And as this week continues, we hear more and more brave women talk about being assaulted by Max Pitruzella. Even worse, we hear more and more men making excuses for why they didn’t step in and tell Max to stop that shit and quit being a fuckwit. It is difficult to stay positive in this climate.
One of the hard parts of feminism is that it often feels like we have to be continually angry and hating on things. But it’s not true. Feminism is very good stuff. It can bring you happiness and power.
I see the dance world’s action on sexual harassment as a very lovely part of feminism.
One of the ways I turn this issue around (and why I love teaching beginners so much), is by focussing on how to treat your partner with respect, but in practical ways. Our whole Swing Dance Sydney teaching and learning group has come up with very good, simple and practical ways to integrate respect and consent with old school lindy hop dancing. It’s easy, it’s FUN, and it makes classes rowdy, full of laughter and happiness. I do recommend.
What we did with our beginner (week 1) students this week was explain about how to ask for a dance, to introduce yourself before you touch someone, and how to make sure your partner was touching you in the right way, and to be sure your partner is ok with the way you touch them.
With the intermediates we talked about how to understand your partner’s body language as communicating their feelings: how a clenched hand and tight arm might mean an uncomfortable, worried, or nervous partner. And we talked about how to be nice so your partner feels safe. And we reminded both leads and follows that we don’t ever demand or tell our partner to do a rhythm step. We invite them to join us in that step. And that we should be totally digging their response, whatever it is! Even if they ignore us!
All of this was part of a very general discussion about having relaxed swing outs where we let go early, don’t yank in early, and take care of our own posture and rhythm. Leads don’t try to micro-lead, follows bring their shit. People dig that, because they see straight away that this type of partnership is how the jazz gets in.
Our intermediate students are already right on top of these issues. Most of them volunteer or work on our events, so they know our safety policies, and how to deal with reports, the police, etc etc. They are all very active about spreading the word to other people too.
I’m lucky. They are a very wonderful group of people. I’d hashtag this blessed but I’m too cynical for that.
I love the Petersham Bowling Club. They took a punt on us when we first starting teaching lindy hop there in 2012. They let us put on live band nights whenever we want (well, any Wednesday, and a lot of Sundays). They have air conditioning, and they don’t try to force us to make our dancers drink more. They are a community-run, pokey-free venue that has solar energy, tank water toilets, and are in the black. Their staff are lovely, and we love them. I love going every week and seeing Jon and everyone. I don’t drink, but I love their care and attention for quality beers, and will happily listen to a long story about the latest barrel, and even have a taste.
They are pretty much the perfect venue for our dance classes, and we love them. LOVE them. We ran the first weekly solo jazz class in AUSTRALIA there every week for years. The PBC was where I ran my first Sam-run live jazz gig. It has good acoustics. The musicians love it – we’ve had local bros, and big international acts play for our beginners, and it’s been wonderful every time.
I love the PBC.
[note: this is a discussion that began as a fb post, then outgrew itself as I commented on my own post zillions of times.]
The list of people I’ve blocked on fb over the years correlates with the list of men who’ve been accused of sexual assault and harassment. This behaviour doesn’t happen in isolated incidents.
As R said on fb, “Scary stuff!”
…and yet kind of helpful. We can learn to identify the common traits of offenders.
This is one reason why we should be asking questions about events that don’t pay workers, don’t provide clear, written terms of employment/agreements, and don’t address other issues of equity and justice.
There is also often a correlation between exploiting workers (whether volunteers, paid employees, or contractors) and sexual harassment and assault. Which makes sense when you think of harassment and assault as being about power and control, instead of just being about sex (or even being about sex at all).
I’ve also noted that an insistence on not writing down terms and agreements also correlates with exploitation and harassment. If you don’t write down the terms of the agreement, then the worker (or the less powerful person in the relationship) can’t refer back to it to respond to questionable behaviour. It is much easier to gaslight someone (“It didn’t happen! You’re imagining it! You’re overreacting! It was just a joke!”) if you don’t have a clearly articulated list of what the job does and does not involve.
Incidentally, this is another reason why I actually explain what we define as sexual harassment in our code of conduct. So that people who just ‘have a feeling’ can follow up those ‘feelings’ with reference to a list of specific behaviours. When you have a list like this, and it’s in writing, and available to everyone, it’s much harder for someone to gaslight you, or pass off their behaviour as a ‘misunderstanding’.
I really like a code of conduct to be very specific.
And why I insist that people read it before they accept a job with me. If they read it, then we all know what’s on and what’s not on. And we remove that airy-fairy, amorphous confusion that benefits the people with social power (eg the power to physically intimidate).
A code of conduct is a way of empowering less powerful people. It gives them the tools to articulate their concerns, and to say, “Hey! STOP! I don’t like that!”
If you rely on ‘common sense’ or ‘the rule of law’ to determine how dancers treat each other, you assume that all parties have the same ‘common sense’ or the same understanding of the law and willingness to abide by this.
Which is obviously not the case.
In my case, I don’t think ‘the law’ actually does a good enough job of articulating behaviour I think is wrong or inappropriate. Nor does it deter men from offending.
And because dancers come from different cultures, different backgrounds, and share different values, we don’t have a ‘common’ sense of how we should treat each other. And it’s patently obvious that offenders do think it’s ok to harass and assault people.
So we need a clear outline of these values or sense or laws.
The truly terrifying thing is that I’m beginning to suspect that there’s a network of mutual protection between male offenders in the lindy hop scene.
As J said on fb, “I want so badly for you to be wrong about this…” Me too. But it’s logical. In many cases offenders don’t believe what they’re doing is wrong, so they don’t quash that behaviour in other men, and don’t manage their events to prevent it.
These thoughts were prompted by my going through my events for the rest of the year, and my DJing and traveling for next year. What are my limits as a punter and DJ. What events will I avoid? Do I need a written agreement and code of conduct to attend an event? If there is no explicit code, what sort of broader set of guidelines and strategies will I accept in substitute? If I do refuse to hire known offenders, how do I find out who these offenders are, if women are unwilling to publicise this knowledge, for fear of their own safety? And how do I develop the networks that can help provide this information?
All terribly cheering thoughts in this last, busy part of the dancing year.
This interesting article, Photographers Upset by ‘Ask First’ Stickers at BDSM Folsom Street Fair, is getting around the fb at the moment. It caught my eye for its focus on how photographers feel about being told no, they can’t just do whatever they want with people’s images. I’ve had more than one (male) photographer get the shits with me when I won’t let them have free entry to my dance event, and won’t let them take a zillion photos. They tend to assume that just because they have a big camera and a website, I’ll be desperate to have them take photos of my event, slap them online, so they can make money from them.
Soz, no, mate. That’s not the case.
I’ve been thinking about photography at dance events lately. There are a few photographers around the scene who use the title ‘photographer’ or ‘videographer’ to get free entry to gigs, to take lots of photos, and then wack them up on their sites, without honouring (or making explicit) a take-down policy.
Male photographers (they are always male) have approached volunteers at the door on the night at my events, asking if they can ‘take photos’ for free entry. Hoping, of course, that the volunteers will be flattered into saying yes.
HA. NO WAY, mate. All staff at my events are well versed in their rights, and in the rights of other dancers. Our OH&S policy is all about empowering peeps, and they know exactly what to do if bloke asks a dodgy question at the door.
Me, I hunt down photographers and ask them to take photos if I like their work. I’m absolutely not going to say yes to your last minute request to ‘take official photos’ just to get PR for my event. Because I will certainly have already seen your work, and if I haven’t contacted you, I don’t rate your work or your professional behaviour.
Friends are an exception: I’m happy to talk to newer photographers, or photographers who want to get a feel for working with dancers. But we talk about this well before the event.
For what it’s worth, better etiquette is:
– email organisers ahead of time to inquire about photography at an event
– outline your take-down policy, your approach, your ethos
– be ok if they say ‘no’
– if you want to do lots of photos, you will need either a) a professional role, or b) to pay for a camera permit/licence/ticket to the event
– ask in person (not through a third person like a door person on the night (!!!!)
– if you get a ‘no’, SUCK IT UP, pay the ticket price
– have, publicise, and honour a ‘take-down policy’ for your website.
A take-down policy:
– where you make it easy for subjects in photos to contact you and request you ‘take down’ the photo from your website
– you honour these requests immediately, no matter the reasons
– is important for respecting dancers’ choices about how their bodies are seen and ‘used’
-> are practical in a relatively small scene like the lindy hop world.
– don’t be taking up-skirts or down-neckline photos. Yes, we do see undies in lindy hop, but get your shit together on this one.
– if it’s a very personal moment (eg someone crying, a couple in an intimate embrace, etc), then think twice before publicising this photo.
Part 3 of ‘get ready for Seoul’: DJing for dancers 8.30pm Saturday @ Harlem Returns! with Interstate DJ Justine Kinkade.
Hello there. Seems it’s time for another reminder about working conditions for DJs in Australia. Particularly as event ticket prices are increasing, and DJ pay is not increasing at the same rate.
Here’s a tip: gender parity is often a result of good event management. So you’ll get the sisters if you run a good event and have a good reputation. BECAUSE the reasons women don’t DJ are structural and institutional, not individual.
If you are looking for gender parity in your DJing team, you will need to be sure your DJs are safe, your pay package fair, your working conditions just. If they’re not, women will avoid your event. Because omgicanteven.
And because women DJs face enough shit already. We don’t need the extra grief of DJing at a shitty event. Bro DJs get less hassle at dance events, so they’re more likely to volunteer for substandard events.
Here is my professional opinion, as an experienced event organiser and DJ. All of these things must be agreed upon in writing, well before the event.
Have a clear vision for the musical program. If it’s a lindy hop event, get DJs who play classic swinging jazz. Do it right.
Do not do a ‘call for DJs’ for your event. This is not a casting call for some random chorus line spot. Nor are you some bullshit company running a competition for punters to ‘design your new logo!’ so you don’t have to pay a real designer. You are looking for talent to promote on your event program, so seek out the skill.
If you want good DJs to play your event, email those DJs directly. Woo them. Flatter them. Offer them a very attractive deal. Go above and beyond.
Hunt down new talent. Go to events. Ask DJs questions. Ask your interstate contacts about fresh young talent, for progress reports on newer DJs, for updates on older DJs.
Music should be your priority at a lindy hop event. So go out of your way to get the best DJs.
Then promote the buggery out of them. Brag that you got Reclusive DJ X to your event.
– $30 per hour MINIMUM. This is a low rate.
DJs should be paid in cash on the night, before their first set, or at the end of their first set.
Or they should be paid by direct bank transfer by a specified date.
Or they should be paid in response to invoice by a specific date. They should never have to ask for the money.
– Band break DJs should be paid for the entire duration of the gig they are DJing, not just for the actual minutes they are playing.
– All DJs should receive free entry to the gig they are DJing.
– Use fewer DJs, and give all DJs a full free social pass to the event. Your event will suck if you use a heap of shitty DJs who have no skills, and you don’t give anyone a free pass. If you use fewer DJs and give them free passes, your event will be better.
– There should be a DJ coordinator, head DJ, or DJ manager, and they should be the DJs’ point of contact for the event. They should be available at all times during the event, and should reply promptly to emails before and after the event. They should provide the DJ with their agreement, terms, etc. All discussion with event management, musicians, sound crew, MCs, performers, and so on, should be mediated by this DJ manager.
– DJs should be given an agreement or contract before the weekend, which they should read and sign and return before the event. They should have adequate time to read and negotiate this contract.
– All DJs should be treated with respect by DJ managers: no shouting, no rudeness, no harassment, no bullying. All DJs should know who to speak to if they have difficulty with the DJ manager. And they should know this before the event.
– DJ managers should ensure all DJs have a safe way to get home after an event.
– DJs should – as with all staff, contractors, and volunteers – know who to speak to if they feel unsafe, are harassed, injured, or in danger or injured. That person should be introduced to them, and the process explained, all in a quiet, calm place and manner.
– The sound set up should be safe, electronically and for hearing.
– The DJ does NOT set up the sound gear at a big event. EVER. Nor do they pack it down.
– DJs should not have to plug or unplug their own RCA cables to connect their laptop to the sound desk. There should be at least 2 cables ready at the desk at all times. Safety first, yo.
– The DJ must be behind the speakers, not in front of them, so their hearing isn’t damaged.
– There must be adequate heating or cooling. Both can serious issues at dance events. I’ve played gigs where it’s been so cold I couldn’t feel my fingers and couldn’t use the trackpad. I’ve played other gigs so hot and humid the trackpad didn’t work because I was so sweaty.
– There must be sufficient room behind the DJ booth/desk to sit and stand comfortably, and access to this area must be restricted to staff, or to the DJ’s friends with permission (so punters can’t just wander up and touch the DJ’s gear or hassle them).
– DJs must have a chair or stool to sit at the right height to DJ, but room to stand as well if necessary.
A decent work space includes:
– adequate power outlets (which are safe) already set up
– a clear, flat, clean, safe area to setup a laptop, sound card, and various gear
– lighting (so they can see the dancers and gear properly)
– the DJs can see the dance floor well, from a raised platform, where dancers won’t bump their table (and damage gear)
– a copy of the event’s DJ schedule should be available in the booth
– DJs should know ahead of time (ie before the weekend, or at least before the shift) about all performances, snowballs, speeches, special stuff during their set. They should also be provided with a copy of performance music before the event. This music must be tested and of performance quality.
Let’s look at what’s happening around the Australian scene at the moment.
At this point, $30 per hour + free entry to an event is standard. This includes band break DJing (which is often paid by the hour). This is not a good deal. It is in no way commensurate with the average rates for large events in Europe or America.
– many events do not provide RCA cables already set up for DJs
– booths are frequently in front of speakers, where DJs can acquire industrial deafness
– many events do not have anything more than a basic code of conduct; they do not have clear emergency or safety procedures
– djs are not made aware of the event’s code of conduct, safety measures, or what to do in an emergency, or if they are harassed, feel unsafe, are injured, or endangered
– the dj gear is set up by inexperienced amateurs, who do not take proper sound and general safety precautions
– djs are often left to tidy up or close an event
– djs are doing more than just playing music during competitions
– djs are not given free event passes. They are offered unfair ‘deals’ on passes, or asked to choose between a combination of cash pay, free entry to some parties, or passes.
…and so on.
Breaking down the average existing pay rate:
If an event has only DJed music for 4 days, over 3 evening and 2 late night parties (ie 72 hours), with DJs paid at $30 per hour, that’s $2160 all up for DJ pay. Plus entry to that for a DJ team of about 15 DJs.
If an event has (as is more usual) one DJed night (4 hours), 5 band events (3 evening and 2 late nights), then they will need 10 DJ shifts (2 x 2 hours on Thurs; 1 x 4 hours, 2 x 2 hours on Fri, 1 x 4 hours, 2 x 2 hours on Sat, 2 x 2 hours on Sun). That’s 24 hours (give or take some) @ $30 = $720.
Get 4 DJs maximum to cover those shifts, and that’s 4 full social passes @ $120 = $480.
One band is paid $1500 on average for a 4 hour gig in Sydney. Each musician is paid about $250 each, plus a cut for the band leader.
The bands for this weekend would cost $7500 (usually a bit less if they work some good deals). Sound gear and engineer will cost them $4000 at top rate (usually less if they work a deal).
The basics of a weekend music budget, then, will cost $11850. 6 riders for bands and DJs @ $100 each (I just lump band break DJs in with bands for riders), and that’s $600 (which is more than you’d probably spend). That’s $12805, at the outside. The DJs are $1200 of that. Less than one band.
The value of a good DJ:
All those DJs are also dancers, often very good, experienced dancers, dancers who come with their friends to events (so for each DJ, add at least one punter you know will definitely come, and a handful of others who’ll come because your DJ talked about your event to them in person. Solid gold word of mouth PR). A good DJ is a draw in their own right. People (meaning more experienced dancers who care about music) will come to a gig if they know DJ X is playing. If DJ X also has a reputation for being associated with good music and good events, then that’s even more good PR for your event. Yes, there are plenty of dancers who don’t care about the DJs or bands on the program. But they are only part of the available market. You do want those more experienced dancers, because they have stamina, they give good photo, they bring energy to a party, and they’re another little part of the market to tap into with your event.
As you can see, underpaying and exploiting DJs is one way for dodgy events to cut their costs. Or is it?
Poor working conditions and pay make DJs shitty, and make good DJs avoid your event. Shitty DJs make for shitty dancing. That means you don’t get any good videos of good dancing to help you promote your event. Particularly if you have a shitty DJ DJing your competitions or other high-traffic events.
Shitty DJs give your event a shitty reputation. Neither of which is good business sense.
Another, very important aspect of hiring good DJs, is that you’re hiring an experienced professional. A person you can just trust to get on and do the job. You know that having a full floor is just a baseline. You know they’ll be able to run your dancers ragged, keeping the floor full, and your dancers full of strong feels and crazy dance CRAZY. Which they document like ranting nuts on facebook, document in photos, document in video. And talk about. Everywhere. Word. Of. Mouth. Gold.
Incidentally (and more importantly), a ‘good DJ’ is nice to work with. So your job as an organiser is easier. PHEW.
Let’s talk about band breaks.
When a DJ is doing band breaks, they are effectively working for the entire night, not just those minute they are actually playing music. A band break DJ is also:
– meeting and working with the sound engineer
– meeting and working with the band leader, watching them to be sure they are ready to go when the band finishes or starts
– meeting and working with the DJ coordinator, event manager, various performers, etc
– working with the band’s style so they don’t play the exact same type of music, or clash too much with that style
– they also need to avoid playing the same songs on the band’s set list. Which means coaxing a set list out of the band before the gig (good luck with that) or noting every song the band plays during their set (enjoy focussing on your dancing, DJ)
A reasonable (yet still not equitable or internationally standard) pay rate is:
– free entry for all parties (a measly $120 on average)
– pay per hour
– drinks and snacks
To make this cost effective for organisers, we should hire fewer, better DJs.
What is a top rate DJ deal for a big European (eg Herrang or Snowball) or American event which has about 1000 dancers in house during the event?
– free airport transfers (eg taxi to and from the airport to the venue)
– free flights for A rank DJs
– free food for the entire event
– pay per hour (this varies)
– full free pass for all parties and workshops for the duration of employment
– accommodation (hotel room, often shared)
– accommodation for partner (eg husband or wife)
– child care assistance
– free wifi
– office space/chill space (essential for working DJs at big events)
Additionally, their working space (the DJ booth) is set up by a professional sound engineer, who is also available at all times for repairs or assistance.
The ‘work space stuff’ is just basic amenities. Remember that DJs are working from anywhere between 1 and 4 hours at a stretch without a break.
They payment package obviously applies to the top rank events, and is less for smaller events.
A 300 person event is a moderately small event.
DJs also receive a contract or agreement, which sets out the terms of the gig (including all the above). This is sent to the DJ well before the event, signed by both parties, and agreed on. DJs are able to negotiate terms if necessary.
Finally, a word about good DJ managers:
If you want a good team of DJs who do good work, you’ll need someone to keep an eye on them. Someone to protect their interests, get the best possible work out them, keep them happy, and serve you up a good load of great music and happy dancers. So organisers need to look after their DJ managers. They need to hire good people-person type managers. They need to hire experienced dancers or DJs to be their DJ managers: head DJs is a term that means something here.
So DJ managers should have their own agreements and pay packages. They should also be happy, safe, and healthy, enjoying their job and doing good work.
…so, in sum, equity makes good business sense, and is economically as well as socially sustainable.
I was having a conversation with some friends the other day about why I’m so fucking fierce about stamping out sexual harassment and assault. Or rather, why I continue kicking up shit and being a pain in the arse. Even when it’s scary to confront famous, powerful organisers and dancers. Even when the consequences for me mean losing DJing gigs or teaching gigs or other real world stuff.
I think about those stories my women friends tell about being assaulted by Steven Mitchell over many years, as girls and then as adults. Other dancers who knew Steven Mitchell often say, “I didn’t know what he was doing,” or “I was never in a position to say something,” or “I didn’t have a chance to do anything.” The girls telling their stories say, “You had so many chances. There were so many times when you could have done something, I was begging you, silently, to step in and help me. And you didn’t.”
And as I was talking to my friends the other day, I said:
I think about that. That those girls say there were times we could have helped them. But we didn’t. I think about how we might have been standing about after a dance, talking and laughing, and one of us offered that girl a ride home. But Mitchell interjected, “Oh, it’s on my way – I’ll take her with me.” And we just accepted that, because she didn’t object. It seemed like a sensible solution, we might even have thought that he was a nice guy for keeping an eye on younger dancers.
I think about that girl. Not saying anything. Not objecting. But silently wishing, praying one of us would reply, “Nah, Steven, it’s cool – us girls are gonna hang.” It would have been that easy. But we didn’t. I can imagine her panic and dread as the conversation continued, and she knew she was going to have to get into a car with him. Go home with him. And she wanted, desperately to say something. But she was too afraid. And she can’t understand why no one does anything. Never does anything, each time there’s a chance.
I think about her terror. I think about how often those ‘chances to do something’ happened, but we didn’t do anything.
When I was telling my friends this imaginary story (this is an imaginary story), I teared up, and I got so full of rage and sadness and fury. I could have done something. We could all have done something. There were so many times we could have done something. We can do something. Now.
This is why I don’t just sit back and let other people deal with these issues. This is why I make myself be brave enough to challenge teachers who do dodgy things. This is why I demand events address safety and talk about sexual assault. Because of that girl. Those girls, who are trapped and desperate for us to take all these opportunities to do something to help. It might make me nervous to speak up. It might make me scared. But it does not in any way compare to the way those girls are feeling. My fear is nothing like theirs.
That’s why I keep being a goddamm pain in the fucking arse. Because there are plenty of chances to speak up, to do something, and if you don’t, you are just letting those girls get in that car to be raped and hurt and terrified. When you could have just said one small thing.
We recently did something cool in Sydney.
The Sydney Swing Festival was cancelled at the last minute, for a range of reasons, and the local Sydney dancers were concerned visitors would be left with nothing to do. One woman in particular, Christine, started a facebook group. Her first post on the 2nd of June was this simple:
This group is to share local Sydney events and contacts with people who are travelling to Sydney for the (now cancelled) Sydney Swing Festival.
Please add anyone you think would like to be in the loop.
Locals: please share your knowledge and extend your hospitality for any social activities underway.
Visitors: let us know what you need (link).
At about the same time, there were a few conversations getting about on facebook messenger, with people beginning to Make Plans.
And then everyone jumped in and got involved. It was GREAT.
By that evening we had a rough program for the whole weekend. One week before the event.
By the Monday before the event, we had a solid weekend of dancing sorted out. Including three live bands, DJs, picnics, late night parties. All organised by a bunch of different Sydney people. Including:
- Swing Pit with DJs on Friday ($8)
- Harlem up late with a band Friday late ($25)
- Sharon’s Party with a live band on Saturday evening ($25)
- SBOSS with DJs on Sunday ($8)
- The regular Unity Hall Jazz Band gig on Sunday with live music (free!)
- Vivid viewing after that on Sunday (free)
- DJed party on Sunday evening with a blues room, lindy room, and supper ($20)
- picnic and pub night (free)
It was one of the best exchanges I’ve been to. Certainly the best one I’ve been to in Sydney in years. Each event was run by a different group of people, all of whom put their hands up at the last minute to make the weekend fun. It was put together in a week, so there was no long term stressing. All the promotion was word of mouth or via facebook. I did run up a dodgy paper version of the program that people could print out themselves, but it wasn’t really necessary. All sorts of people volunteered lifts between venues, hosting for guests, generally took care of each other. There were heaps of volunteers running the door, bumping in and bumping out at events. And all the organisers worked together to be sure everyone had DJing covered, etc etc.
I booked one of them – Andrew Dickeson’s Blue Rhythm Band – who I’ve worked with before heaps of times, and who are just about to become THE band of the year, booked for all (and I do mean ALL) of the major Australian lindy hop events this year. They were also playing Saturday night, and I was a bit worried that they’d be a bit samey too nights in a row. But NO. On the Friday we had George Washingmachine play violin with us, and OMG. You know those 50s Ellington live recordings with Ray Nance playing violin? That’s what it was like. They played C Jam Blues. Oh. My. God. This band. I just can’t gush about them enough. Fuck. Holy fuck. They are 100% four on the floor solid swinging jazz. Andrew is a big Basie fan, and he knows his shit. He works with VERY good musicians, and they play riff arrangements, not from scores. Anyhoo, they also played Saturday night, but with a trombonist, not violin. Andrew on drums, and then a bass and Peter Locke on piano. Shit was HOT.
The Sunday band was the Unity Hall Jazz Band, also full of amazingly good musicians. But more a hot jazz band than a solid swinging band. Which was a great contrast.
I wasn’t impressed by any of the DJing, which is a shame, but then, I’m a hardarse. I thought Sharon’s band break DJing on Saturday was grand, and well chosen to complement the band. But otherwise…
Ah well. The bands were so good, and I danced so much to them, it was all ok.
If you went to everything, it would have cost you $86. Which is ridiculous. Because everything was pulled together in one week. And as a serious music nerd, the music was fantastic: three REALLY good bands. Two of whom were left out of pocket by the cancelled event, but were ‘rescued’ by the last minute gigs. Why was it so cheap? Because there weren’t any of the extra expenses that make a weekend more exy: no printing or publicity design work; only one event for each organiser to pay for; very few volunteers on the roster; no flights or accommodation expenses; no sound engineers (we cobbled it together on the night); no paypal fees to cover; etcetera and so on and so on.
As I said, it was the best exchange I’ve been to in ages. Great live music. Good will and good company. I only had to organise one party, then I could just party on, Wayne. There were 6 different groups involved in running events during the weekend (3 of the 4 other Sydney lindy hop groups were involved in other ways – promotion, attending, etc), and the good will and general enthusiasm was most excellent.
It was like going to an old school lindy exchange.
One of the interesting challenges that I saw come up, though, was how to coordinate a code of conduct/oh&s process that covered the whole weekend? One of the groups have an existing code of conduct and safety strategy. We have our Code of conduct, and one or two of the others also have various policies. Some don’t. The issue then becomes, how to create continuity in safety and OH&S policies at an event like this one?
My first instinct would be to have a team of ‘safety officers’ who are present at each event, and are clearly trained in how to respond to OH&S issues (eg injuries, assaults, etc), and are clearly visible at each event. You’d also have to be sure each of them was vetted and cleared. I actually think that this approach would have been quite successful over the weekend.
Since we instituted our policies, I’ve found that while I haven’t had any reports of sexual harassment, I have found that people are more likely to look out for each other, and actually come to the door peeps or me asking for things like a quiet place to sit down; a snack to deal with low blood pressure; ice packs for injuries; bandaids or pain killers for minor problems. This has been a very nice result: people don’t suffer in silence, and other people watch out for each other.
So I’m wondering if we could make up a ‘safety pack’, delegate and train a team, and then set it in motion, with the go-ahead of the organisers. You could even offer to fill this role at other events for organisers at other events.
- a first aid kit with things like ice packs, band aids, panadols, bandages, etc (and know how to use it);
- a snack kit with things like sweets, biscuits, bottles of water, etc (and know how to use it);
- a reporting system (eg a report form, and record keeping system);
- a delegated ‘quiet space’ to make reports, or for people to have a quiet sit down;
- a clear set of guidelines for the team, and for the organisers, so that everyone knows what the terms and responsibilities are;
- a simpler, paper version of the guidelines so all the punters knew the deal;
- a website or facebook page with all this info, so that organisers could advertise it before the weekend, and punters knew where to go and what to do if they got in trouble;
- training for all the team;
- vetted team members.
I’m finding that the volunteers on my teams are actually so experienced now, they know what to do. And punters are getting just as good: if they see someone, or dance with someone who’s feeling rough, they know what to do. And they do it.
I think a scheme like this would also give general people a way to step up and take care of each other.
Anyhoo, the weekend was GREAT, and it really invigorated the Sydney dancers. You could see people saying, “YES!” and getting involved. And it was also a really GREAT event – lots of good dancing, good company, and good fun. It really showed just how diverse, and how amicable the Sydney lindy hop scene is.
[note]This was a post on the facey, which I’ve started writing up here.[/]
Remind me to write up a report on how our new reporting and preventing sexual harassment and accidents process went at LBW.
Short version: it worked.
Mid-length version: we put together a door handbook, reporting forms, and a process for reporting incidents. We ‘trained’ managers in the process, and we let volunteers know about the process via the handbook, email, and in person talk.
Long version: how online discussions, reports of assaults made by very brave women and girls, and getting angry and upset led to the development of policies, of material codes and rules, and then practical processes and documents. A success story.
Things we needed:
- An online version of our code of conduct, easily accessible from one click on event website, and well publicised on facebook.
- A brief paper version of the code printed on the back of the event program which was packed into registrants’ envelopes.
- A full version of the code printed and put into the event handbook.
- Paper incident report forms in the event handbook.
- A process for making reports (including a quiet place to do the, who should do them, and how, etc etc).
Most importantly, we needed good will from all the volunteers, staff, and managers. And that was the easy bit. Everyone was really keen to make this work, and really just saw this as an extension of our Swing Dance Sydney rules:
- Look after your partner
- Look after the music
- Look after yourself
What a lovely group of people.
This is by no means a finished project, but it’s actually turned out to be a very interesting and productive one.
Packing the code of conduct (on the back of the program) into registrants’ envelopes.
A first version of our event handbook, which contains lots of things, including: event program in plain text, door count sheets, cash count sheets, incident report forms, code of conduct, guide to identifying wrist bands, various paper signs, etc etc. All in one central folder.
There were two copies of this handbook, and each has a plastic slip on the front for adding notes or action items when handing over shifts or responsibilities.
A first draft of our incident report form, which drew on examples provided by lots of useful people who work in places that have decent reporting processes for accidents, etc.
These forms are in our event handbook.
The longer version of our code of conduct, in paper form. It explains what counts as sexual harassment, and s.h. is just part of the ’emergency’ and ‘incident’ part of the handbook, after what to do if there’s a fire.
The paper version of our code of conduct on the back of an event program. Which is available at the door at events, in registrants’ rego packs, and as a promotional item distributed to venues in the week or two before the event.
Having it so readily available is an attempt to normalise this sort of talk and material. So ordinary that everyone has read it.
[Note] That was the original post. Then there were some comments. Here are some of them.[/]
Tal Engel: Can you elaborate on the phrase “it worked”? Are there any incidents you’re comfortable discussing where the system came into play?
We had no reports (thankfully, but also – maybe we had incidents but no reports?), so I can’t talk about that issue.
But I think ‘it worked’ relates mostly to the ‘consciousness raising’ part of the exercise, to quote old school activism. So by having lots of people involved in the process, from stuffing envelopes to handling a handbook, we gave people access to the code, and to the process. We demystified our process, but we also demystified sexual assault and harassment a bit. I hope.
I also wanted to make it clear that these things are _all_ of our responsibilities, and something that happens in our public places between friends, not in dark car parks by strangers.
It also ‘worked’ as a practical skills development process for me, and for the rest of the group. So actually putting together a handbook took some practice and real thinking – far more than I had expected. And it took several drafts to create something more accessible. Still needs work I reckon.
It also worked as a way of engaging all the staff in thinking about events as community spaces, where problems (whether they’re someone needing a bandaid, or someone needing a quiet place to sit and talk) are solveable.
…I think one of the most effective parts of this whole process was the online discussion of this process on our facebook event page.
I just matter of factly laid out the deal. But this also dovetailed with the way I engage with people on the event fb page: prompt replies to queries, but professional in tone. I also use my real name and face on event pages (rather than the event’s home page ID), so that our events have a ‘face’ and a name behind them. This makes it easier for people to see who they’re ‘talking to’, but also says ‘hey, I respond to your concerns’, which hopefully sets up an example of how I might respond to reports of assaults.
More importantly, this public talk in a public forum also addresses the lurkers, who are the vast majority of readers. They might never post on the page, but they read how I engage, and see what I do.
I’d really, really hope that this also normalises modes of discourse for this topic. ie just as having other women leads in your scene encourage other women to lead, having someone addressing these issues clearly, personally, and professionally might also encourage similiar responses.
What I really hope is that people will do as I do when I go to an event: see the best stuff other people do and then copy shamelessly in an attempt to be as good at it as they are. So hopefully people will see what I did, steal the good bits, and improve on it all, fixing the bits I’m not good at.
Related to this ‘putting a face and name to an event’ stuff, is having badges for volunteers. It’s something for volunteers and staff to know when they’re on duty (you take it off when you’re off duty), but it’s also a clear way of identifying staff (and you need to tell punters about this). If I had more money, I’d have done Tshirts :D
I’d add that this wasn’t a particularly difficult process. It just took a while. And we had to approach it as an iterative process: where you don’t just do it and then, boom, it’s finished. You see each version as one step in an ongoing process.
I think that it was very important to be very angry and determined to do this. If I hadn’t be so angry, and if I hadn’t wanted so much to look out for my peeps, I probably would have given up ages ago.
I think this process makes it very clear that a simple code of conduct squirrelled away on a website is pretty much useless on it’s own.
Some of the most important parts of this process were:
- Having a lateral power structure (rather than a top-down power pyramid dynamic thingy), where everyone had a role to play, and power to do things and make decisions – from volunteers and people making reports to musicians and managers. To me, this is THE most important part of this process. If it’s just a boss ‘saving’ women, then we’re not changing anything; we’re reinforcing the status quo.
- Getting people involved by asking for help, by posting about my sticking points on fb (eg posting that I needed a reporting form but had no clue where to start gave me a bunch of useful comments and messages, plus actual examples of other people’s forms).
- Letting go and letting other people do stuff.
[note]After some other discussion, I got to this point…[/]
What I’d really like to do is get together with other organisers and peeps at some weekend event to talk through what we do and what they do. There’s already a very healthy network of people sharing ideas, but I want MORE!
[note]This is the bit I want to emphasise. I’ve learnt most from seeing what other people are doing. And I want MORE of it.[/]
As an example, I learnt a lot from talking to Ben Beccari about handbooks and practical emergency response stuff. He’s doing a Phd in disaster response, so he’s kind of mad skilled. I also talked to people like Liam Hogan about how the SES does stuff here. And I had examples from friends of reporting strategies (I’d better not name them in case it’s meant to be confidential :D ). I also followed up ideas with my femmo stroppo mates (like Kerryn, Zoe, Kate, Penni, Tammi, Liah, Naomi, Daniel, and MANY more) for their suggestions and ideas, which came from their big brains, and also their experience as activists at community and local levels.
…I keep adding names, but there are too many. So many people had excellent ideas.
So, that’s what I have from that post.
I’ve written about what we’ve been doing in a few other posts already:
- Let’s get material about sexual harassment (25 April 2015): a discussion about my 3-part approach to responding to and preventing sexual harassment (1. Develop a code of conduct, 2. Work towards cultural change, 3. Developing strategies for practical change (including actually confronting men about their behaviour))*
- Australian dance events and their codes of conduct: let’s be more awesome (15 Dec 2015): a rough overview of which Australian dance events have/don’t have codes of conduct
- Beginner dancers are perfect** (21st May 2015): where I talk about teaching practice as part of working towards cultural change
- Polite ladies don’t swear (8 Dec 2015): a brief piece about how speaking up about these issues is an act of bravery for women.***
- Using Femmo Stroppo Tactics. Or, bitches get shit done. Or, disagreeable feminists will discomfort you (22 Apr 2016): another piece about speaking up and its consequences.
- Yes, all men. And all women. All of us. (21 Apr 2016): a short piece about structural change.
*1. I think a code of conduct is important because it sets out your goals and ideals in plain language. I go into why codes are important in this post.
2. ‘Cultural change‘ is about changing the way we do things. The way we think about teaching and teach, the way we think about learning and learn, the way we think about social dancing and social dance, the way we think about partners and treat our partners, the way we think about ourselves and treat ourselves. All of this stuff changes what we do and think about what we do. I like to mix feminism with historical example: I have clear political goals, but I want to use and stay true to the creative and practical examples of the swing and jazz era.
3. Developing strategies for practical change means confronting men about their behaviour, training staff, and banning offenders. But in a thoughtful, organised way, not a random, ad-hoc way. Our practical actions (what we actually do) must be guided by solid thinking and a sense of consequence. We need to be safe, we need to confident, we need to be organised.
**In this one I wrote this paragraph, which really sums up my whole purpose:
There have been some scary moments, but, for the most part, it’s actually been a very exciting and positive experience. Sitting down and thinking about what we want to do, and talking about the good things we want to see has been very exciting. It makes us feel good. This is what activism is about: you start by getting angry. You do some learning, and then you start doing things which make you powerful.
***One of the most important parts of dealing with sexual harassment, is women having the confidence to speak up. To speak in public. Male perpetrators rely on women and girls being too frightened to speak up and challenge them. To tell people about the things that men are doing. They threaten women and girls into staying silent, and they rely on broader social forces which discourage women to keep them quiet.
When those women first wrote about Mitchell’s violent criminal acts on this blog, one of the responses was that they should have made private complaints, spoken to the police, been more polite. More careful.
Their speaking up was very important. Very, very important. And this is one of the reasons I’m not entirely for male feminists. I think that the very act of speaking up is a political act, and one of the key parts of being a feminist. We are told sit down and shut up. And when we stand up and say no, we are doing a radical thing.
And this is where I’ll end this post.
We have to speak up. A private email or private discussion between a woman and her attacker or an organiser is an extension of the conditions that made that assault possible in the first place. We are supposed to push issues of sex and interpersonal violence between men and women into the private sphere. It’s not supposed to be appropriate for public discussion.
In simpler terms, I know that if I send a private email to a man who is a sexual offender or one of their offenders, he’s much more likely to try to bully me, frighten me, attack me. I do my talk in public now, because it’s safer. I want witnesses. Just as I don’t ban or warn offenders in person unless I’m in a public place with plenty of witnesses.
And I know this, because it happens. So I say: speak up. Be sure you have buddies to get your back, but speak up. And by buddies, I’m saying ‘sisterhood is powerful’. This is what that expression means: when we work together, women and girls are far more powerful than most men would like to think. We can protect each other and ourselves.
And after all, that’s what all this is about: women protecting themselves and each other.