Category Archives: travel

My dance work, right now.

Who wants an update on the things I’m doing right now in dancing? Yeah, we all do!

Late last year my teaching partners and I decided to relaunch our weekly dance classes as an independent business. We used to teach with a big dance school, Swing Patrol (which is run from Melbourne), but we wanted a more local focus, and to have greater creative control over our projects and direction as an organisation. And business.

So in 2014 we announced Swing Dance Sydney (boring name, right? But it gives good googles), and then on the 14th February 2015, we launched our new business with a party. Right now, three months in, things are going very nicely.

We were, obviously, nervous about the new plan. Despite the fact that we’d been running our classes successfully for three years and had lots of experience with other dance stuff. I was particularly nervous, as I’m the general manager for the business (which is registered in my name). I do have a lot of experience running dance events and projects (you can see them all here), but it’s still a challenge, right?
Anyhow, I did a lot of research into tax, registering a business, labour relations and so on (you can read a bit about that in Making a Dance business and The business of lindy hop), and discovered that going legit isn’t that difficult.
I’ve actually found the whole process really empowering – it’s made me feel confident and capable. There is this idea in the lindy hop world that not declaring your teaching/DJing/event income, or not getting proper insurance, or not registering a business name is a way of saving money or fighting the man or whatevs. But I’ve discovered that you don’t actually lose money, and you do actually safeguard your business and your own body (insurance!) If you are teaching for someone else, friends, you MUST discover whether they have work cover for you. They are breaking the law if they don’t, and you are missing out on important insurance that will cover injuries, etc.

So what does my business do?

1. We teach dance.
We teach weekly classes in lindy hop. We also teach solo dance, but these are on hold for the moment as I hunt down a new venue. We miss the solo real bad!

swingingatthepbc

Though I’ve listed the classes first, this is only one part of what we do. And I’d like to rework the business ‘brand’ or identity to reflect the broader interests of the people involved.

2. We run irregular parties with live music on a Wednesday night called Swinging at the PBC.

I adore these. We have run 5 already, and have another planned for the 8th April, and I’m looking at one for May for Frankie Manning’s birthday. I began just by using visiting bands, but now I’m branching out, and using this as a chance to foster relationships with local musicians.

We teach in a licensed venue (the Petersham Bowling Club), which has a fantastic approach to live music, to servicing and participating in the local community, to environmental responsibility, and to fostering creativity. That’s us, that last part. They let us put on bands whenever we like, and they help us promote them. They are also really great people that we love working with. Most importantly, the venue has a bistro, an outdoor area (because bowling), and a good vibe – it feels friendly.

I am currently very keen on running social dancing in proper social spaces. I know it’s great to have heaps of room or a great floor in a studio or hall, but in those spaces there is nothing to do but dance. If you’re not dancing, you feel like you’re missing out. Or you’re just plain bored. There’s nowhere to escape the music and talk. This vibe encourages the idea that you have to say yes to every dance, that if someone says no to your dance invite you suck, because heck, isn’t that why we’re all there?
In a proper social space, you make it clear that dancing is only one of the things we do here – we also talk, we eat, we drink, we take a breather outside, we play pool or pinball, we lean on the bar and people watch. Because it’s the Peebs, it’s also totally ok to sit and read a book! If someone does ask you to dance, you can say “No thanks, I’m just enjoying this nice cool beverage,” or “Sorry, I’m waiting on a pizza!” or even, “Hey no thanks, I’m not dancing tonight – just chillin’.”

When you get used to hearing people say no thanks to your invites, you get used to the idea that it’s not all about you. People have all sorts of good reasons for not dancing. And you have to be ok with that. Especially you, men: you’re not the centre of our world. But you women, you can also be ok with the idea that if you’re not dancing, you’re still ok. You don’t have to dance (or be a ‘good dancer’) to be having a good time at a party.

We already know how to be in a pub or a bar or a restaurant, so we don’t have to teach people how to beahve at a social dance in these spaces. When we use a proper social space, we make dancing more accessible to ‘non-dancers'; we encourage people in, and we embed our culture more comfortably into the wider community. This whole approach undoes the weirdo shit that encourages ‘rock star’ dancer behaviour, makes it easier for women to enforce their own personal limits and bodily autonomy, and encourages dancers generally to think of dancing as just one of the things we do, not the most important thing. And, most importantly, it makes our dance scene more accessible for musicians.
Incidentally, I’ve noticed that having a smaller dance floor makes for better floor craft – our students keep their feet under themselves, are less likely to kick you, and are better at judging the end of the ‘string’ (ie the amount of stretch or distance between partners). A big or uncrowded space makes you less economical in your use of space, right?

These parties attract between 60 and 90 people, cost $15, and run 6.30-11pm.
The early night is good for a week night, the smaller crowd is good for socialising (in this smaller venue), and I approach these events as regular, and so contributing to the infrastructure of the local dance scene.
You would dress neat casual, you’d come for dinner, you’d expect to talk and hear very good music.

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3. We run monthly DJed parties (first Saturday of the month) called Harlem.

This is a collaboration with another organiser/teacher friend, Sharon Hanley who runs Swing Time Australia. We decided to run a regular DJed night because we missed DJing together (we used to DJ at her fortnightly event Swing at the Roxbury), and we missed it!
We decided to have a DJed night (rather than live music) because we wanted to DJ. I was keen to have an event with decent DJed music that focussed on classic swinging jazz. There are two other regular DJed events in Sydney, but the music is patchy at one, and the other is more a neo-swing/rock n roll event. I feel that it’s important to play the original music from the 20s, 30s, and 40s because Count Basie is important. Duke Ellington’s band is important. Ella Fitzgerald’s voice is important. It’s also cheaper (and less risky) to be our own DJs.

This event is also run in a licensed venue that has a restaurant. The space isn’t tiny, but the dance floor isn’t enormous. The space is a ‘mixed use’ space, with chairs and tables and a dance floor (and a great piano!), and it’s near public transport and has parking. And it’s not a shitty, grotty divey nightclub.

Again, this is a regular event. People have asked if we’ll be running it fortnightly, but, to be honest, we’re both busy with other projects as well. And I figure this way we leave a space open in the calendar for someone else to run something – diversity is important! Sharing the workload is too :D

These parties attract between 70 and 100 people (I expect this to get larger), cost $10, and run 8pm-midnight.
This is a slightly larger crowd, but not enormous. A ‘ball’ in Sydney can attract between 150 and 200 people, so we’re actually at the higher end of the scale. A really big cross-scene event can attract 700 people in Sydney, but we aren’t targeting the whole neo-swing/rock n roll/lindy hop/vintage cross over crowd.
We are encouraging vintage wear for Harlem, a slightly dressier vibe than the PBC gigs, and you would again come for a drink, perhaps dinner, and a night out, talking, dancing, socialising.

4. We do private classes, wedding privates, and corporate gigs.
For the money, and to offer extra learning opportunities for students. But we don’t promote them aggressively.

And that’s what Swing Dance Sydney does now. I’ve been looking at running a larger weekend event (Jazz BANG), but I’m still sorting that out.
I did consider running a big evening dance and workshop day for Frankie’s birthday, but I’ve since moved on from that idea. I figure it’s more important to consolidate the Swinging at the PBC nights as proper party nights, and to use our venue in a more concentrated way. It’s a good space, it’s super cheap to hire, and it’s well serviced.

In my previous role as and event organiser and administrator for Swing Patrol, I ran about 5 huge events every year. While they were fun and successful and everything, I began to feel they were big events for the sake of big events, and that the focus (financial, energy, creative, etc) on these resulted in neglect for regular social dancing. In other words, these big events became THE thing, and the focus of the whole organisation was on its hierarchy. It positioned the school as THE organising body, discouraging dancers from thinking of themselves as organisers and trying their own smaller projects. Even more simply put, the only model for ‘a dance event’ was a huge big thing that required the machinery of a big organisation to work. And this leviathan replaced or overshadowed other, more sustainable smaller projects. Really, though, as a keen social dancer, I want to be able to social dance every week, if not multiple times per week. A big, expensive dance every couple of months doesn’t meet that need.

I feel that regular, smaller scale events or parties do more to develop the social dancing skills and culture of a dance scene. Its social and cultural infrastructure. This is what vernacular dance IS. It is everyday, ordinary dancing. Emphasising less frequent big events makes social dancing seem like a ‘special’ or unusual thing, and makes most dancers’ experience of lindy hop be a pedagogic, or formal-class type experience. Boooring. This also tends to result in centralised power and status. Teachers become the most important and powerful people in a scene. Dancing becomes ‘rare’ and ‘special’ so it becomes the only focus for a party or ‘dance night’. And this power dynamic is conducive to abuse. Sexual harassment, bullying, exploitation of workers and so on thrive in this sort of environment.

Into the future.
I have a few other plans up my sleeve. In fact, I’ve always got far more plans than I do time or energy.
I’d like to expand my work with bands. This is proving tricky, as it’s expensive to pay bands. The social distance between dancers and bands (we just don’t move in the same circles here – we don’t socialise together!) also makes it difficult to initiate collaborations. Hence my interest in properly social social dancing events and spaces.

I’m doing more DJing this year. I’ve neglected it lately for my organising/administrative work, and I MISS it. I miss the music. I miss fussing over music. I miss the creative challenges and satisfaction of DJing for a crowd. My skills got rusty and I got mournful for it. So I’m back in the game. Harlem is a key part of that. But so is traveling more overseas (because my health finally allows it!)

I’m seeking out interesting dance events.
I’ve been dancing for eighteen years now, and I’m not satisfied by dance events which just slap a couple of dances on the end of 4 hours of chalk-and-talk workshops. I want interesting, creative programs of events.

I think dance events should think more like arts festivals, and offer a more interesting program. As per my thinking about regular social dancing spaces, I think dance weekends need to offer programs and spaces that are more social, but also more creatively interesting and challenging. I want musicians involved. I don’t want teachers to just throw a stack of moves at me in class. I want mixed-level classes that push me to learn new ways of learning. I want to social dance during the day. I want to go to interesting cities. I want events that offer me new ways of interacting with teachers and students and DJs and bands.

This new thinking about dance events is pushing me inexorably towards alternative funding sources. So I’m looking into grants and public funding sources for dance events. I’m not keen on kickstarter or pozible for funding – I want to see what sorts of state, local, and federal funding sources are available.

Feminist work?
I used to worry about being a woman lead and a woman lead teacher. Now I just couldn’t give a fuck. It’s so normal to me now, I just get on and do what I do. I’m also a woman DJ. And a woman event organiser. And a woman website designer. And a woman thinker and writer and reader. I figure it’s much more powerful to treat all this as normal. It’s much more frustrating and confounding for idiot sexists if I just do not accept (or even acknowledge!) the premise of their attacks.

I think of it this way: if you are up and dancing, you are automatically winning. Doesn’t matter how much your dancing sucks. And if your critic is sitting on their clack or crying and shitty about what you’re doing, you are winning twice. You are pwning them. Ha ha, suckers.

I am also thinking that a revised approach to ordinary social dance spaces is part of a feminist project. Because it undoes that teacher-centred, lead-centred, can’t-say-no power dynamic which is fucked up and bad news. Not only do we need to skill up women and remind men to be grown up humans, we also need to construct socially sustainable social spaces that make it easier to be the best we can be.

For me, personally, it’s very satisfying and stimulating to work with other women in an international community that is so male-dominated in so many ways. I really enjoy my professional relationships with women and men in the Sydney dance scene (and overseas and interstate) too. I think that for me, it’s important to be feminist by doing feminist things. I’m a woman too, and I think that it’s important to skill me up too. And to find ways of working that are creatively and personally satisfying. Fighting the good fight is really tiring. So I try not to have to do it in my everyday work. This means that I just say no to working with dicks. It also means that I have to fight an instinct many women have – that we should feel guilty about feeling good and confident.

I’m also very conscious of the fact that I am lucky enough to be able to think this way. I am a white, middle class woman living in an affluent city in a wealthy country. I have access to opportunities that many people do not. And I try to remember this, and to do my best not to let my own pleasure and satisfaction come at the expense of others’.

So, that’s what I’m doing these days. I hope you’re doing dance work and dance fun that you find exciting and stimulating and deeply pleasurable too!

walklondon tube map

The walklondon walking subway map, a project created by Joe Watson and Aryven Arasen for Walkunlimited, is pretty interesting.

Walking-Tube-Map

It maps the walking time between London tube spots, and notes the landmarks that you’d see on that walking route. The goal was to get people walking instead of freaking out during a tube strike.
It’s interesting because it shows just how dependent people are on set routes in their commute, particularly people who use public transport or drive. I clearly remember my first trip to London, realising that it was quicker and more interesting to walk between stops instead of catching trains.

Links:
#walklondon: a map to help Londoners avoid Tube Strike chaos By Aryven Arasen

#walklondon by aryjoe creatives

I guess, that while one of the original intentions of this project was to ameliorate the effects of a tube strike a consequence would also be increasing people’s incidental fitness.

content But I’m more interested in it as an aspect of the everyday lived spaces, in the way they’re talked about by people like William H. Whyte in The Social Life of Small Urban Spaces. Whyte is kind of old hat these days, and has been superseded by more recent, more nuanced work, but this little film ‘The Social Life of Small Urban Spaces (1988)/ is pretty interesting if you’ve not come across this sort of work before:

I’m very interested in the ordinary ways people use public space, and I’ve been really keen to do some sort of project using sound, music, video and images in a map of urban jazz cultures. But you know, not enough time, and not enough money to get access to the right material.

Sea of Rhythm rambling

I’ve just had a LOVELY weekend at Sea of Rhythm, a new dance event held in Melbourne. Run by Rhythm Tap, a group who do the sort of tap that lindy hoppers like, the program was intended to bring together dancers who were interested in dances of the African diaspora. Not that the event was pitched like that. It was literally pitched as a ‘sea of rhythm’ event, where dancers would come and immerse themselves in rhythm-based dances for a weekend. That meant African (Senegalese) dance and drumming, lindy hop, rhythm tap, historic solo jazz dance – all the good stuff!
I’ve been to a few of these sorts of weekends before, but this one was different for a couple of reasons. The most important of which was that the teachers and performers weren’t just random people from around town. They were top shelf dancers and teachers. The other key reason for the success of the weekend, was that the teachers were all approaching dance from the same ideological position. They see dance as an embodiment of music, or more specifically, they approach all dance as rhythm first.

This approach to dance has become quite popular in the mainstream lindy hop community lately (and isn’t that a strange thing to write – ‘main stream lindy hop’), but it’s something the Swedes have been talking about forever, and they’ve been talking about it because they’ve always worked very closely with the old timers – Frankie Manning, Al Minns, Norma Miller and so on. And the African American dancers always put the music first. Lindy hop hasn’t been well served by that deviation into ‘smooth’ and heavily technique-focussed teaching in the early 2000s. That movement away from hot jazz, and that strange emphasis on ‘connection’ took us a little too far from the roots of lindy hop.

I’ve very interested in talking about ‘rhythm’ as a teaching tool. I think that it’s very useful for teaching beginners the essentials.

Bounce (that’s the beat, or the time of the song) teaches us how to swing and stay in time, but also teaches us how to find a common point of reference for our partnership, so we can stay in time together. It’s also a powerful tool for teaching people to engage their cores (and relax their upper bodies as a consequence), and to improve their fitness (because it’s physically more work). It’s also – I very strongly believe – the most basic way for two people to dance together. You can just hold each other in your arms and bounce on the spot, and you’re dancing. It’s also (to get a bit essentialist here – I apologise), quite primal to bounce up and down to music with another person. Watching Josette Wiggins tap this weekend, heavily pregnant, I kept thinking: that is the point of this. We know how to do this, right from birth.

I also have quite a manically obsessive hatred of dancing that rushes the beat. Especially since taking tap classes. It really, REALLY shits me to have people in class rush the beat and make a basic rhythm speed up. Teaching, we see beginners do that at first (because humans do), but everyone of them can stop doing it within half an hour of their first class. If I’m in an intermediate or advanced lindy hop class and people speed up, I want to SCREAM. Because the people who do this are the people who don’t bounce.

Tap dancers don’t bounce, but they do have a shared sense of time. Bouncing is kind of a cheat, because it makes it easier to feel and find that shared sense of time. Tappers have that sense of time in their brains and bodies.

Teaching ‘steps’ or ‘footwork’ as rhythms instead is very exciting. Straight away, the students learn that rhythms are central to what we do, not just an add-on to the shapes or ‘moves’. And lindy hop is special: the syncopation of the triple step is so important.
After the speeding up of basic rhythms, I really hate it when people flatten out a syncopated rhythm. I think it’s something to do with tighty whitey dancing: lindy bro leads are the absolute worst for rushing the beat and flattening out syncopation. I know that follows tend to be a bit more behind the beat, but PLEASE: TAKE CARE OF THE RHYTHM! It feels so naff – why are you rushing?
I feel as though this issue is related to the tension between hot and cool in African American and African dance. Be cool. I’ll need to think more about that, though, before I can articulate it properly.

Scatting is essential. Again, the Swedes have always done it, because the old timers have always done it. Norma Miller rants about it. And I’ve transitioned almost completely to teaching entirely without counts in class. It’s a joy. I scat all the time now, to the point that I can’t actually turn it off when I dance.
I generally find that ‘1 2 3 4 5 6 7 8′ even with ‘ands’ in there simply aren’t complex enough tools for describing what happens in jazz dance. The beats don’t divide evenly into single beats or half beats. Just syncopation alone is far more complex. There’s a difference just between the timing of a stomp off and a triple step that counts can’t reflect. I find it much more useful to use sounds that sound like the way a movement feels. Which I guess is like reverse-engineering dancing to music. So if we do start with the music first, a musician plays a series of notes in a particular way, and then I find a way to make that sound visible with my body. Counts don’t really come into it.

I suppose what I’m really talking about is a profound ideological shift in approaching dance. From a very anglo-western, ‘scientific’ concert/performance approach, to a more ‘African’ or African American vernacular approach. From thinking about dance and music as things to be performed, watched and consumed, to things that should be created, participated in, enjoyed, eaten up and shared.

I wrote about ‘pavlov’s lindy hopper‘ a little while ago, where I talked about how watching other people dance does things to your brain: it fires you the bits of your brain that perform those movements. Particularly if you’re familiar with those movements. Dancers often talk about not watching dance clips before bed because it fires you up.
I suspect that scatting works this way. When we scat, we physically make the sound that the music makes, and that triggers something in our brains. So we move from just ‘observing’ or ‘consuming’ music, to participating in music. If dancing is a way to participate in music, then scatting is the natural bridge between the two. Or more usefully, it’s the olive oil that marries the flavours.

WHAT does all this have to do with Sea of Rhythm?
Well, I think that this is the HEART of what was happening. We know that tap dancing is a way for dancers to ‘join the band’, to make the sounds that they are dancing, rather than just ‘making sound visible’, they ‘make visible sound’. In the African dance class on the weekend, I think that this process was made very simple and clear.

We began by sitting in a circle, with our feet in, and this was called the ‘circle of life.’ Now, if you’re immediately made uncomfortable by that sort of talk, you might want to get a grip. It’s not so much hippy talk as a different way of talking and thinking about the role of music and dance in everyday life, from another culture. Anyone who’s been to a lindy hop class knows how important circle formations are to group dynamics. When I was tutoring, I’d make all the students sit in a circle, because it made it much easier to manage behaviour problems: people wouldn’t be able to sit in the back and dick around. They had to be right there, facing everyone, and accountable for everything they said and did. They had to be part of the group. And anyone who’s ever done a big apple (called or social) knows how circles make you feel. And of course, ring shouts make the roots of Africa so clear. All the tap classes over the weekend used circles as well – we’d stand in a circle and take turns doing step or a time step. And haven’t we all seen how a jam circle works? What it does to our brains and bodies to be leaning into a circle when the music is hot?

In our African dance class, we all sat in the circle of life, and our teacher was there, with us, part of that circle. Our teacher, but one of us. He explained what we’d be doing, and what his background was, and how things worked.
Then we moved to another part of the room, where the drums were set up in a circle. We all took a drum (or shared one), and began learning some simple drumming techniques. Our teacher would say something like ‘the rain is coming, gently’, and he’d tap a gentle tappity tap, and we’d just join in. And so on. The important points: he’d just begin, and we’d just join in. Then we stood up and started learning a routine. Our teacher would drum and we’d dance. I didn’t have any moments of feeling shy or uncomfortable. It was really fun, and we all felt really excited by this stuff.

I knew that this would be fun and exciting, but I didn’t quite anticipate what it would mean to have my teacher drum. He could vary the tempo, the length of time we spent doing each step, and how we felt. It was very exciting. And because we’d first learnt to drum the rhythms ourselves, it was as though we’d skipped scatting and gotten straight to the heart of it.

This was really the message of the whole weekend: we have to take care of the rhythm. It was also made very clear that we each had a responsibility to make the rhythms clear and sharp. Each of our teachers worked on us with this: our tap teachers, our African teacher, our solo jazz teachers, our lindy hop teachers. You have to properly understand the rhythm, before you can dance it. Or rather, you can only really understand the rhythm if you dance it.

This meant that the entire weekend the focus in all the classes wasn’t so much on ‘learning a move’ and then perfecting it, as learning a rhythm (or creating one!) and then figuring out just how many different ways you could dance it. Of course, the unspoken (and occasionally spoken) emphasis here was on individual personality and creativity, but in a collective environment. It’s quite an exciting approach, because mixed level classes suddenly become a real advantage: here is a room of people who are really diverse and different, which means you have a WHOLE ROOM FULL OF PEOPLE to inspire you, that you can suck inspiration from, who’ll fire up your creativity. How will you make this rhythm work with someone who’s never danced before? Or when I was was dancing with a pre-teen boy tap dancer in a beginner lindy class: how do I make this work with someone half my height and feeling weird about holding a grown woman in his arms?

I think it goes without saying that all weekend there was this absolute TRUTH that there is no distinction between ‘solo dancing’ and ‘partner dancing’. Even when we were dancing alone – or perhaps most when we were ‘dancing alone’ – we were actually part of a group, dancing together. This is where that whole thing about speeding up the tempo comes in: we were a group, so we all had a responsibility to take care of that rhythm and not speed it up or flatten out the swing or syncopation. Tap made this particularly clear, because we could hear the differences, and we had to bring everyone with us. It was a marvellous tension between uniformity and diversity. We had to be together, but we also had to be uniquely ourselves. We had a responsibility to contribute to the group, and to be responsible for our own actions. This approach meant that respecting each other was just taken for granted.

And the best part is that when we come back to our lindy hop, we can still throw down and do solid, hardcore lindy hop. No hippy stuff; just fucking hardcore lindy hop. All this stuff sort of fills in the backgrounds and body of our dancing.

It was quite a magical experience, really. It reminded me so much of the Frankie stream at Herrang. This is what it means to be a jazz dancer.

Herräng report: part 1

Well, it’s 6.30am, and I’ve been awake since 5. My sleep cycle is well and truly borked. Curse you, jet lag. Why is that staying awake while flying around the world in a plane is more disruptive than staying awake dancing, eating, laughing, and talking in irregular patterns over several weeks?

I’m back from two weeks in Herräng (weeks 2 and 3), and a bit of time in Stockholm, and I’m taking a few days before I go back to work. It’d been ten years since I’d been to Herräng, and things had changed a bit. For one, things were more organised, which was a relief. The scale had also leapt: more places to eat, more people, more dance floors, more things to do. I was there to dance and DJ this time, rather than to ‘research’, so I approached each day in a different way.

I have lots of things to talk about, but I can’t quite keep hold of my thoughts, so I’m not sure how coherent this will be. Things I’d like to talk about, in no particular order:

  • the ‘how to DJ session’ in the library in week 3;
  • the way the insistence that Herräng is about lindy hop, and lindy hop is ‘such a happy dance’ makes it difficult to talk about problems or serious issues within the dance and event;
  • the somewhat disturbingly uncritical ‘spread the dance/grow the community’ discourse that dominates and justifies most activities (including a particular brand of cultural imperialism);
  • gender politics in the DJing and dancing culture of the camp (and the way critical engagement with this is forestalled by the ‘let’s just have a nice time/hedonism is us’ vibe);
  • the sheer joy and wonder of the Frankie Track in week 2;
  • teaching practice, and the balance between content and practice;
  • the effects of a coherent teaching approach in the Frankie Track versus the usual overall relationship between individual workshops at a dance weekend. I will say this: the Frankie Track was amazeballs because all the classes were linked by a coherent theme and concept: teaching Frankie Manning’s content, teaching classes in the way he taught classes, emphasising his priorities (MUSIC! PARTNERSHIP! SIMPLICITY! RHYTHM!), drawing on the old timers’ approach to learning dance generally…. and MORE;
  • the challenges and excitement of the beginners’ half week of tap in week 3;
  • the ebb and flow of energy and people and vibe over the course of a week;
  • economic factors and the effect of the Herräng Dance Camp’s decades of involvement in this small town’s economy and society;
  • the Swing Kids, Swing Teens and the way having children in the camp in week 2 provided social balance to the ‘hedonism’ of the camp, which was largely lost by the end of week 3;
  • hierarchies, power, and privilege in the camp;
  • the wheeling and dealing and networking and lobbying for work behind the scenes, from teachers, DJs, and organisers;
  • labour, work, gender, and knowledge in the Herräng economy;
  • mindfulness, computer literacy and online culture in camp (and how this had changed in the ten years since my last visit);
  • mindfulness, work, obsessive personalities, and the luxury of time in tap dance;
  • the argument that all DJs should learn to play a musical instrument if they want to be ‘good DJs’ (and the associated issues of power, time, labour, gender, and power);
  • sex, sexualisation, gender, and scoring a root;
  • the significance of Herräng’s place in Europe, and how this affected people’s attitudes to same-sex sex and gender. And how these progressive attitudes were ultimately subsumed or overshadowed by the overwhelming heteronormativity of modern lindy hop;
  • food, nutrition, body image, and the importance of the shared table at Herräng: my favourite part;
  • defining ‘swing’ music, and Herräng’s emphasis on classic swing era big band jazz, and how this affected DJing styles and set content, and dancers’ responses to music. Relatedly, the tension between modern day dancers’ learning to play music, the accessibility of small NOLA or hot combo style jazz versus the inaccessability of big band jazz for new musicians (ie dancers tend to play in small, hot combos which aren’t what Herräng values, but Herräng does value live music and independent creative projects very highly…. the tension needs a bit of discussion, I think);

As you can see, I have approximately one million things to write and talk about after my time in Herräng. One looming largest in my brains is DJing, as I was a staff DJ in week 2, and one of only 4 women out of 16 staff DJs in the 5 week camp. There were a number of volunteer DJs in the two weeks I was there, but not a whole bunch of them. A higher proportion of them were women than men.
I have a few things to say about how gender, networks of association and labour, and the professional skills required of DJs (primary of which is networking, in this case) work in Herräng, but I don’t really have the brains to articulate them properly here. In sum, though, I was very surprised by how few women DJs there were, after the last couple of years in Australia where women far outnumber men in the higher, most experienced ranks of lindy hop DJs. To the point where for the last MLX I had only one male DJ on the DJ team.

My approach to hiring DJs for events is to look for the most capable, most professional, most skilled, most useful and talented DJs, regardless of gender. They need to be not too over-exposed, and yet still have a degree of popularity with dancers (ie, be ‘in demand’). They might not be quite where they should be, in terms of experience or expanse of music collection, but I’m willing to invest in someone with promise and a good, strong work ethic.
I think that the reason I end up with more women than men, is that I actively seek out DJs, rather than waiting for them to approach me, and I put quite a bit of work into long term development for DJs. My own gender is probably significant too, though I’m often described as ‘intimidating’ by other women. But I’m very yolo about that: life is too short to worry about whether you intimidate other people. And I know other DJs and DJ organisers who are both male and very approachable.

I find that male DJs are more willing to put their hands up for gigs (to approach me for gigs) than women, and that women DJs are more critical of their own DJing, needing more encouragement, and also looking for more critical feedback on their DJing. The latter makes most women much better DJs (because they are open to improving, and open to communicating about their own DJing, and less defensive about their DJing), the former makes women less excellent at developing professional networks and ‘taking risks’ by applying for jobs they might not be ready for. They tend to play it too safe, and be more intimidated by hierarchies. There are male and female exceptions to these things, but very few. Very, very few.

My approach involves long term planning and development, including encouraging newer DJs, providing references and recommendations for new DJs with smaller events (so they can get the experience I need for the bigger events I work for), and keeping my local scene networks healthy – talking to people in different scenes to keep my finger on which DJs are looking and sounding good, and good to work with.
I’m also very keen on providing working conditions which make DJing more accessible for people: friendlier, safer, healthier, clearer (guidelines, etc), equitable pay, an open DJ recruitment process (so people know who to contact and how if they want to DJ, rather than using a quiet system of personal networks), and I am quite aggressive about getting feedback on my own work, and on the DJs’ experiences, so I can keep improving things. I think this transparency is the most important part of encouraging diversity in the DJing team: I am open about my ideas, process, and thinking.

Dargoff was the DJ coordinator for Herräng, and he was just a joy to work with. I don’t know his policies or approach to booking DJs for Herräng, so I can’t comment on them here, but I couldn’t find fault with his work. There are, however, broader systemic issues which make it harder for women to get into these higher profile DJing gigs which require active, fairly aggressive strategies from organisers to overcome. I simply don’t know enough about how Herräng works to be able to comment on this, though. And I don’t even know who organised the DJs in previous years. But I do have some ideas about international DJing culture, and most particularly DJing networks and interpersonal and professional associations which might be useful in this discussion. Again, my lack of experience here makes me reluctant to comment more. I have some ideas, but I just don’t think I know enough to start speculating.

So, when it comes to my experiences DJing at Herräng, I give it a big thumbs up, and I give all my fellow DJs, Dargoff, the huge sound crew, and the event organisers a big huzzah. It was a really great experience, and while challenging in some moments (looong sets are loooong), I would absolutely leap at a chance to do it again. I feel privileged and honoured to be a staff DJ at an event I admire so much, and I learnt SO MUCH about DJing over the two weeks I was there. I also made some new and good friends, and realised I have a lot to learn about the international DJing scene.

I also realised Australia is really isolated from the rest of the lindy hop world. This makes it harder for DJs to crack the higher echelons of DJing, but it has also had effects on our approach to labour and pay and professionalism. Overall, though, I’d say that Australia has quite a few DJs who are not only as good as, but better than some of the DJs I heard in Herräng, and that our lindy hop scene as a whole is something to be proud of. We aren’t a cultural backwater, we’re just a really distant tributary.

Do all the things

Omg I am so busy. SO BUSY.

Next Thursday I fly to Melbourne for MLX, the biggest, oldest, best lindy hop event in Australia. It’s fucking great – if you’re coming to Australia to dance, come for that. Nothing else comes close, and Melbourne is a great city. Weather is shitty, but there are good pubs. The music is THE BEST.
I’ll be head DJ for that, and the increasingly ambitious MLX program has made my job trickier this year. The number of bands: HIGH. I aim to dance until I might chuck. Yeah, that’s me running from the dance floor with my hand over my mouth. Super professional.

I get back on Monday. On the Wednesday our little teaching venue is hosting the charming singer Hetty Kate and the phenomenal guitarist Ian Date for a once-off ‘Swinging at the PBC’ gig. Every time I describe Hetty Kate as charming, or see her being described as ‘lovely’, I lol, because she is the saltiest arsekicker femme ever. We are very lucky to have them do this gig for us: Ian Date is now based in Ireland, and Hetty Kate is based in Melbourne.

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That’s the very awful ad I made. I wish I could have a solid designer on my staff to whip up these ads at a moment’s notice, because I need approximately one million items a year to promote things online and face to face.
I think it’s worth pointing out that Hetty Kate has the best online presence I’ve ever seen in a jazz musician. She has a lively, interesting instagram account, which was particularly cool to follow when she was recording with Gordon Webster. She’s fun to follow on twitter, she has a fab website, which has everything a promoter needs: high-res photos, tour dates, downloadable posters, pdfs with bio information. She also keeps an up to date facebook page. And she managed a very effective pozible campaign, where she capitalised on a performing relationship with Gordon Webster to record a crowd-funded album. Working with Gordon is, of course, promotional gold in the lindy hop world – the guy has massive pull. All of this is just so great when you’re promoting her for events. Add to this the fact that she’s a very good ‘product’ – a great singer, an entertaining performer and a very together, organised professional – and she is the perfect musician to hire. If only 90% of jazz bands could figure this stuff out.

I am quite excited about this gig because I’m running it independently. It’s tagged on the end of our classes, which we teach through a big dance school, but this social dancing bit is independent. I just thought ‘fuck it – let’s have a good party.’ I don’t care if no one turns up: it will be a brilliant fun time, and I figure: here’s a present for our group. I run a lot of events during the year, but this is the first one I’ve run completely independently. Well, there are still a lot of people involved, working the door, teaching with me, helping put the band together (there’re more musicians than just Hetty Kate and Ian), etc etc etc. But this is the first time I’ve gotten up the guts to do it all on my own. WINNAH.

On the Thursday after that, the teachers for the Little Big Weekend arrive, and the classes begin.

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The Little Big Weekend kicks off officially on Friday night. I’m running this one, too, but I run it for the dance school, which means they fund it, but I plan and manage it, and work with a few superawesome people to run it on the weekend. It’s not possible to run a good event entirely on your own, and furthermore, it’s not a good idea: get other people involved to save your sanity, but also to give other people a chance to get involved in event management. The more people with more skills in your local scene there are, the higher the quality of the events, the greater the range of event types and styles. Diversity is good for lindy hop.
This is the fourth Little Big Weekend (they’re biannual), and it’s the most ambitious. Leigh Barker’s band the New Sheiks is coming up to play the Friday and Saturday night gigs, and they’re part of the Melbourne Rhythm Project. The MRP is a collaboration between dancers and musicians – lindy hoppers, tap dancers, guitarists, pianists, trumpeters, fiddle players….
They will be performing at the Saturday dance, but the dancers are all coming up mostly to hang out and be a part of it all. There are only three main workshops on the Saturday, but the third one will involve the musicians playing in-class, as we look at musical and dance structure and history.

This is exactly the sort of thing I LOVE, so that’s very exciting. And it’s very very nice to finally get to work with Leigh on a project after such a long time emailing and talking online, and chatting in person. Even if the entire weekend collapses (which it won’t – we’ve sold out of workshop passes already), we are still WINNAHS because we are trying something very interesting, and right in our own creative and professional ballparks. And it will be MAD FUN.

But that’s not all there is to the Little Big Weekend. The Speakeasy kids are flying in another Melbourne act: Andy Swann’s band. He’s been involved in lindy hop almost as long as I have, and he has mad skills. That party is already fully sick (at the last one I nearly did chuck up because I was dancing too much), so I’m not sure I’m physically capable of handling it. That party is one of the main reasons we don’t have Sunday workshops: it is not physically possible after the Speakeasy. The Speakeasy is the sort of late night party where people can dance seriously hardcore lindy hop, and then find that they’re just dancing all over the place. Not ‘solo dance’, but just rocking out. And the band usually bring their girlfriends (yes, the bands are all straight men. I’m working on that, though) and friends and they get up and just rock out, and it is awesome. There’s really good food, a blues room, a nice cool, quiet room to chill out in (I rarely avail myself of that – I like to keep on rocking). When the band ends at 4am you think ‘wtf? we just got started!’

Anyway, the week after that we don’t have any classes to teach because our venue has finished for the year, but I’m off to Melbourne again for Sweet n Hot to do some classes with ‘Skye and Frida’. Seriously doods, why doesn’t anyone ever list the follow’s name first? I mean, Skye is great and everything, but Frida is freaking powerhouse. She has unmatched dancing experience, talent and knowledge. I have booked a nice, quiet single room studio space on airbnb, so I’m going to chill. Hopefully there won’t be any chucking up on this trip.

Then it’s back to Sydney for a nice, quiet christmas. Until January comes, and new plans are set in place, and shit gets even realer.

I like what I do for a job, but sometimes I worry that dancing isn’t really important enough to spend this much time thinking about. But then I remember that running a business and being an event organiser and teacher and all that is actually a lot of work, requiring skills that are useful in all sorts of businesses. And dancing brings people joy, and sends joy out into the world. I could be working in fucking retail again, for fuck’s sake. But dance is about empowering people, and I think it’s important. THE END.

To sum up, here is Norma Miller being fabulous again:

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Someone replied to my posting this by pointing out that the show itself didn’t seem so bad. That was interesting, but when I read Norma’s comment, it didn’t occur to me that I should engage with her criticism of the show. Who knows what that show’s like. I was reposting her criticism because Norma Miller is exciting. She makes me feel strong and reminds me that you need to be confident and loud and powerful.

My response was:

The thing I like about this is that Norma Miller is a confident black woman who calls herself ‘Queen of Swing’ calling out some dood who made a stage show, on public media. She just doesn’t give a fuck – she has a point to make.

Every time she calls someone out or declares, with confidence, that she is THE BEST, I get excited, because women aren’t allowed to do that in lindy hop. I bet no one sends her hate mail. Or if they do, she finds them at a party, stands really close to them and gives them the biggest telling off OF THEIR LIVES.

She’s fearless. FEARLESS. And for an older black woman living in America – that shit is AMAZING. …fuck, for a woman living anywhere these days, that shit is SO INSPIRING.

So I don’t even care one bit about that show or what it’s about. This is a story about how awesome Norma Miller is.

I love her comment, because she’s obviously doing a bit of self promotion (queen of swing), she’s calling bullshit, she’s shamelessly stroppy. And that’s what’s so exciting. Women aren’t supposed to be these things. We’re supposed to be shy and meek and modest. And Norma is not.

So, I’m going to end this post with this nice little quote which I found on I hope you like feminist rants:

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I think that a lot of women would like to do more organisationally things in lindy hop. We’re not all designed to be the famousinternationallindyhopcelebrity. There’s so much body image shit going on there, so much gender crap about working with male partners. But if you are ambitious, and you do have ideas, and you want to just do more than dance in lindy hop, there are lots of options. Start small, and work up. You don’t have to run events or DJ or do stuff like that. There are other cool things.

You could start a once-off performance group with two friends. I’ve done this many times, and it’s great. You mightn’t do the best performance ever, but the process will teach you SO MUCH. You could work the door at a dance. Sure, it’s not glamorous, but the people who work the door, bump in and bump out of dance events are the ones who make the whole thing possible. It’s like the office lady at uni: she is the most important person in the department. And seeing how an event works in front-of-house teaches you how important it is to have a friendly face greeting first time dancers: lindy hop scenes are built on welcoming dance spaces. You could design and make dance costumes. You could design decorations for dances. You could learn to work sound gear (please, please do this and come and work for me – I NEED you! I will CHERISH you!) There are so many interesting options!

For example, Sydney Lindy Hub is run by a woman. This cool guide is the most thorough, most comprehensive guide to swing dancing in Sydney. There are quite a few guides to jazz music for dancers around. I ran one myself years ago in Melbourne. But this one does it right. What’s so great about it? Firstly, the listings are comprehensive. You’ll find all the band gigs, all the DJed gigs, all the dancer-run gigs, all the council run gigs, all the musician run gigs, all the live music venue gigs there. This thoroughness is the result of good research skills and – even more importantly – good networking. People contribute gigs to SLH, they contribute reviews of gigs, and they are engaged with the site. This is a total WIN.

This engagement is a product of the guide’s cross-platformness (a website + FB + twitter), but also of the administrator’s style. She responds to people positively and with enthusiasm, and she’s proactive in her support of events. I never get a chance to send her my event’s details, because she’s already on it. I never get to suggest live music gigs, because she’s already there. As an organiser, I see SLH as an essential promotional tool, so it’s in my interests to engage with it (and with the administrator), but it’s also a pleasure to engage with it, as it’s so useful and productive.

I like the positive, inclusive tone of the listings. I LOVE that SLH encourages people to go out and review gigs. It’s easy to just list a heap of gigs, but it’s the dancers’ reviews that make this site so powerful. The up to date listings help make SLH a really useful social calendar as well. People organise their nights of dancing around SLH FB posts and listings.

And finally, SLH is perfectly positioned in this moment in Sydney. There was a bit of a decline in organised dance events a few years ago, and SLH slipped in just as local dancers were getting really desperate for social dancing. I think that Sydney dancers’ current passion for live music (and fierce enthusiasm for seeking out new gigs) is largely due to the role SLH plays in the swing dance community. It brings people together, it’s a useful information tool, and the tone is light, fresh and enthusiastic. WINNAH!

I don’t think the administrator’s gender is particularly important in the general scheme of things, but if we are talking gender, and we are talking about how seeing other women inspires women, then I do think it’s important. For me, it’s important to know that I’m part of a network of creative, ambitious, enthusiastic women in lindy hop. It really helps to know that I can ring up a woman organiser in Melbourne to talk about how to manage employing international teachers. It’s exciting to get a call from a woman oragniser in another city who wants to do a collaborative project. And it’s just so NICE to get together with other women organisers at exchanges to just talk shit and then DANCE like fools.

And then, it’s even more thrilling to see women doing things like organising the Melbourne Rhythm Project (Ramona is a driving force there, though I think it’s a pretty collaborative project generally). It’s really creatively stimulating to get together with other DJs (male or female, though increasingly female – we have so many great women DJs pushing up to the top tier in Australia), and I am particularly fond of a woman blues DJ in Melbourne, Manon von Pagee, who has such fascinating observations about DJing for blues dancers. Which I just don’t understand. And, finally, it’s wonderful to be on a dance floor where I know there are heaps of other women leads, so that I’m just one of them. I’m with my peeps.

Men are important and great too, but when there’s so much bullshit in your everyday life, telling you over and over again that you should shut up and be invisible (so you don’t get harassed on the street, sent nasty emails, challenged in dance classes, critiqued on the dance floor), having a couple of powerful women figures out there doing shit is so important. Norma Miller, you are loud and stroppy, and I mightn’t always agree with your opinions, but by fuck: you make me feel powerful.

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The influence of Frankie Manning on my lindy hop history

As I mentioned in the Frankie Fest post the other day, we’re teaching Frankie Manning themed classes this month at our weekly class. That means Frankie Manning themed lindy hop in the first class, and then Frankie Manning themed solo dance in the second class. Although making the distinction between the two seems to deliberately misunderstand exactly what Frankie Manning – and jazz dance – are all about.

I’m going to see if I can write a few blog posts about Frankie Manning, or, rather, using Frankie Manning as a jumping off point for some ideas. We’ll see how well things go – I’m not all that together in the longer-form writing way at the moment.

This is a post about how Frankie Manning moved into and out of my understanding of lindy hop. This is a story of personal growth (goddess, how I hope it’s about growth), not really about Frankie himself. If you want that story, you should read his autobiography.

Oh, yeah, Frankie Manning IS the best!: late 2000s and early 2010s

Frankie95, the massive birthday party for Frankie Manning, which he just missed out on seeing, seemed to suddenly change everything. It’s true, you know, you don’t know what you’ve got til you lose it. You don’t miss the water til the well runs dry. And the Silver Shadows, the most popular, and one of the most highly skilled lindy hop performance groups in the world at the time reminded people that Frankie was wonderful:

Frankie95 day3 Performance Silver Shadows tribute to Frakie Manning:

It feels, now, that the generation of international teachers being flown to Australia to teach (people like Thomas and Alice, for example, who taught a ‘Frankie class’ at Jumptown Jam last month), who mightn’t have been into this stuff in a big way before, are suddenly falling in love with Frankie Manning all over again. Or for the first time.

I’m feeling a profound sense of déjà vu. The steps that I first learnt to dance with – pecks, stomp offs, mini-dips – are now chic again. I’m not complaining. But I think that for a lot of dancers, the technique-heavy smooth style phase and then the popularity of blues dancing gave them the technical skills to really appreciate what Frankie Manning was doing, particularly in his later years. And I also think that the influence of Steven and Virgine in Melbourne (particularly during that 2000-2004 period) was very important. While their dance style was definitely juicier and groovier, their experience with Frankie Manning definitely informed their teaching, and Frankie’s understanding of music and rhythm and dance shaped the Melbourne lindy hop scene, even indirectly.

For myself, I think that Frankie himself makes it very clear that to be able to dance well, it’s just as important to able to shake your arse for Shiny Stockings at 120bpm as it is to move your arse at 230bpm with Jumpin’ at the Woodside.

Understanding Frankie’s bum and feet and hands and everything: early 2010s Sydney

Now that I’m teaching (again – the last time I taught was ~2002), I amazed by the content Frankie was teaching beginners:

Frankie Manning teaching in Denver, CO 2007:

That little sequence is quintessential Frankie Manning. He just assumed that if you were learning lindy hop, you were going to learn a complex sequence of rhythms and steps, and that that was going to be the heart of your dancing. Most lindy hop classes I see these days assume that beginners will be learning simple movements and that this sort of rhythmic work is a ‘variation’, an optional extra for more advanced dancers.

When I first started learning, this little film shows the sort of thing we learnt – in fact, I can still remember learning pretty much this exact sequence way back in about 2000. I strongly believe that this stuff – these rhythms, this use of open position, this combining partner work with individual improvisation – is the very core, the absolute essence of lindy hop. Without it, you’re just… well, you’re just doing something else. You’re not lindy hopping.

I know that right now, I’m really only beginning to properly understand just how amazing he was, even in his 90s. There are no modern dancers today who can approach his skill level. Let alone his choreographing ability. I think we are so lucky to have had him, not just in the early days of lindy hop, but most especially in the revival, when we really needed, as a community, to be taught not only how to dance, but how to love dancing and to be good to each other.

I think these interviews with today’s lindy hoppers talking about Frankie Manning at 90, at the 2004 Herrang Dance camp make all this clear:

Women’s History Month: some thoughts at day 6

It’s women’s history month again, and I’m listing a different woman musician from the first half of the century every day (as I explain here). Last year I did a different woman dancer every day, and that was super great fun. I’m enjoying the women musicians, but I haven’t really had a chance to research or push myself, as I’ve been away at a dance event for most of this month. And today, I’m still feeling a little tired and rough, so I’m not really ready to push myself. Tomorrow. Tomorrow.

I did decide in that first post of the month that I’d only dance as a lead this month, as a way of exploring International Women’s Day and Women’s History Month and what it means to be a woman dancing. Well, actually, I just decided that on a whim, without much thinking at all. I don’t follow much these days as I’m really trying to get my leading up to snuff, and the best way to get better at dancing is to dance. And as every lead knows, the real challenge comes on the social dance floor, when you need to come up with a series of moves, connect with your partner and attempt some sort of creativity all at the same time.
We won’t even mention the battle to maintain the fitness and aerobic capacity lindy hop demands.

I have to say, it hasn’t been hard, because I get to dance with amazing dancers, most of whom are my friends. And I’ve learnt so much in the past month or two it’s kind of scary – I suddenly find myself stretching and expanding my skills, pushing myself to try things that I’d never have tried before. But it’s certainly meant a bit of rethinking the way I operate socially at exchanges and dance weekends. My weekend pretty much felt like this:

I mean, the biggest change for me this past weekend in Melbourne was simply spending very little time with men. I have lots of lovely male friends, but I only danced with two of them this weekends, and I discovered that I just didn’t end up spending as much time catching up with blokes as I usually do. :( I think that’s mostly because I’d be chatting to some chicks, and then a song would start and one of them, or I would say “let’s dance!” and then we would, and then afterwards I’d end up mixing with chicks and chatting. Rinse repeat. This of course means that the men in the dancing scene need to man up and start with the following, because I refuse to miss out on their dancing wonderfulness! Good thing Keith and I got to DJ together, or I’d hardly have spent any quality time with a bloke at all this weekend. And that is UNACCEPTABLE.

Workshops on Sunday were fun. I learnt a LOT. And I did a private class with Ramona on Friday, which kind of broke my dancing for a bit, and then suddenly it all came back together and I was a dancing machine on Saturday night. Blues dancing: still a bit too dull for me atm. But then, only boring people are bored, and that’s doubly true of dancers – only a boring lead is bored. I need to woman up.

The DJ Dual with Keith went really well. In fact, I had the most fun DJing I’ve had in ages and ages. We ended up trading three songs until the last moment when we played alternative songs. I think we would have liked to continue for another hour or so, trading single songs, as we got more confident and figured out the skills and tactics we needed. But we’d been DJing for an hour and a half by then, so we might’ve gotten a bit tired. And I had to go in the jack and jill, and I’m not sure it would have been ok for me to DJ the competition I was in. Overall, it was nice to have a bit of a challenge, and it was nice to work with a friend I like and have lots in common with musically. But he is a bit of a sly dog, and wouldn’t tell me what he was playing next, most of the time, so I had to keep on my toes. But that was actually even more fun. DJ Dual: LIKE.

NB There were THREE women leads in the jack and jill competition, and one got through to the finals (in a group of six leads)!!11!1 That photo above is one I lifted from Faceplant – sorry I can’t remember whose it was. It’s of the J&J, I’m in there, and so is at least one of the other female leads.

Now: NEED MORE MALE FOLLOWS!!!

I ended up catching up with lots of internet friends over the weekend as well. Which is always a bit of a push, but well worth it. The best part was walking into a cafe, saying “Hello, I’m Sam, nice to meet you!” and then barrelling into an hour of solid, hardcore talking as though we’d known each other for years. Which we have, really. Just not in person. This trip I went for smaller catch ups, rather than bigger groups, because I wanted to get a chance to actually connect with everyone and I often don’t get that at bigger meet ups. But that also meant I didn’t get to see everyone I wanted to. Oh well, good thing I go to Melbourne regularly! I’m planning another trip in May for the Frankie Manning birthday celebrations, so I’ll see if I can fit in the people I missed this time. But that sucks, because you’re still missing people! And then there are all the dance people I want to see off the dance floor! This is, of course, why exchanges are so much fun and so challenging – so many friends descend on one city for just one weekend you really need an enormous dance floor to connect with them all!

Righto, I’d better write up today’s jazz woman!

Most overplayed songs of MLX

Bizarrely, they came from this Preservation Hall Jazz Band album: “Preservation: An album benefitting Preservation Hall and the Preservation Hall Music Outreach Program”. It’s a great album, and I had it on my ‘must play’ list for the weekend. I was pretty sure no one else would be DJing from it – and then they did! It’s such a fun album. I love Angelique Kidjo shouting her way through ‘La Vie En Rose’, but ‘Blue Skies’ (featuring Pete Seegar) is my favourite. After Andrew Bird doing ‘Shake It and Break It’, which I overplay here in Sydney.

I actually play quite a bit from this album, but the most-played songs on this album at MLX were ‘I Ain’t Got No Body’ (feat. Buddy Miller) and ‘Between the Devil and the Deep Blue Sea’ featuring Paolo Nutini. Nutini is, apparently, a famous pop singer (?). I like him because his vibrato reminds me of Putney Dandridge. I’m pretty sure other songs from the album popped up in other places.

It was really quite nice to hear all these songs in all sorts of sets. It’s actually not a bad thing when the most played songs at an exchange are from a fund-raising album by a living band, and a living band of such high calibre.

Here is a video about the album. If you hunt around you can find some great videos of the recording sessions for this album:

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NB: I am a really big fan of the ‘American Legacies’ album they did with the Del McCoury Band (see another promotional video here) because it combines my current passion for string bands and bluegrass with hot jazz.

[Edit: Interestingly, Andrew Bird and the Pres Hall Band’s version of Shake It and Break It turned up at Snowball 2011 in Sweden this year in Nicolas and Mikaela’s performance.]

is this your cat?



is this your cat?, originally uploaded by dogpossum.

We saw this piece of A4 paper sticky taped to a pole in Balmain. There were hundreds of them. It’s a very Balmain type of poster. I couldn’t quite believe what I was reading. At the top it asks ‘IS THIS YOUR CAT?” and supplies a phone number and name to ring if this is, in fact, your cat.

THIS IS A LARGE BLACK AND WHITE CAT WITH IRREGULAR MARKINGS. HE IS FRIENDLY, BUT WILL NOT ACCEPT LIMITS.
WE HAVE LIVED WITH HIS UNWANTED VISITS FOR MORE THAN A YEAR.
RECENTLY, THESE HAVE MARKEDLY ESCALATED.
HE IS SERIOUSLY BULLYING TWO CATS IN NORTH ST BALMAIN, AND THIS
CANNOT BE ALLOWED TO CONTINUE