The now-infamous ‘Herräng no list’ came up in my interview with Ryan for his podcast. I’m not sure how it developed, but this ‘no list’ was a complement to the ‘yes list’, which sadly gets a lot less attention. These lists were playlists on spotify developed as a general guide to the type of music you may or may not choose to play at Herräng. The ‘yes’ and ‘no’ titles are typically Swedish. Functional. :D
The first year I DJed at Herräng (2015?), there was an actual booklety thing, setting out the same sort of information, but as a pie graph, with percentages.
Last year I made up a new version of this pie graph for myself. You can see it at the top of this post.
That’s three ways of saying the same thing: this is the type of music we’d prefer you play, as a staff DJ at Herräng. This is a fairly specific description, and it aligns nicely with Herräng’s branding as ‘vernacular jazz dance’ blah blah.
The rules for DJing at Herräng are as you’d expect:
Play swinging jazz from the 1930-40s (with a smear of 50s)
Don’t just lean on the standards
So really it should be a ‘do’ list, not a don’t list.
Does it sound like there are a lot of rules for DJing at Herräng? Not that I’ve noticed. In fact, DJing at Herräng is lots of fun because our bosses simply assume we know all this and won’t play any bullshit, then they just set us up with a time slot or a task, and say “GO.” And then we just go sick. There’s a microphone, there’re lighting switches, there’s a dance floor full of Europeans in a democratic socialist country with far too much daylight. NO RULES TIL BROOKLYN
Advantages of each of the ‘rules’:
You have to really work on your set, not just play your easy-win faves. This makes you work harder and play more interesting sets.
This is especially true because we are on staff for a week, playing every night. One set in a weekend means you can phone it in, but 7 or more sets in a week means you really have to stretch.
This makes the whole week more interesting for dancers, because they’re hearing a wider range of music (within a genre): they get a deeper taste of swing music. But it also makes it more interesting for DJs, and much more creative. You’re more likely to take risks. Here is the good bit. More risks = potentially more errors. But really good DJs know how to recover from errors, and how to avoid them.
So while a DJ’s collection is on display, their skills are too.
I actually love it. I come away from the event with a much better understanding of my collection, having played far more than my usual ‘safe’ songs. And I’ve heard sets that are far more than just a handful of Naomi Uyama and Gordon Webster favourites.
This seems obvious. Playing from the swing era makes for good swing dancing. I see far better lindy hop at Herräng, in part because the music makes it easier to lindy hop.
Less jump blues. This is one that caught me by surprise. I hadn’t realised how much I leant on 40s jump blues. Louis jordan, Big Joe Turner, and others. Wonderful, but when I pushed myself to limit the number of these in my set, again they improved. How? a) different rhythmic emphasis and structure to the songs, b) less vocal driven, more ensemble driven melodies and structure, and c) a shift away from jump blues = shift towards small and big band swing. More complex songs and arrangements. Much more interesting for dancing lindy hop.
So the point isn’t that the no list stops you playing songs. It’s that the no list asks you to start playing a whole heap of other songs. Songs that are just much better for lindy hop and balboa.
I know I come away from the event a much better DJ. Two thumbs up from me.
The other week in Herrang at the Bad Taste party, I was given permission to go off-piste. I’m usually very reluctant to go the stunt DJing route, but I’d spent the hour before my set in the DJ office listening to all the types of music that comes from New Orleans, but never gets played in the New Orleans parties.
It had gotten me thinking about the other rhythms that were part of African American vernacular dance in the 20s, 30s, 40s, and 50s, yet are carefully avoided by places like Herrang. Not to mention hip hop and street dances of today, which have much closer roots with black dance history than the contemporary lindy hop community.
I’d also spent most of the weekend tapping in one tent, while drummers and dancers from Ghana Guinea (thanks for the heads up, Bert) banged out insistent rhythms in the neighbouring tent. And scatting. And learning to understand, remember, and reproduce complex rhythms.
There’s a very interesting book called The Games Black Girls Play by Kyra Gaunt.
If I cut down the blurb for the book, we can summarise it as a book about skipping, clapping, and rhythmic games that black girls play in America.
…the games black girls play — handclapping songs, cheers, and double-dutch jump rope—both reflect and inspire the principles of black popular musicmaking…
…these games contain the DNA of black music…black girls’ games …teach vital musical and social lessons that are carried into adulthood. In this celebration of playground poetry and childhood choreography, she uncovers the surprisingly rich contributions of girls’ play to black popular culture.
One of the points Gaunt makes in that book, is that clapping, skipping, and rhythmic girls’ games teaches black girls complex rhythm recognition, reproduction, and improvisation skills. Both with their brains and their bodies.
When I was DJing that party, I had songs like this in my head:
Step Clap Go ad for clothes for teenaged girls from Target featuring Bad News From the Bronx steppers.
I’d also gotten a little angry in a history talk that failed to name or mention most of the women in the lindy hop partnerships, and also did some serious racefail that a couple of the Frankie Manning ambassador kids picked up. I know Herrang may like to talk about black dance and history, but it’s a very white place. And also quite a patriarchal one. So when women, girls, black kids, black women, and especially black girls speak up, they’re usually very quickly silenced.
With all this swirling through my brain and muscles, it’s inevitable that I ended up playing the clapping song:
I actually played it three times. And got into trouble for it from Lennart. But it felt quite wondefully cathartic to break the rules like that, to be openly defiant, and to say FUCK YOU to all the stifling genderfail, safespace fail, patriarchal white washing of black dance history that was going on. If we’re going to valorise lindy hop as a black vernacular dance, we are doing a very bad thing if ignore all the history of black dance after lindy hop. All the black culture after lindy hop that living generations of black kids and adults participate in and own. I’m absolutely not ok with being part of the strange exoticism of some white lindy hop culture that deliberately places this culture well beyond contemporary black cultural practice. A white woman playing a song for a bunch of white european lindy hoppers isn’t really revolutionary, but I was playing a song by a black woman, a song which is an adaption of a black girls’ rhythm game. And I was repeating it.
As a DJ, I think the stunt worked well. I played the song three times, but in between each playing, there was a stack of solid, hardcore swinging jazz. All upenergy, and all solidly within the ‘will make you dance the lindy hop’ genre.
What happened with the crowd? The first time they were quizzical, but tolerant. The second time they started losing their shit. The third time they were out of control, and I could see them literally leaping into the air all over the room, jamming, rocking out, even swinging out.
It was a punt, and three times was definitely enough (even in a week where playing the same song multiple times was the stunt de jour), but it did what I wanted it to do. It was in ‘bad taste’, it played on the crowd’s crazy/nervous masquerade night costume vibes, and it definitely took advantage of the hilarity of that night’s cabaret performances. The burlesque cleaning show in particular.
I would never do this on an ‘ordinary’ night of dancing at Herrang. It did remind me a lot of the crazed Twist party from a few years ago. Particularly a few songs later when they all formed a caterpillar, as my french friend called a congo line. I didn’t plan it, I didn’t encourage it, and I was a bit scared when my boss turned up halfway through the second song and asked what was going on. I definitely didn’t plan for the whole room to turn into one looping snake of chanting, dancing, scatting congo line dancers. But what I do think happened is that the perfect storm of conditions led to the sort of natural chaos that happens in Herrang sometimes:
– over-excited dancers wearing costumes that make them feel crazy
– the uptempo fun swing songs let them feel relaxed
– the clapping song said ‘the rules may be broken’ and was also exciting
– the repetition of the clapping song said ‘unexpected things will happen’
– the burlesque act with its mix of sexual and off-kilter humour stimulated people’s excitement
– it’s a _masquerade_ party, which means that people are masked/feeling permission to be other than their usual selves
– it was mid-week, when people are tired and also very relaxed.
Anyway, it was a very interesting moment. Me, I’m now obsessed with rhythm dances in a whole new way. Yes, it’s possible to get even crazier about this stuff.
Herräng uses staff DJs and volunteer/guest DJs for music each night on its three (or occasionally more) dance floors. There are also unofficial official staff DJs who provide music for the special themed Midnight Ramble parties in the library. Staff DJs are provided with a pretty good renumeration package (which I can’t go into online because confidentiality, but can discuss in person), and guest DJs are given free entry to the night they DJ.
Staff DJs’ duties include:
Regular meetings about DJing;
DJing every night for 7 days, at any time between 10pm and 11am the following day;
DJing in blocks of at least 2 hours at a time;
DJing to the Herräng music brief;
Being available for other themed or special sets (eg early RnB, shared sets, competitions, taxi dances, shows, band breaks, afternoon dances, etc);
DJing for lindy hop, balboa, slow drag, boogie woogie and solo dance.
And usually a few other random things are expected of you (eg dropping in to meetings or talks about DJing and music, mentoring or riding shot gun on newer DJs’ sets, being ‘around’ and participating in camp life).
All of this is most excellent fun, very fulfilling, but quite tiring. It is definitely a full time job. And the role requires professionalism (being on time, having all the gear, being good to work with), practical skills (knowing how to work a mixing desk, how to DJ comps or special dances, mic skills, can keep the floor not only full but exciting and interesting for several hours), and a solid musical collection.
All the DJs I’ve worked with at Herräng have extensive music collections (far beyond the lindy hopping ‘favourites’), and devote hours each week to preparing sets and making sure they have an idea of what they might play. This preparation is a continual response to what’s happening in camp, the music they hear each night, the bands playing each night, and the general mood or vibe of the event.
And all the staff DJs also have a creative instinct that makes them suggest ideas for special sets, shared sets, or just general party ideas.
Volunteer or Guest DJs have a different job.
They are booked on a per-set basis, doing one set at a time, usually for one to two hours only, and may not be asked to DJ again during their stay. They must also play to the Herräng music brief, and submit previous set lists. The usual professionalism and practical skills are required. Most of the guest DJs are also then recommended or vetted by an experienced DJ or dancer.
Basically, you can’t just walk in and ask to DJ then score a spot. This is as per normal for any large, reputable event.
The Midnight Ramble DJs have a different role again. They usually have very specialised collections and/or skill sets. eg they may DJ an early RnB set, a latin set, or a slow drag set. This means that they have extensive collections of these types of music, and special skills. They’re often DJs who use vinyl or shellac, and are vastly experienced, working with the particular demands of this themed room/party.
All Herräng DJs are managed by the DJ managers. This year and last, the managerial role was shared by two very experienced DJs who also have a lot of experience with Herräng. This year we were lucky enough to have Meghan Gilmore (Canada) and Jonas Larsson (Sweden) as our managers.
Each day the managers liaise with the various stage managers, event managers, and other Herräng staff to put together a program of DJed music on three (or more) dance floors that begins at 10pm and can end as late as the first class in the folkletshus ballroom (ie 11am or later). This program juggles live performances by bands and other acts, the evening meeting, the demands of particular parties (eg Midnight Rambles, the beginner hour, balboa nights and so on), and each DJs’ skills, preferences, and workload. There are frequently last minute changes to the program, and both managers and DJs need to be able to respond enthusiastically, calmly, and competently to changes.
Meghan and Jonas were the best DJ managers I’ve ever worked with, in ten years of DJing. They were calm, professional, and very excellent company. They know HEAPS about music, are very experienced DJs, and were just wonderful to work with. I felt that they really had my back and were supporting me at all times. Even when my laptop died on day 1 of my contract, they were right there holding my hand. Or at least sending me comforting fb messages. They also knew how to lead, and how to put the breaks on madcap schemes that were a little too madcap. DJs can be quite headstrong and a little too sure of themselves (and their schemes) sometimes, and both Meghan and Jonas were very good at curbing in some of the less sensible scheming. Which I think is very important. I want to know my DJ managers have limits and a clear sense of what they want, and what is achievable, so that I can just go ahead and be full-on DJ nut, knowing they’ll say No when No needs to be said.
Meghan and Jonas also put quite a bit of work into developing a sense of team camaraderie. They provided a comfortable office close to other Herräng staff offices, so that we could both have a place to store our stuff and work quietly, and also meet and mix with other staff. We found our office was often a popular place for unofficial catch-ups and socialising by other staff. Not as rowdy as other offices, not as full-on as other offices. The fact that there was always a stack of records or someone wanting an opinion on a particular song was only a bonus for camp where pretty much everyone is music obsessed.
We also had a couple of organised dinners and DJ-friendly parties/catch ups, which were very nice. I found that this team of DJs gelled particularly well. I adore them all, and I miss them SO much. I loved their music, I loved their commitment to DJing, but I also really liked their ‘let’s have FUN!’ approach to dancing and DJing. And they made me laugh like a fool, so many times. Having a good, solid team of buddies around me really made the long hours and challenges of staff DJing easier. And I learnt a LOT about music and DJing from them all. It was really lovely to be part of this group.
This year the DJing at Herräng was particularly good. Jonas and Meghan had worked hard to find DJs beyond the usual subjects. They found DJs from all over the world, who were both excellent DJs, and had excellent taste in music. And, incidentally, they had gender parity in weeks 2,3,4, and 5 of the 6 weeks of the camp. This is very unusual in the lindy hopping world, and the consequences were very interesting. Things I thought this gave us, as dancers:
A wider range of DJs, people I’d never heard before, and who had interesting, new ways of thinking about DJing;
A wider range of DJing styles and musical collections;
Better music for dancing;
A much more interesting and fun working environment: this wasn’t a DJ Bro team. It was a diverse, interesting group of people who worked fucking hard, valued great music, but could work a crowd like fucking ROCKstars;
As a whole, two of the clearer consequences were crowded, crazy dance floors, and crowds who stayed up much later dancing. As a DJ and dancer, I found myself spending more time hanging around the DJ booth listening to the DJs who were working, or sitting next to them listening to them work. It was very exciting, and the BEST fun.
Who was on staff in Herräng this year?
Ralph Hueur(Boogie) [Germany], Felix Berghäll (Boogie) [Sweden], Philippe Crompton-Roberts [Hong Kong], Jon Tigert [USA]
Christina Loukaki [Greece], Jon Tigert [USA], Arnas Razgūnas [Lithuania], Leru [ Russia/China],
Sam Carroll [Australia], Heidi Van Der Wijk [ Netherlands], Anton Cervin [Sweden], Jonas Olsson [Denmark]
Birkley Wisniewski [Canada], Helena Martins [Brazil], Laura Spencer [USA/Germany], Dan Repsch [USA]
Kris Bauwens [Belgium], Susanne Kenross [Sweden], Haerim Kim [South Korea], Sage Min [ South Korea]
Featured Guest DJs:
Frida Häggström (week 1 to 5), Big Papa Mac (week 1 to 3), Natty Bo (July 20 and 21), Stephan Wuthe (week 3 and 5)
Guest/volunteer DJs included:
Arnas, Pontus ?, Philippe, Jonas Olsson, Sam Carroll, Alexey Kazannov, Felix, Miroslav Mironov, James Pack, Olov ?, Vasily Muravyev, Olga Moiseeva, Jon Tigert, Nathan ?, Skye Humphries, Gaston Fernandez, Veit, Rasmus, Daphna Harel, Soo chan Lee, Leo Newman, Ramona Staffeld, Ingrid ?, Naomi Uyama.
As you can see, some of the staff DJs also did some volunteer DJing. For me, it was in week 2 so I could get rid of some nerves and settle down to DJing. People like Jon T just have mad skills and love DJing. People like Olga are THE BEST.
I have to pause and rave about a couple of those volunteer DJs. Olga Moiseeva from Moscow (now based in Brussells). WOW. Just the best. She has mad skills. And has also been a key player in Moscow becoming the historically grounded, fun-centred lindy hop scene it is today. Vasily Muravyev, also Russian, still based in Moscow, has been one of those people who DJs regularly at home, and SHOULD have been DJing at bigger events like Herräng, but just needed a bit of a push to get into it. Gaston is of course, an experienced, fantastic DJ, and one of my favourites. Other DJs in this list did some lovely work too. I didn’t hear any shithouse DJing. Which is a testament to Meghan and Jonas’ hard work and carefully vetting of DJs.
But my favourite was Naomi Uyama. Yes. That Naomi. Sure, she’s a grand lindy hopper. We know that. I reviewed her band’s first album in this post and did a follow up post here.
It should surprise no one that such a talented band leader is also a fantastic DJ. But, having said that, there are a few band leaders who are also DJs, but not terribly awesome DJs.
What made her so good? 1) Song choices. Familiar, unusual, all awesome, 2) The way she put them together.
Shit. She is just such a fucking great DJ.
In sum, my picks for a superhot DJ team from Herräng’s guest DJ team would include Olga, Naomi, Frida Häggström, Vasily, and probably John Tigert. John is an interesting one, as at first glance he seems a bit of a cowboy, prone to showing off. But I’ve found over the last couple of years that I’ve ended up sitting next to him while he DJs a few times. Because he’s such a thoughtful, inspired DJ. He kind of settles into the job, focussing on the dancers, with a really good feel for what they feel, and then making good, solid, creative songs choices to work with those feels. Frida is kind of intimidating, as she’s quite reserved, but you shouldn’t let that stop you getting to know her, and her DJing. She can basically do anything. Anything old, and anything fucking GOOD. I once danced like a crazy fool to a 20s dance band set she did in the library. Not something I’d usually dig, but mate. She has SKILLS. And an unparalleled collection. Get to know her, and get to know her collection: she is A1.
I’d also make sure you had Arnas from Lithuania on that team. He’s fun, and he makes a very good coffee. He’s also a skilled DJ, who is prone to DJ cowboyism. But it always pays off.
I could go on and on and on about the DJs from Herräng this year that I loved. Heidi from Rotterdam: what a fucking gun. Tireless, fearless, fierce. Excellent. Anton and Jonas, Jonas and Meghan. Really, the very best.
Such most excellent fun. Did enjoy. Would do again.
Just in case you didn’t know, the Herräng dance camp runs for 5 weeks in a little town in Sweden called Herräng. Herräng focuses
on the American vernacular swing dance tradition.
That means all the dancing and music in the program (and around camp for the most part) is jazz. African American Jazz. This definition stretches a little for dances like balboa, but African dances, hip hop, various latin dances, and other fun stuff squeeze in as well. So this really is a camp devoted to dance and music of the African diaspora, with emphasis on the jazz and swing eras.
When we say ‘camp’, we’re not talking a school camp where you sleep in dorms or cabins, or a tents-and-firepit camp. We’re talking about a whole range of accommodation (from private houses to dorms, tents, shared rooms, and caravans).
The camp itself is huge, spreading across the town’s folkets hus, dansbana, school, sporting ground, marina, shop, private homes and roads, local forest, and camp grounds. Dancers are fed in a bar, ice cream parlour, and cafe (all run and produced by the camp), and a number of other local food outlets. The classes are taught on the two dance floors, and then in a series of huge marques.
Herräng employs around 150 staff each week, and sees between 700 and >1000 campers per week. But you never really ever spend time with 1000 people at once, as there simply isn’t anywhere big enough in camp to hold us all. My usual Herräng experience is with a handful, a classful, or a dancefloor full of people.
There are 7 departments within the administration, and the camp board includes three famous dancers (Frida Segardahl, Lennart Westerlund, and Daniel Heedman).
Herräng hires 77 top shelf dance teachers, about 10 formal bands (and zillions of jam session groups), around 26 staff DJs (about 5 or 6 working 7 days per week on 3 dance floors 10pm-10am), and ~24 guest/volunteer DJs each year.
There are full time carpenters, laundry staff, doctors, chefs, cleaners, IT workers, staff managers, bike shop staff, retail, and retail staff. It really is a little town that’s alive for about 8 weeks of the year.
There is a program of dance classes over a 7 day period, and all night social dancing over 3 dance floors with DJs and live music. The entertainment program also includes educational library talks and panel discussions, film screenings, cultural activities on the Wednesday morning and afternoon, and free evening classes in all sorts of things.
It is truly a prodigious event, the largest in the world, and one with the most consistent reputation for presenting high quality music and dance in the historic jazz and swing tradition. It’s also know for being somewhat hedonistic and a little chaotic.
It has much in common with a european summer camp, but no doubt owes much of its longevity (and development) to the role of shared common spaces in socialist democratic Sweden. The Herräng camp perhaps would not ever have begun without the town’s folklets hus and dansbana. It has also always prioritised the involvement of old time dancers from the 20s-50s. This connection with history, as well as the 24-hour program of ‘semi-surrealistic’ events have secured it respect in the modern lindy hopping world.
I like it because it’s mad fun. I can work super hard on dancing, or I can sit about in the sun making friends and talking shit. I can stay up all night social dancing, or I can live a sensible diurnal lifestyle. The music is fantastic, I get to see a truly diverse range of the very best lindy hop, jazz, tap, etc dancing, and I get to spend time with people from all over the world. It’s the combination of diversity and quality that brings me back. I enjoy not knowing what will happen each day. I love it that I can be rowing into a misty lake in the middle of the night to look at a friend’s bunkbed accommodation on a floating pontoon in the middle of the water. Or dancing with a 10 year old to Count Basie at 2pm at a tea party. Or learning the Russian word for hello at a communal dinner table.
not everyone loves Herräng. If you’re the sort of person who prefers a hotel style event, where you are told what to do, where to go, and how to do it for every minute of the day, you’ll find Herräng’s more casual approach maddening. I have noticed that Americans and Australians who prefer a more rigidly hierarchical event with clear bosses and ‘cool people’ struggle with the more complex power dynamics of Herräng. Shit regularly goes wrong in Herräng, from you getting lost at 1am looking for your bed, to teachers not turning up for classes. There’s a chance you’ll pick up a heavy cold, or hate the food. And the dry humour of the daily evening meeting might not work if you have a more (excuse me for this) ‘American’ sense of humour.
As an example, this sort of sign outside the main eating area would drive you mad if you wanted to know exactly what was on the menu. But I enjoy it.
It can also be a struggle if you’re used to traveling in a pack of your friends from home. Herräng invites you to meet new people, and make new friends. Shared dinner tables and communal living are clear markers of that socialist-democracy I mentioned. And if you’re into individualism and strict rules about what belongs to whom, you’ll get shitty when you see your dress end up in lost property, then turn up on stage in an evening meeting performance. Herräng definitely has rules, a hierarchy, and very clear power structure. It’s just not as clear as at an Australian or American event. And I like that. I like that it’s assumed I’ll find my own bed, make my own friends, and enjoy sharing a table. I really enjoy meeting lots of people, and I quite like the mad, unexpected things that happen.
The radio show is a good one. We have a bunch of lindy hop related podcasts and vlogcasts, but all of them are American, and show a decidedly American bias. To the point that I can’t actually bear to listen to most of them any more. I don’t like to hate on people’s creative projects, but I’m very tired of listening to discussions pitched as discussing ‘the lindy world’, but really only discussing a few people’s experience of contemporary urban American lindy hop. Booooring. The more I learn about lindy hop in Asia, Europe, and the antipodes (of course :D), the more embarrassing some of those American podcasts become. Bros need to travel.
An exception to this cringe is Ryan Swift’s the Track. At first glance, an hour and three quarter long podcast where two people just talk about dancing seems intolerable. Interminable. But Ryan manages to pull it off. Mostly because he chooses interesting people, but also because he’s a master of the well directed casual conversation. I am of course completely biased, because Ryan is an Internet Friend, but in this case, the bias is justified.
But From The Top is exciting. It’s short, just 20, 15 minutes. Professionally edited and presented, with good topics, well-constructed stories, and a far-reaching, open-eyed approach to truly international lindy hop culture. This is no accident. The presenter and producer Alexei Korolyov is a professional journalist, and it really makes a difference. Previous episodes have discussed Health, Well-being and Social Conventions; Being a Swing Musician Today; Regionalism vs Globalisation in Lindy Hop; and Time Traveling back to the ‘swing era’ (you can find them all here on soundcloud.) And they’re all really interesting and good listens.
The latest ep is about Gender Roles in Dance. I think it’s pretty good, but, to be honest, it’s not quite as good as previous episodes, mostly because I think it’s a complicated issue that could have done with a little preamble to define some terms and perhaps set the tone. I guess it did, in a way, but I don’t quite agree with the approach and definitions Alexei takes. But yolo, right? Despite this, I think he takes a very open approach to the issue, and has some interesting guests. This is a good piece, and it does good work.
I really liked hearing from Rebecka DecaVita, a woman dancer I’ve long admired and really wanted to hear speak about these issues. Jo Jaekyeong from Korea is an old friend of mine, and I really liked hearing her speak clearly about her experiences in Seoul, a city and scene I’m currently very interested in. I don’t know Gregor Hof Bauer or Patrick Catuz, and while Patrick’s comments were the ones I found most problematic, I was very interested to hear from some men in this discussion. And men who’d actually done some proper thinking about this issue, beyond the sort of glib jokey rubbish I’ve been hearing on the American podcasts.
It was particularly cool to hear from Gregor, who’s an out gay bloke, speaking about following. This was especially cool, because I do feel that a lot of the American and mainstream lindy hop commentary has been very coyly stepping around the issue of queerasfuck dancing, managing not to have any openly gay peeps speaking in podcasts, vlogcasts, or in public talks. I think this is one of the features of a European production: they simply are more politically and socially progressive than the American productions, so we hear a more grown up and interesting discussion. Or at the very least, this program is better journalism for its presentation of a more diverse range of voices.
I was the other interviewee on the program this month, and I wasn’t all that happy with how I did in the original interview. I feel like I crapped on too much, and could have been more succinct. But Alexei has edited the bejeebs out of me, so I come out of it sounding a lot more coherent than I actually was. Overall, it was exciting and flattering to be asked to be involved (SUPER flattering), and I enjoyed it. I admire Alexei’s work, and it was so nice to be a part of something I admire. Such an honour.
In the rest of this post, I’ll engage with just one part of the podcast, which is really just an accidental language slip. It is where Alexei says (as Laura pointed out) “Sam is actively involved with feminism”. This is a true statement.
It’s also kind of lolsome because I don’t feel like feminism is this thing outside myself (the way this statement implies). Feminism is what I am and do. To say “I am a feminist” is a way of saying “Hey, I think we need to talk about gender and power, and I’m not going to shoosh up about it.” Saying “I am a feminist” is a political act.
For a woman, speaking up like this, expressing discontent and generally disturbing the status quo by not being a quiet, conciliatory woman, is explicitly political. When a man says ‘I am a feminist’, the act itself means something quite different. Because we do exist in patriarchy. For a woman, the very act of speaking up, of dissenting, of being a ‘difficult woman’ is a political act. It’s dissension. It’s dangerous. It’s powerful. So it’s not so much that I am ‘involved with feminism’, it’s that I AM A FEMINIST. I don’t prevaricate, I don’t add caveats or qualifications when I say that. I just am a feminist.
And when I say this, it means that I think that the way we do things is a bit fucked up. I think that there are problems. I think that men have and take advantage of privileges and advantages that women don’t have. Yes, you, white straight guy. I’m speaking to you. I’m saying to you, you have advantages that I don’t. And if you’re not paying attention to that, if you’re not asking why that is so, you are just quietly maintaining the status quo. You are complicit in patriarchy. And I’m not ok with that. I’m not going to let you rest easy on that. I’m going to be the pebble in your shoe. I’m not going to sit down and shoosh. And it’s not going to be comfortable for you. It shouldn’t be. Because patriarchy is not fucking comfortable for me.
Our culture makes things easier for you, men. You have advantages. As I say in that podcast, I doubt anyone says to you, male lead, “Oh, you’re being the boy?” or even comments at all on the fact that someone of your gender is choosing to lead in a workshop. But for me, it is so common it’s normal. But it’s also a constant niggling question of my right to be in a class as a lead. It’s a continual itching doubt that I am a ‘real’ lead. Because apparently real leads are all men. And of course, women are complicit in patriarchy by doing things like policing gender roles by asking women if they are ‘being the boy’, or asking a teacher to have men give up following so they can lead (and rebalance the gender/lead-follow ratio).
So this is why I am not so much ‘actively involved with feminism’ or a feminist project. I am a feminist project. I am feminism. I am a feminist. And feminism is about dissension. It’s about destabilising. It’s about being a good goddamn pain in the arse. I’m quite used to being thought of as a ‘bitch’ or a ‘difficult woman’.
So when I enter professional relationships and interactions in the lindy hop world today, I go in reminding myself that I am awesome. It’s very important to enter these interactions with confidence. With rock solid confidence in your decisions, your ideas, your skills. A lot of confidence. You must be as iron-clad in your determination as a man would be. Even though a man doesn’t have to deal with all the niggling critiques and policing. Because as a woman, you will be confronted or bullied or tested by men.
I saw it happening in Herrang, in a range of contexts – male teachers testing female teachers, male students testing female students, male DJs testing female DJs, male everyone testing female organisers and administrators. Some things that happened to me at Herrang this year and last, as a woman DJ, that didn’t happen to male DJs:
– I had my ‘knobs twiddled’ without permission by other other DJs while I was DJing.
– Male DJs said “You need to fix the levels” instead of “Are the levels ok? It’s a bit squeaky where I was?”
– Male DJs physically took up more space than I did in the DJ booth while I was DJing.
– Male DJs said “Do you just DJ locally?” instead of just assuming as they do with other men that I was actually an experienced DJ who’d DJed overseas and nationally for years (and hence meant to be there).
– A male DJ described going to DJ blues as “Going to get some pussies wet” in front of me, and blanched a little when I replied “I took a few dance classes today and that did the job for me.” Apparently pussies are things you do things to, rather than things you have for some male DJs.
– Male DJs assumed I was much younger than I am, and were patronising until they discovered my real age (and dancing and DJing experience).
…and there were many more incidences. These were all from male DJs who are very nice guys, who were generally very good to work with. But these are the sorts of micro-incidences that remind me that I am a woman, and that challenge me.
And the only real way to deal with this, as a woman professional in lindy hop, is to say to yourself:
“I am a professional.”
“I know my shit. I am a fucking good DJ/organiser/manager/dancer.”
“Here are my accomplishments, here is my history, where I did a bloody good job.”
“When I speak, I know what I am talking about, so I will speak with confidence, and in declarative statements, not questions.”
“When I make my needs and requirements clear to a man, I know what I’m saying, and I don’t need to justify myself.”
“When I challenge a man for his behaviour, I am doing the right thing. I am in the right. I am justified in my call. And he should respect that.”
“When I am challenged or tested by a man simply because I’m a woman and he’s used to being an alpha in interactions with women I should feel good about stepping up and pushing back. I should – I will – push back.”
“I will not second-guess myself and my actions as an employer or manager. I will not verbally justify my decisions or authority with someone I’ve employed. I am the boss, I’m good at it, and I am here to kick heads and take names.”
“As a woman boss or employer or manager, I don’t have to become a jerkface bloke, or take on hegemonic modes of management or problem solving. I can be collaborative and gentle. I can talk about how I feel, and I can take into account my peers’ feelings. I can be emotionally honest without being manipulative. And I can still be an arse-kickingly good boss. This does not make me weak or unprofessional.”
I also think it’s essential to be supportive of other women. And to remember that men who push or challenge are often feeling a lack of self confidence. The difficult male DJ is feeling doubts about his ability, and not sure you’re a decent manager. So you need to convince him, through your confident manner, that you are capable, and that he can trust you to set reasonable limits and be his guide and manager. Yes, it sucks to have to mother these fucktards (god, emotional labour, much?), but just assume that they’re little babies and need to be babbied.
When you’re working with other women, you need to let them know that you think they’re legit. Sisterhood is powerful, but collaboration is mighty. Lindy hop teaches us how to work with other people in close, emotionally intense partnerships. We can definitely take that to our off-dance-floor professional relationships.
So, yes, I am involved with feminism. In the most intimate of ways. I am a feminist.
This is an example of how not to play a late night lindy hop set. I started at 4.30am and finished at 7.30am. The first part of the set (35 songs before these ones) were high energy, lots of fun. It was a Tuesday night, which is usually a good night for lindy hop at Herrang, because the main room is slow drag, and people are looking to party. But I managed to kill this night well before it should have ended. Because I was tired, I was sitting down, and I played tired songs.
I really like all these songs, and I like the way they’re combined (though it’s a bit predictable). But they get gradually tireder and slower and less exciting. Bad idea. When it’s that late, you need to keep the energy (if not the tempos) up, so people don’t realise how tired they are. Silly DJ.
PS God I love Jimmie Noone.
(name bpm year band song length)
Deep Henderson 183 2014 Tuba Skinny (Todd Burdick, Western Borghesi, Jon Doyle, Barnabus Jones, Shaye Cohn, Robin Rapuzzi, Erika Lewis) Pyramid Strut 3:12
It’s Tight Like That 144 1928 Jimmie Noone’s Apex Club Orchestra (Joe Poston, Alex Hill, Junie Cobb, Bill Newton, Johnny Wells, George Mitchell, Fayette Williams) The Jimmie Noone Collection 2:49
Deep Trouble 161 1930 Jimmie Noone’s Apex Club Orchestra (Joe Poston, Zinky Cohn, Wilbur Gorham, Bill Newton, Johnny Wells, Elmo Tanner) The Jimmie Noone Collection 2:49
Davenport Blues 136 1934 Adrian Rollini and his Orchestra (Jack Teagarden) Father Of Jazz Trombone 3:14
Baby, Won’t You Please Come Home 137 1938 Pee Wee Russell’s Rhythm Makers (Max Kaminsky, Dicky Wells, Al Gold, James P. Johnson, Freddie Green, Wellman Braud, Zutty Singleton) The Complete H.R.S. Sessions (Mosaic disc 1) 3:19
Don’t You Leave Me Here 143 1939 Jelly Roll Morton’s New Orleans Jazzmen (Zutty Singleton) Jelly Roll Morton 1930-1939 2:23
Borneo 184 1928 Frankie Trumbauer and his Orchestra (Bix Beiderbecke, Charlie Margulis, Bill Rank, Chet Hazlett, Irving Friedman, Lennie Hayton, Eddie Lang, Min Liebrook, Hal McDonald, Scrappy Lambert, Bill Challis) The Complete Okeh and Brunswick Bix Beiderbecke, Frank Trumbauer and Jack Teagarden Sessions (1924-1936) (Mosaic disc 02) 3:11
Fan It 151 1936 Bob Wills San Antonio Rose [disc 02] 2:42
Ad Lib Blues 156 1940 Benny Goodman Septet (Buck Clayton, Lester Young, Count Basie, Charlie Christian, Freddie Green, Walter Page, Jo Jones) Charlie Christian: The Genius of The Electric Guitar (disc 2) 3:21
Four Or Five Times 173 1937 Jimmie Noone and his Orchestra (Charlie Shavers, Pete Brown, Frank Smith, Teddy Bunn, Wellman Braud, O’Neil Spencer, Teddy Simmons) Jimmie Noone: Chronological Classics 1934 – 1940 3:09
Southern Echoes 136 1941 Buddy Johnson and his Orchestra Walk ‘Em 3:19
I went pretty hard on the heavy, chunky stuff at Herrang this year. Mostly because I was hearing a lot of tinkly cerebral jazz and got a bit bored.
On Wednesday night I DJed a taxi dance for charity, where teachers danced with anyone who’d pay 20 crowns. It was a hard gig. The tempos had to stay low, but I had to keep the energy up and the dancing interesting so the teachers could bring their A game, the punters felt confident to ask them to dance, and we all had fun. So I played lots of favourites:
My Baby Just Cares For Me 120 Nina Simone
Be Careful (If You Can’t Be Good) 121 1951 Buddy Johnson and his Orchestra
Smooth Sailing 118 Ella Fitzgerald
Massachusetts 147 1956 Maxine Sullivan With Buster Bailey, Milt Hinton, Jerome Richardson, Osie Johnson, Dick Hyman, Wendell Marshall
Splanky 125 1957 Count Basie and his Orchestra The Complete Atomic Basie
Banana Split for My Baby 137 1956 Louis Prima, Sam Butera, Keely Smith
Knock Me A Kiss 147 Louis Jordan
Is You Is Or Is You Ain’t My Baby 141 2014 Naomi and Her Handsome Devils (Naomi Uyama, Adrian Cunningham, Matt Musselman, Jake Sanders, Dalton Ridenhour, Jared Engel, Jeremy Noller)
Hey! Ba-Ba-Re-Bop 135 1945 Lionel Hampton and his Orchestra
Lavender Coffin 134 1949 Lionel Hampton and his Orchestra with Sonny Parker and Joe James
B-Sharp Boston 126 1949 Duke Ellington and his Orchestra
Take It Easy Greasy 135 2014 Naomi and Her Handsome Devils (Naomi Uyama, Adrian Cunningham, Matt Musselman, Jake Sanders, Dalton Ridenhour, Jared Engel, Jeremy Noller)
Solid as a Rock 140 1950 Count Basie and his Orchestra with The Deep River Boys
Easy Does It 129 1958 Big Eighteen (Billy Butterfield, Buck Clayton, Charlie Shavers, Rex Stewart, Lawrence Brown, Vic Dickenson, Lou McGarity, Dicky Wells, Walt Levinksy, Hymie Schertzer, Sam Donahue, Boomie Richman, Ernie Caceres, Johnny Guarnieri, Barry Galbraith, Milt )
Walk ‘Em 131 1946 Buddy Johnson and his Orchestra
Shiny Stockings 126 1956 Count Basie and his Orchestra
After that I DJed for a while, and did some of the best DJing I’ve done in ages. I was really proud of myself, and the dancers lost their shit. It was a mix of solid favourites, some of my personal favourites, some less frequently played stuff, and a whole heap of stompy piano.
I began with the hi-fi Ella ‘Jersey Bounce’, then I went solid chunk.
Tempo de Luxe 130 1940 Harry James New York World’s Fair, 1940 – The Blue Room, Hotel Lincoln, 3:19
Everybody Rock 187 1939 Ella Fitzgerald and her Famous Orchestra Live At The Savoy – 1939-40 3:19
Savoy 166 1942 Lucky Millinder and his Orchestra (Trevor Bacon) Anthology Of Big Band Swing (Disc 2) 3:05
Feedin’ The Bean (Alt-2) 172 1941 Count Basie and his Orchestra (Buck Clayton, Harry Edison, Al Killian, Ed Lewis, Ed Cuffee, Dan Minor, Dicky Wells, Earle Warren, Tab Smith, Don Byas, Coleman Hawkins, Buddy Tate, Jack Washington, Freddie Green, Walter Page, Jo Jones, Buster Harding) Classic Coleman Hawkins Sessions 1922-1947 (Mosaic disc 06) 3:16
The Girl I Left Behind Me 206 1941 Bob Wills San Antonio Rose [disc 10] 2:40
Ridin’ On The L&N 170 1946 Lionel Hampton and his Quartet Lionel Hampton Story 3: Hey! Ba-Ba-Re-Bop 2:53
Page Mr. Trumpet 167 1946 Pete Johnson, J.C. Heard, Jimmy Shirley, Al Hall, Albert Nicholas, Hot Lips Page, J.C. Higginbotham Pete Johnson: Complete Jazz Series 1944 – 1946 2:53
Drinkin’ Wine, Spo-Dee-O-Dee 134 1949 Lionel Hampton and his Orchestra with Sonny Parker Hamp: The Legendary Decca Recordings 3:24
Bearcat Shuffle 160 1936 Andy Kirk and his Twelve Clouds of Joy (Mary Lou Williams) The Lady Who Swings the Band – Mary Lou Williams with Any Kirk and his Clouds of Joy 3:01
Take It 174 1941 Benny Goodman and his Orchestra (Jimmy Maxwell, Irving Goodman, Alec Fila, Cootie Williams, Lou McGarity, Cutty Cutshall, Gus Bivona, Les Robinson, Georgie Auld, Pete Mondello, Bob Snyder, Johnny Guarnieri, Mike Bryan, Artie Bernstein, Dave Tough) Classic Columbia and Okeh Benny Goodman Orchestra Sessions (1939-1958) (Mosaic disc 03) 3:13
Jesse 224 1939 Harry James and the Boogie Woogie Trio (Pete Johnson, Albert Ammons, Johnny Williams, Eddie Dougherty) Boogie Woogie And Blues Piano Mosaic Select 2:44
Answer Man 143 1940 Harry James New York World’s Fair, 1940 – The Blue Room, Hotel Lincoln, 3:47
Keep On Churnin’ 146 1952 Wynonie Harris Wynonie Harris: Complete Jazz Series 1950 – 1952 2:56
It was interesting seeing how other DJs do things in Herrang, and I was struck by just how great an emphasis the Australian DJs that I admire most place on working the crowd. And how great an emphasis is placed on playing ‘rare’ or ‘hard to find’ stuff by some of the European DJs. There were other DJs at Herrang who’d never have played ‘Keep on Churnin’ or ‘Drinkin Wine’ because they’re too popular or too ‘easy’.
Me, I like to offer dancers invitations to dance – easy, friendly songs that are of a moderate tempo and easy to dance to – so they’ll get up and on the dance floor. And I like to work a tempo/emotional wave so we all get together and feel strong crazy feels together. The tempos in this range are quite moderate, and most of these songs are really easy to find. I have them on collected works CDs, for the most part. And Mosaic make it easy to find the more obscure stuff and go complete.
I think the most important thing a DJ does is make it easy for people to have fun. No wankery, no ‘educating’, ‘challenging’, or ‘pushing’ dancers. Just get up and entertain the peeps. What we do does require skill, imagination, and creativity. But it’s not brain surgery. The goal is simple: get everyone dancing, and then get them dancing til they go crazy. A full floor is just the starting point. The goal is emotional crazitude.
I played about 22 hours of music over a week as staff DJ in Herrang. Two of those hours featured Count Basie*.
My favourite was/is ‘Feedin’ the Bean’, I played ‘Shiny Stockings’ the most number of times (3 times), and I had most questions about the Metronome All Star Band’s version of ‘One o’Clock Jump.’ Which is as it should be.
One O’Clock Jump 175 1941 Metronome All Star Band (Cootie Williams, Harry James, Ziggy Elman, Tommy Dorsey, J.C. Higginbotham, Benny Goodman, Benny Carter, Toots Mondello, Coleman Hawkins, Tex Beneke, Count Basie, Charlie Christian, Artie Bernstein, Buddy Rich)
Evenin’ 164 1936 Jones-Smith Incorporated (Carl Smith, Lester young, Count Basie, Walter Page, Joe Jones, Jimmy Rushing) 2:57
Solid as a Rock 140 1950 Count Basie and his Orchestra with The Deep River Boys 3:04
Stormy Monday Blues 121 1968 Count Basie and his Orchestra (Mahalia Jackson) 3:50
Pound Cake 186 1939 Count Basie and his Orchestra (Lester Young) 2:46
Sent For You Yesterday 163 1960 Count Basie and his Orchestra (Joe Williams) 3:10
Every Day I Have The Blues 116 1959 Count Basie and his Orchestra (Joe Williams) 3:49
You’re My Baby, You [Vocal Version] 152 1950 Count Basie and his Orchestra (Clark Terry) 2:56
Feedin’ The Bean (Alt-2) 172 1941 Count Basie and his Orchestra (Buck Clayton, Harry Edison, Al Killian, Ed Lewis, Ed Cuffee, Dan Minor, Dicky Wells, Earle Warren, Tab Smith, Don Byas, Coleman Hawkins, Buddy Tate, Jack Washington, Freddie Green, Walter Page, Jo Jones, Buster Harding) 3:16
One O’Clock Jump 173 1937 Count Basie and his Orchestra (Buck Clayton, Ed Lewis, Bobby Moore, George Hunt, Dan Minor, Caughley Roberts, Herschel Evans, Lester Young, Jack Washington, Freddy Green, Walter Page, Jo Jones, Eddie Durham) 3:03
Boogie Woogie (I May Be Wrong) 171 1937 Count Basie and his Orchestra (Buck Clayton, Ed Lewis, Bobby Moore, George Hunt, Dan Minor, Caughley Roberts, Herschel Evans, Lester Young, Jack Washington, Freddy Green, Walter Page, Jo Jones, Eddie Durham, Jimmy Rushing) 2:51
Honeysuckle Rose 217 1937 Count Basie and his Orchestra (Buck Clayton, Joe Keyes, Carl Smith, George Hunt, Dan Minor, Caughley Roberts, Herschel Evans, Lester Young, Jack Washington, Claude Williams, Walter Page, Jo Jones) 3:00
Splanky 157 1966 Count Basie and his Orchestra 3:52
Moten Swing 127 1958 Count Basie and his Orchestra 4:51
Jive At Five 147 1960 Count Basie and his Orchestra 3:03
Shiny Stockings 126 1956 Count Basie and his Orchestra 5:17
Straight Life 129 1953 Count Basie and his Orchestra 4:33
Basie Beat 179 1952 Count Basie and his Orchestra 3:22
Splanky 125 1957 Count Basie and his Orchestra 3:36
Blues In Hoss’s Flat 144 1958 Count Basie and his Orchestra 3:13
Till Tom Special 176 1939 Benny Goodman Sextet (Lionel Hampton, Count Basie, Charlie Christian, Artie Bernstein, Nick Fatool) 3:04
Ad Lib Blues 156 1940 Benny Goodman Septet (Buck Clayton, Lester Young, Count Basie, Charlie Christian, Freddie Green, Walter Page, Jo Jones) 3:21
*Lionel Hampton came in at 1 hour and 37 minutes, Ellington at 1 hour and 29 minutes. Harry James and Pete Johnson are my new Men.
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.