(Dee Daniels Locke, teacher at HJDF, pic from the event’s fb PR, photo by Ben Hejkel).
While bunches of white people were organising dance events to celebrate the white revival of lindy hop day with a bunch of white teachers this year, Tena Marales-Armstrong was bringing the shit in Houston.
The Houston Jazz Dance Festival is run by Tena, a black woman living in America, it features poc in all the promo material, and it stars a team of black teachers (and Mike Pedroza, so I guess we’re talking poc :D ), TWO BLACK WOMEN MCS, a black DJ, and a black band. It’s a part of Tena’s bigger event, the International Swing Dance Championships, a project which celebrates the living dances of black communities in America today.
This is vernacular dance.
Let’s stop and talk about Tena Morales-Armstrong. She’s not only a great dancer and all round impressive woman, she’s also the co-manager of some of the biggest events in the lindy hopping world. ILHC. Swing and Soul. Lindyfest. International Swing Dance Championships. The modern dance world likes to talk a lot about competition winning dancers, young and flexible performers, popular teachers. But the people who help build these careers are the business people and organisers behind the huge events that employ them. Tena is one of these people, and she is important.
Let me spell it out.
A black woman runs some of the biggest name lindy hop events in the world, and she is running an event with an all-black list of artists, as part of a dance event which proves, definitively, that lindy hop didn’t die and need reviving. It just grew up into hand dancing, fast dancing, Houston Two-Step, Chicago Stepping, Detroit Ballroom… living, healthy black dances in black communities.
And I want to go back to that teaching team.
Latasha Barnes, Mike Pedroza, Josh McLean, Dee Daniels locke, Michelle Stokes, Laurel Ryan, Alexis Davile, Cyle Dixon, Nel Lopez. Two of those (Alexis and Cyle) were junior lindy hoppers at ILHDC a few years ago. Michelle and Laurel were the MCs (I saw them MC at Focus. They are the BEST). These are some big names, here. Just try getting Latasha for your event any time in the next twelve months. The woman is seriously popular at the moment. So this isn’t just a random grouping of dancers. This is some top shelf talent.
If you are interested in the ‘decolonising lindy hop’ project that’s gaining ground in the US, you should probably have attended this event. Yes, it’s all very nice and well to attend a panel session at Lindy Focus, or to drop some cash on the Frankie Manning Foundation. But actually putting money down on an event like this – black owned, black run, black attended, black community – is important. I so wish I could have gone. It kills me that I couldn’t. So, NEXT YEAR. I will put my money where my mouth is.
I’ve seen this image being circulated a bit on facebook this week.
[Text reads:]
“My body, my choice” only makes sense when someone else’s life isn’t at stake.”
reply:
Fun fact: If my younger sister was in a car accident and desperately needed a blood transfusion to live, and I was the only person on Earth who could donate blood to save her, and even though donating blood is a relatively easy, safe, and quick procedure, no one can force me to give blood. Yes, even to save the life of a fully grown person, it would be ILLEGAL to FORCE me to donate blood if I didn’t want to.
See, we have this concept called ‘bodily autonomy’. It’s this…cultural notion that a person’s control over their own body is above all important and must not be infringed upon.
Like, we can’t even take LIFE SAVING organs from CORPSES unless the person whose corpse it is gave consent before their death. Even corpses get bodily autonomy.
To tell people that they MUST sacrifice their bodily autonomy for months against their will in an incredibly expensive, invasive, difficult process to save what YOU view as another human life (a debatable claim in the early stages of pregnancy when the VAST majority of abortions are performed) is desperately unethical. You can’t even ask people to sacrifice bodily autonomy to give up organs they aren’t using anymore after they have died.
You’re asking people who can become pregnant to accept less autonomy than we grant to dead bodies.
[/]
I have a few problems with this chunk of text.
The first is that it’s based on a false premise: that ‘we’ all have the same bodily rights, and that these rights are applied to us equally. I’m going to assume that the author was writing in, and about the US. And I want to state, very clearly, that even beyond the world of childbirth and reproductive medicine, we do not all have the same bodily autonomy. Women of colour, people of colour, first nations people, women, children, gay men living with AIDS… basically everyone other than straight, white, wealthy men have their right to bodily autonomy curtailed by the law, by the state, by medical institutions.
The history of the US is based upon slavery, the clear legal fact that some people can be owned by other people. First nations people were not (are not?) considered people at all by invading colonisers. People of colour are more likely to be incarcerated. Women’s accounts of their own physical pain or illness are less likely to be taken seriously by doctors than men’s accounts. Children are legally not capable of bodily autonomy.
..and so on.
We cannot talk about abortion without also talking about social context. Women and girls are not considered capable human adults or citizens in the way that white men are. We are not considered capable of making sensible, logical decisions. About anything. Let alone our bodies.
I feel that a debate about abortion is a misdirect.
Access to free, safe contraception and good sex education are the demonstrably better way to reduce abortion rates. And incidentally increase women and girls’ autonomy and social power.
By focussing on abortion, rather than sexual health, the discussion is framed as one of individualism, rather than collective responsibility. If we focus on women’s choices, we can avoid a discussion about the state’s role in health care. If we suggest that women’s bodies and their choices are the problem, the we don’t have to talk about the importance of the welfare state in caring for children. Because there, of course, we are reminded that women were once girls, and girls’ education and bodily autonomy is the real issue here.
The abortion debate is about legislating women’s bodies, but more importantly, it’s also about restricting women and girls’ knowledge of their own bodies. I want to expand from this to tie contraceptive rights to access to education generally in a more direct way.
We know that access to education – going to school – generally reduces birth rates (ie girls are less likely to have babies, and fewer babies). For a range of reasons including (but expanding far beyond) knowledge and tools for preventing pregnancy.
The thing I’m often struck by in this sort of debate is the implication that the only reason women and girls have lots of babies is that they don’t know how to stop themselves getting pregnant. Or that they don’t know penetrative vaginal sex with a man leads to pregnancy.
But we know that choosing when and how to have a baby is about more than knowing how to stop sperms get into eggs. It’s also about having a range of choices and options for employment, education, community participation, etc etc etc.
Good education isn’t just about ‘not getting pregnant’ it’s about being able to choose when and how we do have children.
An educated girl is a mighty person. She knows how to access all sorts of resources. She’s not confined to a domestic space and domestic isolation. She’s a _citizen_. This is far more frightening for fundamentalist christians and other patriarchal institutions.
As an addendum, I’ll also note that good sex ed isn’t just about how not to get pregnant or STDs. As that story about the young Swedish men who intervened in a rape in America shows, good sex ed also teaches men and boys about how to communicate with and empathise with their partners’ needs and desires. I think that this is the other thing that terrifies the patriarchy: that men and boys might begin to think of us as humans.
A few years ago, in 2015, I did a survey of Australian dance events, to see if they included a code of conduct on their event websites. There were mixed results, including a fairly unpleasant email from the organiser of an event which did not have a CoC at the time, and has since folded.
I (or someone else!) should at some point revisit this survey, to see if things have changed much in Australia. Do we see CoC at all Australian events? If not, which events don’t have them, and why not?
But that’s not the topic of this post.
Now I’m wondering if events (including local party nights) have follow-up processes to accompany their CoC. It’s all very well to have a list of things attendees cannot do at the event, but I have some questions.
Does the CoC provide specific examples of what constitutes sexual harassment or assault in a dance setting?
What are the consequences for people who break the rules?
Who enforces the rules?
Is there a spectrum of responses from warning, through banning, to calling the police or evacuating a building?
If these responses exist, are they listed in the CoC?
What is the in-house process for these responses?
Who has the authority to call for a consequence and then enforce them?
How are these actions documented?
How are these documents stored?
Who has access to them?
Is there any follow-up on these actions?
Is there any scope for the repatriation of banned offenders?
What are the terms for their return to the event?
Who monitors this process?
How is information about who is banned passed between generations of staff at an event?
How does this communication of knowledge account for Australian defamation laws, which would deem this publication of a potentially defamatory statement?
If a banned person does decide to sue for defamation, who would they sue – the organisation/business? An individual working at the event? If the latter, how does the host organisation respond to and support this person?
How does the host organisation ensure that staff are not exploiting their power to break the CoC rules? What measures are in place to police the policers?
I feel at this point the majority of events have gone no further than simply cutting and pasting a CoC. These later questions all ask for a fair bit of work. And I know there are some organisers which do not prioritise safety to the extent that they would invest in this sort of labour.
White people, particularly white people of influence (like dance teachers) need to get their learn on. Rather than placing the burden of policing racism on the backs of people of colour, white people need to listen to people of colour, and start policing their own behaviours.
Just as men need to be responsible for policing their own sexist behaviour, rather than waiting for women to do all the labour of speaking up.
We can be certain that the preponderance of white faces in lindy hop today is a result of the white mainstream’s appropriation of black culture. Being able to steal-and-sell a cultural practice is a mark of power and privilege. The repackaging and ‘toning down’ of the black racial markers of lindy hop (and other dances) is part of this process of appropriation. Insisting on using counts, focussing on biomechanics rather than music, enforcing white middle class gender roles, and so on are all markers of white appropriation of black dances. These dances are made palatable (and marketable) for white middle class audiences through this ‘whitening’ of black dance.
If we _don’t_ address this matter in our classes, and in our own thinking, we are perpetuating it. We are doing racist stuff. We are shoring up racism.
Breai Mason-Campbell has asked people “What are you doing to decolonise lindy hop?” Because that’s how we address racism in this dance. We, white people, do something about it.
Nathan Sentance’s piece Diversity means Disruption (November 28, 2018) is important. It addresses the experiences of people of colour (specifically first nations people) within arts and information institutions – libraries, museums, galleries. My own background is in universities and libraries, with my information management postgrad work focussing on the management of first nations’ collections and access to collections.
In this piece Sentance makes it clear that diversity in itself is not useful. Just having people of colour on the team does not provoke institutional change. Representation is not enough; we need structural, institutional change to disrupt the flow of power and privilege.
In this post I’ve taken some lines from Sentance’s article (in green italics), and I’ve responded to them with specific reference to the lindy hop and swing dance world.
Why a diverse teaching line up will change the culture of lindy hop. And a lot of white people will find that uncomfortable.
Or
Having black women teach at your event is radical.
Why hire First Nations people into your mostly white structure and expect/want/demand everything to remain basically the same?
Why hire people of colour to teach at your dance event within your mostly white structure and expect/want/demand everything to remain basically the same?
Why don’t libraries, archives and museums challenge whiteness more?
Why don’t dance events and dance classes challenge white, middle class modes of learning and learning spaces more?
As result of the invisibility of whiteness, diversity initiatives are often about including diverse bodies into the mainstream without critically examining what that mainstream is
As a result of the invisibility of whiteness within lindy hop, diversity initiatives are often about just hiring black teachers at big events, without critically examining the way the classes and performances at these events construct a white ‘norm’ that reinforces the mainstream.
Kyra describes this “When we talk about diversity and inclusion, we necessarily position marginalized groups as naturally needing to assimilate into dominant ones, rather than to undermine said structures of domination”
White lindy hoppers ask ‘why aren’t there any black dancers in my local lindy hop scene?
I have seen a high turnover of staff from marginalized communities, especially First Nations people, as well as general feelings of disenfranchisement.
Black dancers get tired of being the only person of colour, asked to ‘give [themselves, their time, their energy] a talk about black dance and black culture’ to white audiences, to give, to work, to be visible, to represent blackness. Tokenism is tiring. Tiring.
1.Don’t let white fragility get in the way of change.
….[white people] need to understand that [their] discomfort is temporary, oppression is not and as organisations we need to create more accountability.
It is difficult to be told you are racist, when you are pretty sure you aren’t. It’s difficult to be criticised, as a dancer, as a person, by someone you feel you are including as a charitable act of ‘diversity’.
Ruby Hamad wrote about this and how the legitimate grievances of brown and black women were instead flipped into narratives of white women getting attacked which helped white people avoid accountability and also makes people of color seem unreasonable and aggressive.
If you feel attacked, perhaps it is only that you are being disagreed with?
3. Support us.
…Being First Nations person in a majority white organisation means a lot is asked of you that is not in your role description. This needs to be acknowledged.
Being a black teacher at a majority white events means a lot is asked of you that is not in your role description. This needs to be acknowledged.
Your extensive planning and carefully structured workshop weekend might seem very good and progressive to you. But it might be alienating, discomforting, and marginalising for people of colour. You might feel your black guests are ‘helping white people learn’, but they may feel set up as a ‘great black hope’ on an inaccessible stage. When what they might prefer is to spend time with other dancers as a new friend, as a peer, and to teach using other models.
If all you’ve changed in your program is the colour of the skin of the people presenting, then you haven’t changed anywhere near enough.
Additionally, support should include providing First Nations only spaces when necessary as well as supporting staff with time and resources to connect with other First Nations staff in other organisations and to connect with different community members as part of our professional development.
Support should include providing black teachers and performers with black only spaces. …and the time and resources to connect with other black teachers and performers.
Hire more than one black person at a time.
Give black women time with other black women; ‘black girl talk’ is important.
Hire black dancers from different styles, black singers and musicians, black artists and writers, and give them time to talk and make friends.
4. Remember it ain’t 9-5 for us
Dance teachers at events are ‘on’ all the time they are in front of other people. Black dancers are black all the time. Their experiences of race shape their whole lives.
Black dancers often consider themselves part of a bigger black community, to whom they owe loyalty and responsibilities. They don’t owe you a complete and full history of everything black about lindy hop. Some things are private, and some things should remain secret. They don’t owe you all their time and energy to ‘help white people learn’. They have and need time in their own communities and families.
A useful analogy:
The Savoy ballroom was an integrated space. That means that white people had access to black spaces*.
Some spaces need to remain black spaces, where white people cannot go.
Some dance history and dance knowledge needs to remain black culture; white people aren’t owed all of black dance.
This is what it means to decolonise black dance: to take back physical and cultural space. To say “No” to white bodies and voices. And for white people to accept that.
Nevertheless we cannot have change or meaningful diversity without disruption.
Having a black teacher at your event will not change the status quo.
You will need to change the way you structure your event. The way you speak. The pictures you show. The language you use.
Having a nursing mother teach at your event will not change the status quo.
You will need to change the way you structure your event. The clothes they wear. The way you speak. The start and finish times of your classes. Their bed times.
Representation is not just about black bodies or female bodies being present. It is about disrupting the status quo – making structural change – to accommodate change.
To have more women teach at big events, to have black women teach at events mean something, you will need to change the way you run events. You cannot simply slot a black or female body into a space a built for a white man and expect to change your culture. You will need to change that space completely.
A lot of your usual (white) students and attendees will feel uncomfortable with a space that privileges black culture and black people. This won’t make these students and attendees happy. They may not have a ‘nice’ time. They may find classes challenging or upsetting. They may not like the way black teachers talk to them, or that they don’t have 24/7 access to black teachers’ time and energy. They may be angry that their previous knowledge and skills weren’t valued as highly as other (black cultural) skills and knowledge are at this event.
This will be difficult for many white organisers to deal with, both in the moment, and in feedback after the event.
Are you prepared to deal with that?
No?
Then it is time you started taking classes with teachers who ask you to learn in new ways. It is time for you to humble yourself. To do things that are difficult and confronting. To be ok with feeling uncomfortable. Practice. Because you need to be ok with this. You are going to have to give up ownership of some of your most valued possessions.
Lindy hop wasn’t dead, white people. It wasn’t dead and waiting for you to revive it. It was alive, it was in the bodies and music and dance of a nation of black people. Modern lindy hop culture is marked by white culture and race, by class and power.
This is why black lindy hop matters.
*Marie N’diaye, LaTasha Barnes, and I were in conversation one night at a bar. Marie made this point. It made a profound impact on me, to have a black woman say this to me, at a white-dominated event that purported to be all about African American vernacular dance. “The Savoy ballroom was an integrated space. That means that white people had access to black spaces.”
It made me realise: I do not deserve or am owed access to all black dance spaces and culture. I do not have a right to learn all the black dances, to acquire all the black cultural knowledge. It is not mine. And it is important for me to remember that a desegregated Savoy in the 1930s gave white people an even greater degree of access to and ownership of black culture and black bodies in motion. A key part of decolonising lindy hop, is for me – a white woman – sit down, and accept that I don’t get everything I want. And in that particular moment, I needed to know when to get up and leave the conversation.
Because black girl talk is important. Black vernacular is important. And I shouldn’t assume I have an automatic right to participate in it, even if it’s happening in desegregated places.
Closed spaces for marginalized identities are essential, especially ones for multiply marginalized identities, as we know from intersectionality (not to be confused with the idea that all oppression is interconnected, as many white women who have appropriated the term as self-proclaimed “intersectional feminists” seem to understand it). Any group, whether organized around a shared marginalized identity or not, will by-default be centered around the most powerful within that group. For example, cisgender white women will dominate women’s groups that aren’t run by or consciously centering trans women and women of color. A requirement for all groups to be fully open and inclusive invites the derailment and silencing of marginalized voices already pervasive in public spaces, preventing alternative spaces of relative safety from that to form. Hegemony trickles down through layers of identity, but liberation surges upwards from those who experience the most compounded layers of oppression.
If you’re an Australian, cotton is equally loaded, particularly for environmental reasons (cotton is a hideously resource-intensive crop, and cotton farming has fucked over acres and acres of (colonised, slave-worked) land in places like central Queensland).
On the face of it, nothing. There is nothing wrong with teaching a class where students experiment with ‘gendered’ movements. In fact, a class like that is very powerful and empowering, because it teaches us how gendered movement is constructed and learnt through the way we hold our bodies, the speed of our movements, how we occupy space, the way we hold our head, our gaze and eye line, etc etc etc.
I’ve seen a number of classes where this has been done very cleverly, and very well. Once Marie N’diaye was teaching a chorus line class at Herräng, where students were taken through the ways in which chorus lines in the 30s were gendered: how to emphasise your hips v your shoulders, how to turn your head, present a particular profile, focus on shapes or sizes of movements. I’ve also seen ‘girls’ hip hop’ classes taught by a man at a local street dance studio, where the students were taken through very femme movements and choreography employed by women dancers in music videos.
All of these classes make it clear (implicitly) that gender is something you can perform. That you can put on gender and take it off again, like a suit of clothes. And this idea of ‘performing gender’ is borrowed from Judith Butler’s book ‘Gender Trouble’. This is very important. Let me make it clearer: Butler (and other feminists and transpolitics writers) lay out very good cases for the idea that gender is something we _do_, not something we _are_. We learn to behave in ways which align with a particular gender role. This gender role is constructed by the culture in which we live. And the gender we choose is often chosen for us, by our families, our schools, our communities.
Right here and now, we can borrow from black feminists, who point out that there is no single way of being ‘female’ or ‘male’, and that these gender identities are culturally specific. So authors like bell hooks in We Real Cool point out how the dominant masculinity in modern American culture is _white_. It’s informed by race as well as gender. And then authors like Thomas Defrantz in Dancing Many Drums go further, pointing out how black masculinity isn’t just regulated by white ideas of what it is to be a man, but by heterocentric ideas of what a man should be.
In sum, gender is made.
Gender is not just about skin colour or the food you eat. It’s about class, it’s about sexuality, it’s about age, it’s about who we are and how we live every day.
And there are ‘dominant’ ideas of gender in different cultures. By dominant, I mean ‘most preferred’, or ‘seen most often’ or most favoured’. In some cultures there are more than two acceptable gender identities. But within western capitalist heterosexuality, there are only two. In this limited world, there is a dominant, hegemonic masculinity. This idea of ‘hegemonic masculinity’ is culturally specific. I like this term ‘hegemonic masculinity’ because it asks us to talk about class – capitalism – as well.
An ‘ideal masculine’ varies between cultures. If we’re talking about lindy hop, then, we need to allow for the fact that lindy hop today is a cross-cultural, international activity and community. There are different types of masculinity. Many cultures go another step further, and order different gender identities (or ways of being masculine or feminine) in hierarchies. Or, some ways of being a man or being a woman are considered ‘better’ than others.
So what is the ‘hegemonic masculinity’ at work in today’s lindy hop? The answer is going to be different, depending on which country and which city and which local community you’re considering. Let me start with Australia, because that is where I live. And let me start with white, mainstream culture. Here, hegemonic masculinity is:
white (anglo-celtic, coloniser)
heterosexual
able-bodied
economically affluent
Where did I get this list?
Well, if we have a look at a few things in my culture, we can find answers very quickly:
The nation’s political leaders (prime minister, cabinet ministers, etc);
The people with the most money (millionaires, industrialists, business owners);
Religious leaders in the most popular religions (bishops, ministers);
The most commonly-seen and employed actors and entertainment figures.
All of these people are male. And until very very recently, openly heterosexual (often ‘proved’ by having a wife and children), white, able-bodied. Rich. Coloniser.
You can do the same sort of exercise with the dance world. What are the most powerful roles in the modern lindy hop world? How many of these roles are filled by men, or filled by women? And what types of men and women fill these roles? How does your local scene compare with what you see in the videos and websites for huge international American, European, or Asian events? How does your national scene compare with these?
But what about women?
Hegemonic masculinity cannot exist without a dominant model for ‘femininity’. This ‘ideal woman’ is:
white (anglo-celtic, coloniser)
heterosexual
But she is dependent on a male partner, as she is also
physically weak or vulnerable
economically weak or dependant
physically ‘attractive’
Her heterosexuality is proven by her ability to have children, and her physical appearance (her sexual appeal). This ‘appeal’ is again contextually dependent. In Australia, she is slim, long-legged, pale-skinned, long (straight) haired, has small feet and hands, clear skin, ample bosom (but not too ample), hips (but not too broad)… and so on.
In fact, her body is an impossible ideal. Women are trained to pursue this impossible ideal at the expense of all else. They are trained to spend more time on how their body looks, than on how it works. To spend more time thinking about what they look like, than on what they can do. They spend time in the gym working on their body’s appearance, rather than their body’s functionality.
From here this ideal femininity and masculinity can also be defined by how they behave, or how they act. Men are active, physically tough, powerful, defensive and offensive agents. They take up physical and aural space in public. Women are passive, acted upon, vulnerable, hurt, weak. They make themselves small and speak softly so they don’t take up space. These two models are used to justify the relationship between the ideal male and ideal female: the female requires a strong man to protect her. The strong man requires the vulnerable female to give him children (and incidentally prove he’s not gay :D ) and keep his home. The active, fierce man is complemented by the passive, emotional, gentle woman.
And so on.
All of the things I am writing here are old news to anyone who’s done any feminist reading. I myself have two theses and a bunch of articles drawing on extensive field work and textual analysis to prove these ideas. In fact, my doctoral thesis looked at how this stuff plays out in the lindy hop world.
Let’s go all the way back to that first question:
What is the problem with teaching ‘traditional’ gender roles in lindy hop?
Nothing. While some feminists would disagree with me, I don’t think there’s anything wrong with being vulnerable or small or pale or delicate. Or strong and bold and heterosexual. But I do think there’s a very big problem with a) these models being presented as the only ways of being a man or woman, b) with ‘man’ and ‘woman’ being the only options, and c) with these dichotomies (either-or options) being the most preferred models.
In lindy hop today, we see traditional white, heterosexual gender roles rewarded and valorised across cultures.
Take a look at the winning ‘couples’ at ILHC, the Savoy Cup, or any of the other big competition events. Who wears the dresses? How does each partner move independently, and in reference to their partner? What is their ethnicity? What angles and lines do their bodies make?
The competition finalists and winners are almost exclusively white, heterosexual-presenting, and adhere to these very conventional gender roles. We can make occasional exceptions, we might even see one same-sex couple. There may be a few women wearing trousers. But taken as a whole the repeating, and therefore dominant elements do nothing to reconstruct or challenge the gender norms. We never see women leads in winning couples. We never see men as winning follows. In fact, we rarely see a deviation from this gender binary: man/woman. How dull. How dangerous.
What’s the problem with this?
If these winners align with the dominant values of their community, is there anything particularly wrong with this?
This is where things get really interesting.
What exactly is the problem with these two gender roles?
These two roles encourage particular types of behaviour. That’s a very general comment, so let’s get specific. I’m going to take an issue that’s very important: safety.
How do these roles contribute to sexual assault and harassment in the modern lindy hop world?
I’m going to assume that you agree with me that sa and sh are bad things. Remember, this isn’t a universal belief. There are plenty of people who don’t believe that sh and sa are actual real things. I believe that they are. I believe that they are bad, not only for the people involved, but also for the community as a whole.
sa and sh physically hurt people, but they also discourage women from entering high profile or well paid roles (DJing, teaching, MCing, organising). This means that sh and sa limit the way our communities grow and do things. It makes us ordinary.
Let’s take that dominant feminine identity and apply her to lindy hop.
The follow role is associated with the feminine
We only have women or femme folk teach as follows at big events, we see workshops in ‘feminine styling for follows’ (but rarely other gendered options).
Follows are ‘quieter’
She doesn’t initiate moves or outshine the lead. She doesn’t interrupt or speak louder than the lead in class.
Follows are objects that things happen to
She doesn’t turn or spin; she is spun. She doesn’t decide where to move; she is moved. She doesn’t choose moves; the moves are chosen for her. She isn’t an equal partner; she makes the lead’s moves ‘work’.
Follows ‘look beautiful’ – they have long legs, small hands and feet, a slim build (with bosom, but not too much), they have pale skin, they have long straight hair
She wears clothes that exaggerate these elements – dresses and skirts, form fitting trousers, high heels (to make her legs seem longer and her feet smaller), make up. She dances in ways that exaggerate these elements – she points her toes and straightens her legs and arms, she extends her neck and drops her shoulders, she opens her arms with the palms up and open.
SHE IS WHITE. SHE HAS STRAIGHT HAIR. SHE HAS PALE SKIN. SHE HAS A SMALL ARSE AND THIN THIGHS. SHE HAS SMALL MUSCLES, NOT BIG, STRONG MUSCULATURE.
Follows are helpful, polite, and unaggressive
She does as she’s led, she doesn’t abort moves. She spins as many times as the lead wants. She turns in the direction the lead wants. She doesn’t interrupt the lead’s moves, or distract from him. She is passive and helpful. She does not solo dance alone. She looks at the lead all the time. She does not say no to dances. She does not stop dances mid-way. She doesn’t tell men to stop hurting or touching her. She will compromise her rhythm or timing for the sake of the lead’s rhythm or timing.
Follows are vulnerable; things happen to them, which they need to be protected from
She is vulnerable to kicks and accidents on the dance floor, and has to be protected by her lead. She is vulnerable to sh on the dance floor, so she needs a man to protect her. She doesn’t say no to dances. She must be walked to her car.
The follow is dependent on a (male) lead
She doesn’t say no to a dance; she cannot solo dance (she’s too afraid, she doesn’t know what to do). She cannot dance with a woman; only men can/are lead properly. Dancing with a woman would make people think she was a lesbian. She gains her worth from her heterosexual relationship with a man. She doesn’t tell a harasser to STOP; she reports him to a (male) organiser.
And so on and so on.
But remember: you cannot have this ideal femininity without an ideal masculine, and vice versa. Because in this story, the ideal fem or masc is heterosexual. Without a man, a woman is a lesbian (or a failure). Without a woman, a man is gay (or a failure).
We can do the same exercise with men and this ideal masculinity.
Can you do that? I’m a bit tired of typing, so I’ll leave you to make a little list. Write it down. What are the ways ‘leading’ is gendered hegemonic ‘masculine’?
These are all things that happen on the dance floor. But the modern lindy hop culture encourages us to see dance floor behaviour as the ideal model for off-floor behaviour. The most influential and powerful people at events are teachers and competition winners – people valued for their dance skills.
What happens when we extend this idea that a woman never says no to an invitation to dance? She is, in effect, told that she cannot say no to a man wanting to touch her. That she should smile and facilitate all the things that he wants to do to her body.
I wish that I could dismiss this as an exaggeration. But if we keep in mind the whole rest of the culture in which lindy hop is embedded, then we see that it’s not only unlikely, it’s also very difficult for a woman to say ‘NO’ to a man’s desire to touch her body. On and off the dance floor.
Here, look: this is how a dominant gender model informs lindy hop culture, and how this gendered dancing enables sexual assault and harassment.
Let’s go back a step.
Because I can’t stop there. I can’t stop at this feminist analysis. I need to do some feminist activism as well. I need to do and say something that will make it possible for me to go to lindy hop events. Make it possible for me to dance.
What are the problems?
1. We are using only white, middle class, mainstream Australian culture as a source for gender identities.
2. We haven’t considered this dance in historical context. What was happening in terms of gender in the 1920s and 30s?
3. We haven’t considered this dance in historical cultural context. What was happening in terms of black gender in the 1920s and 30s?
4. We haven’t considered this dance in contemporary cultural context. What is happening in terms of black/Asian/poc gender in Australia today? What is happening in terms of black gender in America today?
There are ways we can rethink gender in lindy hop: by actually watching and listening to black dancers.
In other words: thinking intersectionally about lindy hop (decolonising lindy hop; taking it out of white hands) will help us prevent sexual assault and harassment. I’m saying it clearly: there’s a problem with white, middle class, mainstream masculinity and femininity. And it has done bad things to lindy hop. Bad things to black lindy hoppers as well as white.
So, as a white women, I need to get my learn on.
For me, the first thing I have to do is sit down and listen. Stop talking. I need to watch and see what black dancers are already doing. I don’t ask them to come and give a lecture or wait at my beck and call in a dance class. I look at their work now.
Let’s look at those examples I listed above, where we had men dancing the ‘femme’ role. Let’s look at vogueing. Here, at first glance, we have ‘men’ performing that dominant femininity. But that sentence doesn’t go anywhere near explaining all the things that are happening. For a start, the categories of ‘man’ and ‘woman’ and ‘female’ and ‘masculinity’ seem awfully limited.
Who are these people dancing? Would they describe themselves as men? As women? As trans? As nonbinary (enby – N.B.)? As soon as we ask these questions, and we ask these people these questions, we get a sudden explosion of gender and identity. I like to imagine that a black and white binary drawing (man/woman, male/female, strong/weak, good/bad) just opens up in a massive rainbow spectrum of colour and identity. Strength, weakness, power, vulnerability, creativity, gentleness, violence, beauty, ugliness.
Right here, we see a whole range of ways to do femininity or masculinity. Lots of different ways to be a man or a woman. Or to be a person that doesn’t want to fit into this binary.
Queer studies gives us lots of ways of to think about gender and human relations.
Let’s go back again. Remember where I mentioned Tommy Defrantz? Where I talked about the kneebone bent?
Defrantz is a queer black dancer, whose book looks at black dance history in America and asks ‘where is the queer black masculinity here?’ He himself offers us a very different way of moving his body:
Dood is extremely gay. He is so gay. He is the gayest. And he’s out. And he’s black. And he’s political. He’s also a dancer. A street dancer. A concert dancer. An academic. A thinker. An activist. He is all these things at once, AND he’s a man. This is a different way of embodying masculinity. Look at him while speaks the language of tertiary academia, the academy, territory of white masculine power.
But listen to his higher pitched voice. Look at the way he holds his hands close to his body, taking up less space. The way he shifts from foot to foot, implying uncertainty or a lack-of-obstinant-determination. Then watch all that change as he STAMPS into the ground with the buck dances. The way he embodies this role of the ‘buck‘: aggressive, fierce, determined, sexualised, large. And then he shifts again, demonstrating the wing dances, which he morphs until THERE! we see vogueing, and the ballrooms of 1980s queer black Harlem.
In this single two minute clip Defrantz takes us through a hundred years of black dance and black masculinity. He shows us how rhythm can be style. He shows us how rhythm can be black masculinity. And because he can then take it off again, he shows us – all of us, whatever our gender – that this masculinity can be put on and taken off at will! Imagine a black woman putting on that identity for a moment. Buck dancing!
But what if we actually look at a black woman dancing lindy hop. First ‘vanilla’, then ‘with sauce’. Here, Cookie (Angela Andrew) shows us how to dance as a follow, as a woman, as a black woman. Her skin is black. Her hair is up in a turban. She wears loose trousers and shirt. She addresses the camera. She is with her partner, but she is also taking creative space, saying I AM HERE with her clarity of rhythm. HERE I take a triple step and make it a stomp off. HERE I pause, I stop moving, I hold the time in my body and groove it on down. And HERE I suggest a rhythm to my partner, and because he listens to me, because he is open to my contributions, he takes it up and he joins me. We are together in this moment as equals.
And what is the next step?
I actively choose not to hire teachers who run workshops which prioritise gender norms, or who exploit those gender norms. That means that I don’t hire teachers who’ve been reported for sexual assault or harassment. I don’t hire their friends who’ve stood by them and not called them up on their behaviour.
I do not hire teachers who’ve done publicly racist or antisemitic things. Nor do I hire their friends who’ve stood by them and not called them out on their behaviour.
Instead
I hire dancers of colour. I pay them good cashmoney for their work. I choose to hire teachers who are either actively engaging with gender, in a critical way, or I choose to hire teachers who are implicitly engaging with gender in an active way. Simply through being and dancing gender in different ways. This means that I can hire white teachers who talk the talk and attempt to walk the walk, and I can can hire dancers of colour who are teaching me about being gender simply by dancing-while-black.
More importantly, I can take their classes. Yes, that means you, dancer who thinks they’re too good to take classes any more. Be humble. Show you are willing to learn from this person of colour. Say, with your open face and willingness ‘I value what you have to teach.’ Be present in that class, be mindful. Learn. Assume that you don’t know how this works. Learn. Be open. Learn.
I think this is important: it’s not ok for me to ask teachers or dancers to articulate exactly what they are doing that makes them ‘black’. It is my job to learn to see how ethnicity informs who we are and how we move. It is my job, as a white woman, to stop seeing ‘whiteness’ as a default ‘norm’. It is my job to take my assumptions about what ‘good lindy hop’ is, and to see how my own privilege as a white women has shaped this set of values. All of this jargon – frame, connection, musicality, tone, leading, following – all of it is language circulated and controlled by white teachers, and commodified in formal dance classes. It is, truly, the colonisation of black dance.
It is my job to learn how to learn in new ways. To learn how to be in a class with a teacher and see how their movements, their ways of holding their bodies, of taking, of looking at students and each other, of being inform their dancing. Whether they are black or white, hispanic or asian. If dance is culture, then I need to do more than just ‘have a class with a black teacher’. I need to learn how my entire understanding of dance and classes is informed by my own ethnicity.
Here is a list of people you may choose to hire, who are not skinny white heterosexual women and men. Some of them are lindy hoppers, some tap dancers, some do dances traditional to their peeps, some are musicians. I haven’t even really gotten into Asia with this list, and it is totally not exhaustive.
And please note: being the old black/queer/asian in the village can be tiring and intimidating. Why not hire two! Or three! Or ALL of them!
This article Colonial Australia’s foundation is stained with the profits of British slavery by Paul Daley is pretty much a review of bits of Clinton Fernandes’ book ‘Island off the Coast of Asia: Instruments of Statecraft in Australian Foreign Policy’. I haven’t read the book.
This article talks about slavery’s contribution to the developing colonial economy in Australia up until the 20th Century.
It’s also a good place to start if you want to start thinking about the white Australian history of blackface. If whites think of people only as having value as objects to be bought and sold, then they have no qualms about wearing a costume that presents them as objects.
If you’re a lindy hopper thinking about dance history (and the way it is bought and sold in dance classes), then you should probably learn a bit about slavery in colonies (especially in Australia and America), and colonising nations (especially European countries).
The myth of Australia being ‘built on the sheep’s back’ is central to Australian history and to current political PR. Think of the white mainstream support for ill-conceived and executed economic aid for farmers in this moment of drought (and political leadership spills). White farmers are sacrosanct.
Fernandes writes, “There was no industrial revolution in this period, but rather a burgeoning agricultural export industry that helped create a group of wool-rich rural elites. An industrial business class appeared after the discovery of gold in the 1850s. In the 60 years before this, however, there is a largely unknown source of wealth: slavery.”
The mythic history of white Australia goes like this:
– white explorers ‘discovering’ the Australian land,
– white farmers occupy the land, ‘taming’ it, and producing lots of stuff
– white businesses sell that stuff to other people and we all get rich and prosperous.
This history leaves out…. well, pretty much everything. The genocide and colonising of _people_. Of course, the idea of ‘terra nullius’ (nobody’s land) at once made Aboriginal and Torres Strait Islanders not _people_, and justified white invasion and occupation.
This dehumanising is what makes slavery possible.
It’s also what makes the current government’s utterly cruel refugee concentration camps possible.
Perhaps the most interesting part of Fernandes’ book is his careful unpicking of the authority of ‘objective’ references like the ADB (Australian Dictionary of Biography). While the ADB presents as a ‘list of facts’, this list is incomplete, and therefore entirely subjective.
I guess Fernandes’ point is this: ‘objective’ histories that overlook some facts or misrepresent them contribute to contemporary oppression. eg he writes in the book, “The dictionary of biography mentions that Macquarie’s first wife Jane Jarvis was “a West Indian heiress”, but doesn’t note her inheritance: Antiguan slave plantations.”
“The Australian Dictionary of Biography is Australia’s pre-eminent dictionary of national biography. In it you will find concise, informative and fascinating descriptions of the lives of significant and representative persons in Australian history.” (http://adb.anu.edu.au/)
A calmly objective listing of ‘facts’ in the format of a dictionary is a useful tool for refuting ‘hysterical women’, ‘angry blacks’, and other overly emotional voices.
Speaking of the black experience in jazz and blues dance…
I haven’t yet ready anything in the blues and lindy hop community about the black queer male body dancing.
There’s been some good work on black women’s bodily experiences in modern jazz dance culture, and a bit about black masculinity. Quite a few too many white men have whitesplained how blues works as a black space, and far too many white women and men have avoided talking about vintage fashion as an ethnicised scene.
Apparently the black queer body in a well cut suit or gorgeous gown is too terrifying even for whispers.
I saw Looking For Langston (an art film by Isaac Julien) last night. The whole project – a film made during the 80s AIDS crisis by a black British man, about a black American man of the Harlem Renaissance – is a meditation on queer desire, jazz aesthetics and the blues. The name (and a lot of the content, including some proto-vogueing) reminds me of Desperately Seeking Susan, Madonna, and the queer-eye-on-art. It includes voice work by Stuart Hall and Toni Morrison, Paul Gilroy gets props, Jimmy Somerville plays a cherub (again), and Tongues Untied is referenced. Also there is some cock.
The installation at Rosley Oxley9 Gallery features some beautiful large scale black and white stills from the film, depicting black men dancing in closed embrace. Photos I regularly see linked up on facebook as examples of queer dance in the swing era. Ha.
Liah says it’s good to check out the Mapplethorpe exhibit at the agnsw as well, so you can see how Julien’s work responds to Mapplethorpe (and the white queer gaze on black bodies).
Laury Windley of Lindy Shopper fame asked on fb today:
I wonder if there’s a correlation between the Internet making vintage and reproduction clothing more available to the masses and the increased incidence of people dressing up for swing dancing.
And I replied…
I think the internet definitely plays a part in shaping lindy hop fashion.
I started dancing in 1998 in Brisbane, a hot, humid sweat pit of a place that was cruel to anything vintage. I was wearing vintage before I started dancing… 60s vintage and punker fashion. But crimplene and sub-tropical lindy hop? No. But that’s 20s years ago, and mainstream fashion has changed a lot over that time.
I think a few things have shaped what people wear for lindy hop:
– Weather and climate.
In hotter climates we sweat more, and fabrics have to be able to handle that. So a wool suit isn’t often a dancer’s first choice. There simply isn’t that much vintage wear in Australia – because the climate (including the sun and sweat) destroyed it, and because of social history.
– Culture.
More importantly, 1930s and 40s fashion in Australia wasn’t like 30s and 40s fashion in the northern hemisphere. I imagine we could see some really interesting different regional vintage fashion in other scenes as well. Which of course makes me think: Korean dancers wearing 30s and 40s fashion is a whole other kettle of cultural fish. Looking at videos from Maputo (in Mozambique) lately, I see a blend of traditional fabrics (eg waxprints), vintage 30s, and modern aesthetic. And bare feet. All things that are particular to this community at this time and place. A pride in cultural heritage (waxprints), a nod to dance history (30s cuts and styles), and social context (bare feet influenced by the ‘traditional’ dance influences brought by pro Mozambique dancers to lindy hop). And that’s all before we get to bodily aesthetics.
– Dance culture.
I’ve noticed that if a lindy hop scene has members who travel a lot (ie they’re quite experienced dancers), the fashion tends more towards the ‘european or american vintage’ aesthetic. This is about individual dancers wanting to signal status/knowledge in what they wear.
Interestingly, we have a strong vintage/repro fashion scene in Sydney which crosses over with ‘swing dancing’ (not necessarily lindy hop). It’s not so great for dancing hardcore, but people live a hardcore vintage lifestyle. Chloe Hong‘s presence in Seoul does much the same. She gives us the incredible troupe uniforms (troupes are influencers!) and also that ubiquitous Whitey’s Lindy Hopper Big Apple tshirt reproduction. Both of which encourage a vintage fashion vibe. And it’s hardcore: male dancer might bring their suit to parties in a suit bag, then change in the on-site dressing rooms rather than risk them on the subway.
– Dancing.
Lindy hop has gotten a lot more athletic _generally_ than it was in the 2000s. Parachute pants are great for smoothy dancing, but a shorter skirt or more fitted trousers are better for lots of solo jazz, leaping about, etc. I’ve been most interested in the way men’s trousers taper more at the ankle to show off leet footwork in a way wide cuffs don’t.
All this athletic training has also changed professional or competition dancers’ physiology: more muscles, a greater range of movement = more care with fashion choices. A lovely 1940s dress is too precious to risk on a hardcore showcase routine with aerials.
– Gender.
We’ve seen changes in gender performance in the wider community since the 1990s and 2000s. There’s generally a greater emphasis on ‘strong’ bodies and muscle tone in mainstream media – women as well as men are into weights and resistance training in a new way. But at the same time, the more androgynous stylings of the 90s has given way to hyper-gendered styles today.
As Grey Armstrong says in that Obsidian Tea piece, this is not only about gender, but also about race, and as Shelby suggests, class. There’s a definite body type favoured by mainstream white culture, but also by lindy hop culture (which is after all a microcosm of the wider society).
Long, lean legs and buttocks, narrow busts and chests, long torsoes, long straight hair, etc etc etc.
Male lindy hoppers’ bodies are almost the same, except with shorter hair (male hair cuts!).
-> we see a very white, anglo-european body type here. It not only excludes black bodies, but also some asian phenotypes…basically anyone who’s not from this anglo-european background.
-> There’s also been a rise in what constitutes disordered eating dogma eating in lindy hop circles: ‘paleo’ ‘diets’, low-carb, high-protein, high-fat, etc etc etc. This in concert with obsessive exercise routines (remember when P90X was big?) are giving us a particularly worrying body type as a favoured aesthetic. Still very white, still relatively unattainable for most people.
The clothes that people are choosing emphasise these qualities. I wrote about the influx of high heeled shoes a while ago – and heels extend the lines of the leg to point the toe and create a very white, heteronormative feminine model. The more fitted skirt extends these straight lines. We see foundation garments becoming a very important part of many women dancers’ wardrobes: they constrain and flatten the body, erasing curves and rolls and dimpling of flesh to extend lines.
All of this actually constrains the body and limits a range of movement, not to mention comfort. Men may complain about the heat of a jacket while dancing, but it’s nothing compared to the discomfort of spanx, two pairs of stockings, underwire bras, a million bobby pins and a ton of makeup. Again, this is very much an ethnicised notion of bodily aesthetics with patriarchal effects.
– Fabrics.
Some really wonderful fabrics have become popular in m/s fashion over the past few years. There are some utterly amazing stretch cottons that look and breathe like cotton, but also have the stretch and longevity of a synthetic. Perfect for dancing. But this also changes the way garments wear and wear out. We can make clothes that behave in different ways – reproduce vintage styles in more athletic-friendly fabrics.
– The rise of repro fashion businesses.
This is another story about the internet. Pervasive internet access has enabled the rise of small business manufacturing models (via etsy etc), and the ‘bespoke’ trend in m/s culture has married perfectly with the aesthetics of vintage fashion. So we’re seeing repro businesses doing well online in the dance world and beyond. I think this interest in bespoke fashion works as a push back against fast-fashion, but also as a marker of class (it’s more expensive, and is often defended as being ‘better value’, even when the manufacturers are inexperienced craftspeople who might make things by hand but don’t have proper tailoring skills). This echoes Shelby’s earlier point about ‘respectability’ and race: dressing expensive suggests respectability and status.
I’ve been very interested in the way dancer-run businesses can target the nich dancer market and be sustainable. It works in bigger scenes like Seoul, but it’s also sustainable, via the internet, for a business based in Canberra to market to the international dance world.
– Youtube and social media.
And finally, access to the bodies of dancers all over the world via the internet has shaped fashion. We may have regional styles, but we also have Chloe Hong and Remix and sweet fades in every international lindy hop scene (where budgets allow). If a big name dancer wearing it at ILHC, then we’ll see it in local scenes soon after. Influencers r us.
