a ridiculously fast jam at the end of the night with Peter Loggins doing first stops and swinging out hard. I kept offering to bring her home and she looked at me like I was crazy. That’s the epitome and spirit of Lindy Hop…just saying.

My response to this:
Different lids for different pots, right?

I’d also like to think that the ‘spirit of lindy hop’ is to take care of each other, to stop and listen to a band and watch a solo, really enjoy the company and conversation of a new friend, to buy a friend a drink, or lend an ear to someone in need.

I’m really uncomfortable with this ‘that is the spirit of lindy hop’ talk. We are all different people, and we do things in different ways, enjoy different things. I don’t want to have this one, singular, and disturbingly evangelical ‘spirit’ of lindy hop.
I want ‘Sam’s spirt’ which involves dancing like a fool, DJing sometimes, being the butt of musicians’ jokes, meeting new friends, designing flyers, reading about jazz history, looking at Australian modernist art, talking about labour relations, making applique banners, swapping photos of historic buildings, listening to CDs with friends, learning about mic stands…. lindy hop brought me all this. I think all these things are important.

And I do think that a scene that thinks the ability to dance non stop for sixty million hours is the highest human quality is a danger. That’s how we got people like Steven Mitchell and Max Pitruzella exploiting this ethos.

This conversation is continuing on faceplant right now.

But I think it’s worth summing up the key issues:

– teachers having terms and conditions
– some teachers specifying their social dancing time/pay
– other teachers and dancers feel this is ‘not in the spirit of lindy hop’
– I feel that this ‘spirit of lindy hop’ rhetoric is an ideological tool ripe for exploitation (to mix a metaphor). The nebulous ‘spirit’ of a community disappears diversity, and discourages solid, clearly written contracts oand terms of agreement.

Continuing:
– some teachers and organisers feel that agreements and contractors kill the ‘spirit of lindy hop’.
– I strongly disagree: clear contracts and agreements are a useful tool for avoiding exploiting workers, and they empower disempowered people.
– some people feel that social dancing is the ‘true’ spirit of lindy hop.
– I feel that it’s just one part of being a lindy hopper and lindy hop culture. I feel that valorising this quality is what led us to the bullshit power dynamic that enables gross exploitation and abuse of less powerful people by more powerful people.

A key point, here is that I want to reframe this as a discussion about labour rights and relations. Unions and collectivism are a useful ideological and practical tool for countering the ‘artistic individualist/ mysterious creative spirit’ rhetoric that is often used to justify exploiting workers, or to avoid transparency in work practices. We have clear proof that this avoidance of legit industrial practice contributes to and enables sexual assault and harassment and exploitation in the lindy hop community. To the point where if I see an organiser or teacher actively arguing against contracts or agreements, I am deeply suspicious. I suspect serious misconduct.

I’m very uncomfortable with some dancers’ resistance to the idea that lindy hop is, and can be a ‘business’. The people most critical of this concept seem to be those who have gained social and cultural power from lindy hop. So we see high profile teachers and some organisers using this argument. I smell bullshit here. I also see no problem in making a business of lindy hop. In fact, formalising arrangements and being financially responsible and sustainable is one way to avoid injustice. We have models to avoid hardcore patriarchal capitalism in lindy hop business, and there are quite a few very good dance businesses around the world which use them.

And look. It’s fucking hypocritical so say that it’s not in the spirit of lindy hop to run a dance business, when you benefit financially, socially, and personally from being employed by those businesses. So fuck off with that bullshit.

I also want to introduce more discussion of cultural and business law and policy into this discussion. Yes, this stuff tends to exclude people. And that’s exactly my point. Learning about these things empowers us. As I said in reply to another person’s comment:

I guess I just don’t think teachers’ social dancing is any more important an issue than all the others that go into running an event. This isn’t going to be a popular opinion, but while who you hire to teach is very important, the teachers are just one element of the weekend. And can be replaced.
In fact, an event often _needs_ to change up its teaching line up to continue to attract attendees. And that’s why teachers need to stay competitive as workers and artists: they need to be good at what they do, improving their skills, and acquiring new skills (including how to conduct themselves professionally).

The much more important things involved in running an event are:
– is the event financially sustainable (ie are you going to be bankrupt by running it)?
– are there enough people to actually run it on the weekend?
– do you have venues hired?
– do you have music hired – DJs or bands?
– are people safe at your event (eg do you have cables run safely, is the building sound, do you have fire escapes – do you have an OH&S policy?)

So I put whether or not teachers social dance into the ‘teachers’ conditions’ folder in my head (and literally in my computer), which is just one of many other folders. Teachers’ working conditions are no more important than volunteers’ working conditions, or musicians’ working conditions, or DJs’ working conditions, or the sound engineers’ working conditions, or my own working conditions.
So I can a) only allow teachers a certain amount of time, and b) I can’t help but see common issues across all the contractors’, workers’, and volunteers’ folders.

Basically, and this is something we’ve been talking about in the lindy hop scene for a few years now, teachers aren’t magical fairy artists. They are creative workers and employees, _as well as_ artists and humans and inspirers and mentors. So they deserve no more or less time and attention than any other person at the event.

This issue may vary between different countries, but here in Australia our government policies are fucking over the arts. This is having material effects on the lindy hop scene:
– our community venues are getting more expensive and harder to find (because they are govt funded and maintained), and private venues are EXPENSIVE, but also restricted by new laws (like the lockout laws, and noise restrictions);
– our musicians are going overseas (because the arts grants and school music programs which pay their bills have been cut so severely);
– agencies like APRA, PPCA and so on (which administer copyright and music licensing) have fewer funds for outreach and support for smaller organisations;
– visas increase in cost each year, and require a lot of skill and knowledge to secure, because our govt is slowly closing its borders to anyone who’s not white and middle class;
…and so on.

All this means, that if you want to run a weekend dance event, you have to run it as a legit business. Because there aren’t enough funding or resources to run events on the cheap.
If you _do_ want to run your business as a non-profit, you really need to get your act together and learn a lot about tax law, business registration and administration law and so on.
Either way, you need to be a bit savvy about cultural and business policies and laws. It’s hard work.

A lot more goes into running a dance weekend than booking a teacher. And if we want to be able to invest the thousands of dollars hiring a teacher requires, we have to get our shit together. We have to run this professionally.

Why is it important to say that lindy hop is a black dance?

The mighty Anaïs asked on fb today:

the statement of the “African-American” quality of Jazz dance and Lindy hop has disappeared from the front page and main description of what was taught and celebrated at the Herräng Dance Camp…Why?

Here is what I think.

Herräng is a white-run and European-based business which gains much of its status from the idea that it is offering an ‘authentic’ jazz/swing dance experience. This idea of authenticity or ‘realness’ is really developed by the focus on and use of the idea of ‘vernacular.’ Vernacular, in this sense, means everyday, ordinary, ‘of the people,’ rather than concert or performance or formal or prepackaged. A significant part of the camp’s appeal lies in the immersion style experience campers have: there is music and dance everywhere, every day, all the time.

This is all well and good. But if white organisers leave out the black part of this ‘vernacular’, we’re left with the implication that this ‘vernacular’ has nothing to do with race. Or class.

This is the bit that makes me very uncomfortable. That’s straight up appropriation: taking something that belongs to someone else and repackaging it for your own gain.
It’s difficult to get around this issue, because we are talking about relatively wealthy, middle class, socially and culturally powerful people using a dance which is really appealing. And fun.

One of the solutions suggested by scholars and activists of colour is to name check the people who developed and own this stuff. I like to compare it to recognising the traditional owners of country (ie Aboriginal Australians). It’s a way of saying, “Hello, I saw what you did. I recognise your power and work. I want to apologise for the past. I give you the chance to forbid me use of this dance and music. This is yours.”
When we say, “this is a black dance” we are saying “I do not own, nor did I create this dance.” We are recognising the traditional custodians of this creative land.

So, when Herräng leaves off the words ‘African American’, they’re essentially obscuring the black roots of this dance. The focus on authenticity in camp is likely to leave punters with the idea that this white version of black dance is the ‘real’ or most ‘authentic’ version of this dance and history.
This is cultural appropriation, but it is also colonisation.

Without name checks, without reference to and discussion of real history, Frankie’s face becomes an appropriated icon as much as the swing out.

This is why it’s important that people like Anaïs and others publicly ask, “Hey, where did the words go?” because she is also saying, “Hey, where is the recognition of the custodians of this traditional knowledge?”

Good peeps are doing good work

I’m back from Herräng 2017, and feeling a bit better about the dancing world’s response to sexual harassment.

Just a reminder that there are a whole heap of organisers, DJs, volunteers, and generally good peeps who are watching and acting on information about men who’ve been reported as sexual offenders. Most of them aren’t famous or big names. Almost all of them are quietly squirrelling away on this issue.
Each time I travel I meet people who have incredibly good, well-thought out processes and plans. The international lindy hop community has leapt onto this issue.
They work hard to protect and maintain the anonymity of the women and men who report offenders. They’ll receive threats (physical, legal, emotional, financial), and will be snowed under with paper work and processes.
Almost all of the men who’ve been reported aren’t famous teachers or even well known dancers. There won’t be blog posts or well-trafficked posts about these men. Very few other men will even have noticed them, and it’s unlikely famous teachers will boycott events if these offenders attend. They’re all ages, all ethnicities, all classes, and all over the world. I have not come across a single incident in the last two years where the report has been unfounded. In most cases women are _under_ reporting or playing down the behaviour of these men. And there have been a lot of reports.
These men are almost comically similar in their behaviour and patterns. It’d be funny if it wasn’t so shitty. So offenders are relatively easy to spot. And people are watching, keeping an eye on each other.
These reports trickle in every week, all over the world, and the that network of organisers, DJs, volunteers, and good peeps will be keeping each other in the loop about their movements. Facebook has never been busier with messages organising meet ups and conversations, keeping people aware of which offenders are moving where and doing what.
You can bet your bottom dollar all the people who are working on these reports will get them out their dances and parties.
So if you do report once, and you don’t get a good result, please do try again. There are plenty of good peeps who have your back.
Men: stop that jerky sexist shit. Those sexist objectifying ‘jokes’ in dance contests, the jokes about ‘boob swipes’ in class, the laughing ‘games’ between higher profile men. All of that sends messages to other men that this behaviour is ok, and to women that they need to just tolerate this. Don’t offer to walk us to our cars. Just stop encouraging other men to treat women like jokes.
And all those people working on this issue don’t need your bullshitly immature behaviour muddying the water. Stop being jerks; get your shit together.

Patterns to watch out for. ie stuff I’ve seen or had reported as part of a report of assault or harassment. So many times it’s getting stupidly obvious:

Overly controlling, rough, or sexualised dancing on the dance floor.
– unwanted/non-consensual dips or movements where women are forced into positions;
– ‘blues dance’ moves/styles/steps in a lindy hop context. When women complain about these movements, these men almost always describe them as ‘blues dance’ moves, hence justifying their behaviour and delegitimising women’s complaints;
– ‘teaching’ or ‘telling’ newer or younger women dancers how or what to do during a dance or between a dance. This usually means these women are isolated from other people on the floor between dances as these men mansplain their rough or controlling behaviour.
– targeting younger or less experienced women (of all types of appearance) and asking them to dance repeatedly – they literally comb the room with their eyes.

Stalking:
– constant facebook messages, comments, emojis, photos, tagging in other people’s photos, requests for friending
– repeated requests for phone numbers relatively early in a friendship (eg the day they meet a woman), in person and via social media. Usually for an ostensibly legit reason – to clarify details of an event, find out where the party is, etc)
– constant text messages, phone calls, and pics via phone at all hours and times. Often with emotionally ‘sincere’ or ‘confessional’ tones – eg stories about their emotional vulnerability, their past relationships, etc. Basically, stories about _them_.
– repeated and intrusive invitations to dance – interrupting women’s conversations with other women (to isolate them) cutting in after one dance with another partner, multiple dances in a row at a single party, followed by invitations to ‘private parties
– invitations to ‘private parties’ or events that are presented as group events, but turn out to be just him. These are usually ‘blues’ parties at someone’s house or a secluded venue. The man is usually the only person with the details, and they may collect the woman in their car.
– dropping the woman home after a dance (so they know where she lives), then ‘dropping in’ repeatedly, or making sure they’re the only person who drops her home after a dance. And then keeping her in the car or coming up to her house with long ‘deep and meaningful’ conversations. Mostly about him.

Targets:
– younger, less experienced women dancers
– women with less confidence.
– often have younger girlfriends and keep the relationship secret ‘for privacy’. When other dancers discover the relationship, they are frequently surprised that such a ‘shy’ or ‘quiet’ woman is with such a socially outgoing or spontaneous man.

These men:
– all nationalities and ethnicities
– not incredibly handsome or attractive, but usually quite ‘ordinary’ or ‘inoffensive’ – ie strangers probably won’t remember them.
– not usually super fashionable, but often reasonably well dressed. This can really vary between scenes and dance styles, though. They tend to ‘fit in’.
– very rarely very high profile teachers or performers
– may describe themselves as ‘teaching’, but only teach privates or smaller events – usually blues or another niche dance (eg fusion, or another blended dance) which doesn’t have a big presence in that city
– may teach at smaller events, but don’t have a high profile, and aren’t terribly well regarded. May eventually become a standard face in a teaching cohort, but never at a highly respected level. May teach interstate or even internationally at very small scale ‘intimate’ events run by less experienced organisers.
– if they don’t have actual teaching gigs, they frequently teach on the dance floor, or offer to ‘work with’ or ‘practice’ with newer women dancers privately, and present themselves as specialists who like to dance ‘their own style’ and have no patience with formal workshops.

These men work the long game. They put in a lot of ‘ground work’ to groom a woman which they eventually sexually assault, or enter a relationship with where they assault their partner repeatedly. Within a relationship they gradually escalate the assaults, as they gain greater control of these women and isolate them. Women may begin by feeling a bit ‘pushed’ to do deep kissing at a party with other people near by, to ‘mess about’ with this man and another partner (often another woman), to have unprotected sex in otherwise consensual situations. But the sexualised coercion escalates and happen in concert with other controlling behaviours – belittling comments in public, isolation, etc. And then they become more clearly assault and often very violent. The women become ‘quieter’ and more withdrawn at social events.

These men:
isolate
(dominating women at dances, taking them out after dances)
doubt (degrade or critique until women question their own minds and decisions)

dominate
(stalking online with constant fb messages, text messages; dancing in ways that showcase his status and ability and allow her zero creative space)

avoid
(more confident women, figures of authority, and legit events)

It’s very unlikely you’ll ever see them offend at a public event. Even if you’re watching closely. If you do call them on a dodgy hand position, they’ll either make excuses or apologise profusely. Then avoid you.

Please note: it’s the relationship between these behaviours that make patterns. So there’s nothing wrong with asking for someone’s phone number, calling them up, having a D&M then getting together and having gloriously consensual sex. All within a weekend.

But the combination of factors is what we should be watching for.

So you can see why it’s important for us to address seemingly ‘small’ issues like non-consensual dips on the social dance floor, right?

Does everyone see that sexual assault isn’t just a random dood attacking a woman on the street, that we can prevent by having a famous dancer walk a woman to a car? Or by carrying bear repellant?

(This post and its comments brought to you by arriving home to yet another assault report, depressing in its familiarity. It’s as though these men have a manual and just follow it. PUA-style.)

In response to a comment from the ever-thoughtful Byron:

I’d like to find a way for that list of yellow and red flags to become something that’s shared readily within the dance scenes at large, maybe edited in a way that highlights what the dance scene SHOULD be like, and how to tell if someone is violating community standards in weird ways.

This is the sticking point at the moment. Most of the people I know are doing this very carefully, and mostly in person. Which of course is a challenge for scenes divided by geography.
But there is the risk of exposing yourself to legal action for defamation if you do share information publicly (even by email).

Yet it is possible: you just need to get good, solid legal advice. Which is what I’m currently doing. Costs a fair bit of money, and the laws are different between Australian states (let alone countries), so you need real, legit legal advice (not internet legal advice). And I certainly won’t advise on it. But lawyers specialising in defamation can simply and easily write up a template letter and advise you on how to send letters or emails to other organisers warning them about these people.

A very very important step: all events and organisers need a policy, a code of conduct (ie a list of rules posted publicly), and a practical process, and then a reporting process. If these are in place before communicating info about known offenders, then organisers can prove that their actions weren’t personal malice, but professional process (hence avoiding some legal action). It’s also important because it helps organisers develop a clear sense of their own values, and become confident in their thoughts and actions. And most offenders rely on a lack of confidence or clarity in people’s thinking.

This is also why it’s essential that we drum it into all dancers that we all have a right to a freedom from sexual harassment and assault, and that we are all the best judges of our own limits and personal space and liberty. Dance classes _must_ prioritise this.

I am becoming more and more certain that a student-centred approach to teaching lindy hop is central to this – we have to encourage students to trust their own decisions and thinking. Not just tell them ‘here is the answer’ and then demand they do things one single way (our way). The next teacher who starts a workshop saying “there are lots of ways of doing things, but this is _our_ way” gets a punch: there are lots of different ways of dancing. And they are all worth thinking about. Similarly, I am now 100% absolutely totally angry with teachers who forbid students ‘giving each other feedback’ or discussing how their bodies and they are feeling with their dance partners. It breeds a culture of silence and self-doubt in women.

Korean safe space policies

One of the things I like most about Seoul is the culture of visual information. ie signs with pictures. It draws on comic book culture, but also reflects, content-wise, Korean communitarian ethos and values. So informational signs like this one from the subway focus on individuals doing the right thing not for their own safety, but for the safety and comfort of others. Many of the signs also emphasise on younger people’s responsibilities to older people. It’s a really great discursive tool for peeps to have at hand.

Another thing I really like is the way the Dance Safe peeps in Seoul have used these practices to do some pretty impressive stuff. Here is one of the posters I saw stuck up outside SwingTime Bar in Seoul, above one of the benches where everyone sits to change their shoes (Seoul dancers change shoes before they enter the studio space). So, perfect placement.

The poster itself is solid gold. It has a light hearted, charming feel very much in keeping with Korean visual educational media texts. It uses animals rather than ‘women’ or ‘men’ symbols, which means it avoids gender binaries and norms. Even though I don’t read Korean, I can still get the message.

Dance Safe are a group of Korean peeps (men and women!) who’re working super hard to raise awareness about personal safety, sexual harassment, and mutual respect in the biggest lindy hop scene in the world. This is no mean feat, as the sheer scale of the scene means they need a zillion posters, pamphlets, and people involved. They’re doing some fund raising (with the support of various local organisers) to get $$ together to cover their printing costs.

My media studies/cultural studies brain is super interested in this project. This is almost exactly the sort of work I did in my Phd: how do dancers use media texts within a community so focussed on the body?

These guys are doing things that fascinate my academic brain, but also my activist brain and event organiser brain. How, _how_ are they pulling off this stuff?! I see some racist bullshit coming out of the English speaking lindy hop world about ‘Asian’, and ‘Russian’, and ‘French’ dancers, accusing them of not understanding ‘safe space’ ideology ‘because of culture’. But in my experience with dancers from these countries and other NES scenes, the activism is as exciting and engaged – if not more so – than the English speaking world.

Part of me thinks we need a conference to get all of the safe space activists in dance together to share this sort of information. How exciting!

Why is there so little space for women in jazz music?

This article asks Why is there so little space for women in jazz music?

All the reasons there are so few women in jazz are as you’d expect:

  • sexual harassment and assault discourage women (duh)
  • male band leaders find new players for their band via informal social networks, which are fostered in post-gig hangs, peer networks, etc
  • there are few role models for younger women
  • male players openly encourage young men rather than young women
  • the culture of jazz gigs themselves discourage women
  • incidental gendered language (eg the ‘guys’ in the band; ‘doesn’t she look lovely’ to women on stage instead of ‘isn’t she a fucking gun’) makes women feel invisible.

If we’ve managed to get completely change the culture of DJing in Australian lindy hop over the past ten years, surely we can change the culture of jazz bands.

How? Same way. Cultural change, structural change, discursive change.
a) Change the everyday culture of jazz gigs (avoid gendered language, use female historic figures in art work),
b) Change work practices and labour conditions (eg penalties for sexual harassment and assault; discourage aggressive, blokey environments; fair pay for fair work; clear agreements and contracts),
c) change uses of language and ideas in discourse (eg watch the way MCs introduce women musos, and the language used in PR).
I think one of the most important elements in changing the culture of live jazz would be to openly address issues of alcoholism and drug abuse in the scene. Because blokey jazzbros who behave in blokey dodgy ways when sober are more likely to be dangerously dodgy when drunk. And those social networking spaces which are essential to professional networking which rely on excessive alcohol abuse will be opened up to people who have to get home to kids and day jobs.

More specifically:
– Band leaders should actively seek out female musicians.
ie not just take the first hand they see waving. They should hunt down good women musicians and put them on their ‘call list’, so they have good names when they’re putting together a band for a gig.

– Women are far more likely to be responsible for domestic labour in their homes and relationships – child care, cleaning, cooking, bill paying, holding down day jobs, etc. So band leaders should allow more flexibility in gig specifics. eg call with more notice so women can book baby sitters; not require long post-gig debriefs and hangs; encourage gigs and social hangs in parent-friendly hours. And they should do things like give women more time to rearrange domestic labour (doing the grocery shopping or laundry, attending children’s school events, etc) and untangle themselves from paid work, etc.

– Male musicians should take responsibility for each other.
They should police each other’s language and behaviour for sexual harassment and assault. eg call their mates out for sexist jokes, for harassment; have a code of conduct for their band and for their gigs (and enforce it); actively _encourage_ respectful treatment of women (both in person and in talk and ideas).

– Male teachers in jazz education should actively encourage girls. They should be mindful of the language they use in class (gendered pronouns?), the examples they use from history, the way they talk about and to girls and boys in class. They should reward collaborative behaviour between students, and discourage aggressive competition.

– Quotas.
Gets women into groups. And once women are there, the simple fact of their presence encourages more women. No, it won’t lower the standard of music. You think all those bros in bands are as good as they think the are, and not just some ordinary musician who’s benefitted from unequal hiring practices? You can guarantee the women you hire are twice as good, and work twice as hard as any bro. And if they’re not, they’ll change their shit up until they are.

– Gig promoters and managers should request bands hire women musicians (not just vocalists), and offer financial bonuses to band leaders who have women in their bands. Straight up.

– Male musicians should ask each other, very loudly “What have you done to change shit today?” They should brag about the fantastic women in their bands. They should GO TO WOMEN’S GIGS and be openly supportive. They should ask women for advice about music and playing.