Category Archives: herrang

I am involved with feminism

Before I went off on my trip last month I did a little interview with the blokes from ‘From the Top’, a radio show produced by ig hop in Vienna.

They’re doing some really interesting work there, with an exciting Dancers in Residence program, the usual round of parties (with unique and A1 art) and classes, and radio show, From The Top.

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.

DJ slow down and fail

DJ Slow Down And Fail from dogpossum on 8tracks Radio.

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

Meat and Potatoes


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.

Meat and Potatoes from dogpossum on 8tracks Radio.


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.

Drop the Basie

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.

8 tracks: Australians in Herräng

Some of the songs I played as a staff DJ at Herräng in 2015 that included Australian musicians in the recording.

Australians at Herräng 2015 from dogpossum on 8tracks Radio.


Georgia Bo Bo 137 1952 Graeme Bell and his Australian Jazz Band Graeme Bell the AMI Australian Recordings

Tar Paper Stomp 176 2004 Tom Baker’s Chicago Seven (Tom Baker, Don Heap, Lynn Wallis, Roger James, Paul Finnerty, David Ridyard, David Parquette, Paul Furniss) Dixieland Jazz

Flat Foot Floogie 186 2005 Carol Ralph, Paul Furniss, Dan Barnett, Carolyn ‘Pine’ Packer, Geoff Holden, Richard Edser, Anthony Howe Swinging Jazz Portrait

Gone (alternate take) 206 2015 The Skellingtons (Emaon McNelis, Brennan Hamilton-Smith, Steve Grant, Jon Delaney, Mark Elton, Lyn Wallis) Jazz Is Dead Digital Two-Side

Glory, Glory 157 2012 Geoff Bull and the Finer Cuts (Justin Fermin, Grant Arthur, Harry Sutherland, Ben Panucci, Sam Dobson) Geoff Bull and the Finer Cuts

Tishomingo Blues 128 2005 Carol Ralph, Paul Furniss, Dan Barnett, Carolyn ‘Pine’ Packer, Geoff Holden, Richard Edser, Anthony Howe Swinging Jazz Portrait

Palm Court Strut 132 2012 Baby Soda (Emily Asher, Adrian Cunningham, Kevin Dorn, Jared Engel, Peter Ford, Kevin V. Louis, Satoru Ohashi) Baby Soda Live At Radegast

Honeysuckle Rose 154 2010 Gordon Webster (with Jesse Selengut, Matt Musselman, Cassidy Holden, Rob Adkins, Jeremy Noller, Adrian Cunningham) Live In Philadelphia

Milenberg Joys 194 2010 Gordon Webster (with Jesse Selengut, Matt Musselman, Cassidy Holden, Rob Adkins, Jeremy Noller, Adrian Cunningham) Live In Philadelphia

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.

flying home

There’s something strange about being the only person in a block of apartments after spending two weeks in the constant company of at least 200 people. Especially when those 200 people are almost always in constant physical contact with each other.

The second camp – Camp Savoy – is over, and I’m taking an extra night in the student housing to recover before I fly out of Heathrow tomorrow night. The weather has been utterly wonderful: very warm, very sunny. This could be a university campus anywhere in Australia. Though the food marks it as singularly British. Otherwise, there are very few English accents about – this being a university campus and all – and I’m really quite enjoying doodling about on my own.
Could do with a bit of company, but still
how could I complain about such a long, glorious evening with such wonderful warmth and cooling breeze? And after all this sitting about on the hilly lawn under the student accommodation, reading The Guardian (which I’ve missed) and beginning to think again, I’ve a lovely clean, dry bed with sheets and no early morning missions ahead of me.

The last two weeks have been incredibly intense. Herrang was the perfect exercise in indoctrination: intensely, physically demanding days with round the clock dancing, where doing a beginners class in aerials at 12midnight (midday Herrang time) seemed perfectly logical and plain black tea was a precious commodity to be traded illicitly and only between friends. I have surely joined a cult, and am in dire need of deprogramming.

Living with constant physical exhaustion, sleep deficiency and irregular meals have taken their toll and my health has once again dropped. The Herrang bug has been hanging about in my sinuses since late last week, and pushed me into naps every afternoon. Expensive classes with world-class lindy hop egos be-damned. There’s rest and recuperation to be done. My lungs are beginning to fill and the Horrid Cough has returned. I predict much wailing and gnashing of teeth when the plane takes off.

Flying with feet as sore and mangled and swollen as mine were last week resulted in a pain so spectacular I would have bawled like a baby if I’d not been so tired I fell immediately into a sleep that defied even take off. While the effects of constant dancing haven’t quite worn off – there are some disturbingly numb spots on my toes and recurring bouts of pins and needles – I’m hoping these couple of days of rest will make flying a bit more comfortable. I’ve regained some higher brain function and have managed to stay awake all day, though I’ll probably find myself all awake and twitchy at about 1am, looking for some dance floor action. But for now, it’s 8:34pm and I’ve not napped today. I must be getting better. There’s also been no dancing, and I’m not sure I’m ready for that. Over two weeks of dancing every day for at least eight hours is kind of addictive. I’m in endorphin withdrawal, I’m sure. How will I cope with Melbourne’s dark and horrible winter?

Pft. It’s such a lovely, warm evening, it’s hard to imagine Melbourne’s crap weather. For now, while I’ve borrowed from Lionel Hampton, I think Miles Davis is the only possible musical alternative for this evening.

laundry report

My backpack full of clean laundry, care of Eva’s washing machine and a night break between camps, is now more a mixed bag. I am down to the non-dancing underwear (where the dancing underwear seems to have largely disappeared: I’m sure I’ve lost knickers in the Herrang laundry. Despite Grace’s best efforts) and once again wishing I’d brought some thai fisherman’s pants with me. But who’d have thought loose, cotton nappy-inspired trousers would be the perfect garment for a dance camp in Europe? Note to self for future reference, I guess.
The wedding clothes proved just as irritating as I’d thought: sure, I could have dressed up for the blues nights at Herrang (one can never be over dressed for blues night), but then I’d not have felt as comfortable as I did. Ah well.
I’m going to have to hunt for something clean for flying in. Something I can bear to wear for 24 hours straight

Future Herrang visits: more trousers. More loose, comfy cotton trousers. More thai fisherman pants. Ten tshirts is enough. Bring bike pants to manage inevitable Chafing Issues. Never too many pairs of underwear or socks. Bring only machine-washable, quick-drying clothes. Care not for crinkles. Swimming costume an essential for shy-bies (not that I had the opportunity to see if I was shy). Sheets. Say yes to a sheet. Hat. Sarong – another essential.

How will I manage Melbourne’s winter weather and fashion requirements? Especially now I’m at least a size smaller than I was before I left. Goddamn this super-responsive metabolism. It adores exercise. And dancing truly is the best exercise there is.

learning in herrang


this is one of the places we learn – another tent. there are two tents (savoy ballroom and roseland), where we do our classes. we also learn in the hall upstairs, and in the dance banaan, outside, which is a sort of pagoda thingy.
we also learn in the gym: