wimminz – Page 6 – dogpossum

What are we actually doing about sexual harassment?

We at Swing Dance Sydney have developed a several-prong approach to this issue over the past few years. Everyone we know has been asked for advice or suggestions, and it’s definitely a collaborative project. It takes time, thought, and research. I looked up other organisations’ codes of conduct, and govt bodies’ s.h. prevention strategies. including the human rights commission’s definitions of s.h.

Each step has kind of developed from the one before. And we keep going back and revising and improving things.

For example:

We developed a code of conduct, referring to lots of other examples.
Then we needed definitions of sexual harassment for that code, so we all knew what we were talking about.
Then we had to give students FAQs for making complaints, knowing their boundaries, etc.
Then we had to be available for students to talk to us, and we had to follow up on our hunches and ask students about things we’d seen. Which meant we needed casual social spaces and opportunities for talking with our students – like non-dancing parties.
Then we had to just get rid of horrible harassers.
Then we had to have consequences for banned people.
Then we had to have processes for enforcing bans.
Then we had to tell our door people what to do if banned people turned up.
Then I told other organisers in our city that we’d banned X, and I keep them updated each time I get another complaint about anyone.
Then we had to find out what our legal rights were.
Then we had to practice doing this ourselves.
Now I’m asking myself ‘how long is a ban? if it’s forever, how do we maintain it if the personnel and staff change?’

And of course, this has to be an interactive design process: you have to keep getting feedback on the process, and changing and improving things. Soz, but it’s never done.
My current project: a report log, and way of keeping track of issues.

This is my experience:
As a woman, it is scary as fuck to tell a big, imposing bully of a man he is banned from your event. Or to warn one. So I had to develop the bravery to do it, and contingency plans to make sure I was safe (eg I told my male friends – don’t leave me on my own for the next hour or two; I don’t want to seem vulnerable if he gets nasty). I also practiced giving warnings and bans – I wrote little scripts and then practiced them with my buddies. And I told my buddies when I was going to do it, and what their job was.

So you need to skill yourself up, look after yourself, work with other women, and develop strategies, and PRACTICE. It’s hard to overcome a lifetime of training which tells women to avoid conflict because they’re vulnerable. You have to teach yourself that you are tough. It’s helpful to think of people like Norma Miller, who was a black woman running a dance troupe in the 50s. You have to truly believe that you are the best person for this job, and that you are RIGHT.

I’m glad I do this, as I’ve had men get nasty with me in public at events (I particularly enjoyed that one time a man I’d warned earlier about non-consensual aerials trying to shout at me while I was DJing. NOT).

Documents (ie rules):
1. We have a code of conduct on our site. But I’m pretty sure no one reads it.

So I made an abridged, paper version which is now available at the door to events on the back of a paper program (and everyone picks up a paper program, and gets one in their rego packs), which I talk about when I’m MCing at every party and workshop day at an event. I actually say it explicitly: “Have a read of this code. There’s info here about what to do if you get injured, if you feel unsafe, or if someone’s hassling you.” And I’ve actually turned to one of the (big blokey male) band members and said, “X and I were talking about this earlier, and now X knows what to do if he feels unsafe.” And we all loled, but it was very effective – no awkward shyness or silliness. I just added it to the talk about where the first aid kit is and how to get a drink of water.
The online version has actual descriptions of what counts as sexual harassment. That part is THE most important.

2. We have a parties FAQ which explains what to do if you get harassed.

3. You have to tell people you have docs – don’t hide them away on your website. And just be very casual and matter of fact about it – of course we have a code of conduct, don’t you?

Processes:
1. I warn people who break the rules if they seem to be a bit clueless (eg air steps on the social floor, boob swiping, etc.) I encourage other people to warn other people (especially men! Men are 90% of the problem, so they should be 90% of the solution – it’s not a ‘women’s issue’!)

2. I ban people who are serial offenders, and tell them so to their face, making it clear that they cannot attend any of my events (I name them all), and if they turn up I’ll call the police. I don’t engage in discussions or conversations – I just tell them straight up. And I do it at public events in public places because my own safety is important. And I put on my invisible ‘I am an arse kicking fierce superhero’ cloak. I literally pretend that I am as tall and strong and immovable and implacable as Wonder Woman.

3. Once they’re banned, I put their name and description (and photo if I have it) on the door at our events, and circulate it to volunteers who’ll be working at events.

4. I explain the process to volunteers should these banned people turn up: Say “hello, Sam would like to speak with you, please wait a minute while I find her.” then find me and i’ll deal with it. They all work the door in pairs, so one is left at the door waiting. They’re to do some ‘important paper work’ while they wait, and not engage the bloke. Then I come and call the police immediately. No arguments or engagement.

-> I tell everyone about all these documents and processes. Since I started telling people I ban offenders, and since our volunteers started learning the process, I’ve had a scary number of people make complaints about the people I’ve banned/warned: knowing you’ll deal with this shit gives people the guts to speak up. I keep all complaints anonymous and confidential. None of this ‘right of reply’ bullshit.

Cultural change:
Of course we use gender-neutral language, stamp on homophobia, etc etc. Because we are adults, and this shit is necessary. And we don’t tolerate any of that stuff in our classes or at our parties. You simply CANNOT address these issues if you, for example, always refer to leads as ‘he’ or ‘gentlemen’. It’s a shitty barrier to fixing things up.

1. How we teach beginners. We talk about how to ‘make connection’ with a partner (eg in closed) not in terms of ‘your hand always go here’ but in terms of ‘you want to find the middle of their back, so ask them ‘is this right?’ Then we get them to practice this little conversation. Boom. Winners – it teaches them that each partner is a different size and shape, and you need to adapt to that. As opposed to having rules for ‘correct’ connection, we make it clear that ‘connection’ is about working with another human. There’s lots of this sort of thing – from talk about making confident mistakes to saying ‘start when you feel ready’ instead of counting them in.

2. We only have women teachers atm, so we start classes with “I’m Sam, and I’m leading tonight,” and “I’m X and I’m following tonight” and then we demonstrate what that means. Then we say “Choose whether you want to lead or follow. You could change next week, but please stick with one role for this class.” Then we let them choose whether they’re leading or following, then we send them to find a partner.

3. When we ask them to partner up, we say “Introduce yourself first; don’t touch anyone if you don’t know their name” and we act out asking someone to dance, shaking hands, and introducing ourselves. BOOM. They just do this themselves all the rest of the class.
-> etc etc etc

4. We give the follows specific information about what they’re doing in class, and we phrase it in a way which is about agency, self-determination, and power. eg I say to follows “You are the BOSS of your own body. Don’t compromise your posture or timing or rhythm for the lead’s. This is a class, so you should be both talking to each other, resolving these issues verbally.” I often to say to follows and leads “Both of you have a responsibility to keep time and maintain a rhythm. So if you’re stressing, listen to your partner’s body and let them help you find the beat again.” And then we explain how connection is a two-way line of communication, talking about how follows send info to leads and vice versa. Using very simple things like “Check in with yourself – is your hand a tight claw of fear? What does this say to your partner?” etc etc etc.

5. Women DJs, Women teachers, women MCs, women solo dancing, women leads, women follows, male follows, male leads, male DJs. We have them. We just do this shit ourselves – you have to be the change you want to see. And we just treat it as normal. None of this bullshit “Traditionally, men did X in lindy hop” talk because that’s untrue, made up bullshit. We just DO this stuff.

6. Actively supporting new DJs, dancers, organisers, etc. In all sorts of ways. Whether they are men or women – we just step up and be useful, even if that means coming along and being a punter. A culture of creative support and curiosity is good for a community, and it undoes patriarchal cultures which are particularly obstructive for women.

7. Be ambitious and motivated. Aim to be really fucking good at all this. If you’re a woman lead, aim to be really GOOD at it. If you’re running an event, run the BEST event. And just see undoing patriarchy (which is what fighting sexual harassment is) as part of being really fucking good at what you do. So be good at it.

I have to repeat: you can’t do this on your own. Everyone has to play a part in looking after everyone else. Me, other teachers, the students in class, your dance partners, other event organisers, volunteers at events, DJs, band members, sound engineers. If you talk to each of these people individually, involving them in the process somehow, making their role clear (eg the volunteers working on the door), then they will be invested and will do their bit. Or you get to leverage the guilt – because only a cockface would argue that this stuff isn’t important :D

I could burn them where they stand

I’ve been a little sceptical of claims that Sanders is more feminist than Clinton because of that one time he was down for equal rights. I’m sure he’s a great bloke, but Clinton’s got feminist cred. Long term feminist cred.

You don’t tell them to fuck off. You let them test you to see if you’re an angry feminist, and you pass the test by letting them insult you to your face and not getting angry. Because after everything you’ve done, everything you’ve fought for, that’s still what most men want to know. They want to know they can insult you and get away with it. They won’t work with you if they can’t….

….I know this is true, not just in politics, but everywhere in the world. That women can never be seen as “the most qualified person,” even when they’re more qualified than men, because people keep asking us these fucking questions, the ones they don’t ask men, about whether our gender would prevent us from doing the work (source.)

More importantly, I’ve stopped just smiling and ignoring those sorts of provocative questions. On the weekend a particularly sexist musician tried to get a rise out of me with a deliberately provocative line. I said, with an iron fierceness, “We don’t make those sorts of jokes here.” And when he tried to pass the ball to his bloke mates to get a laugh from them, I intercepted and repeated my point: “We don’t make those jokes. We do NOT make those jokes here. I’m getting hard on this shit. Understand, bros?” and I raised my eyebrows and looked them all in they eye. I was the ultimate feminist killjoy. And then later on, when he tried it again, I pulled him up on his shit. And ~~I’ll be making~~ I’ve made a complaint about him.
And those younger musicians who like to get on the drink at gigs and can’t do their job because they’re too pissed? Yes, I did give them a telling off. Yes, I am a bloody sour, humourless killjoy bitch. And they’re lazy, drunken fools, while I’m a fully fit, seriously healthy arse kicker. And I am not afraid to give them a telling off or kick them out. I don’t give a fuck how good a musician they are.

I am that angry femmostroppo. And I still do twice as good a job as a man who does half as much work as I do in the same job. Because women have to. And I know there are a couple of hundred dancers standing behind me, ready to get my back.

Scared the pants off me at first, to do this. But now I just figure yolo. Bitches get shit done. And I’ve had all those years experience in academia, where the highest profile people in my profession were arsehole headkickers. I’m prepared to kick heads for the sisterhood. And I don’t think those men realise just how deep the rage goes. I’ve got a lifetime of harassment and impediments to fuel this rage. And they should thank their lucky stars they get away with some sharp wit and a cold, fierce line in Aussie humour.
Because I could burn them where they stand.

For fuck’s sake

Look out. I’m going to swear in this post. At the end. Because I am just so, so angry about this. I am SO. ANGRY. If you don’t like me swearing, get off your arse and do something about this stuff, so I don’t have to swear.

If your response to multiple stories of sexual harassment or sexual assault committed by one person is to ‘wait and see’ and ‘hear the other side of the story’ you are saying:

that all these women are lying
that you don’t believe these women
that the opinion of that one man is more important than the stories of many women
that you are more willing to believe that one man’s story (if it differs) than to believe all these women.

That’s just the bottom line.

Basically, if a heap of women all tell you very similar stories about a man who:

touches their bodies in ways they don’t want,
tells them unwelcome sexually explicit stories in public settings,
texts, emails, messages, and contacts on facebook with unrelenting requests for dates or attention…

…even after they tell him to stop…

…and you don’t believe them, you are complicit in sexual harassment. You are making it easier for this man to continue frightening, bullying, assaulting, intimidating these women and girls. You are saying, “I think he has a right to do what he likes with your body. I don’t think you are intelligent or rational enough to assess or comment on a man’s behaviour. I think you are a liar. I think you are LYING and I DON’T TRUST YOU.”

You’re just as guilty as he is.

Having a ‘code of conduct’ on your event’s website, or telling students you’re ‘not ok with harassment’ means absolutely nothing if you do not believe the women who tell you about this man.

So stop being a fucking arsehole already. Just fucking BELIEVE them and stop being a cock. Kick that fucker out of your events, ban his fucking arse, and bring the shit. Earn my respect. Because right now, you do not have it.

Australian dance events and their codes of conduct: let’s be more awesome

As I noted in Polite ladies don’t swear I’m doing a survey of the Australian swing dance events and their codes of conduct. Do they have them? Are they publicly available? Can they be found and read easily?

This post is a very basic, very simple overview.
I ask:

Does the event have a code of conduct listed on its website?
Is it available from a link on the main page (it should be), or is it hidden behind a few clicks?
If the event doesn’t have a code, does its parent organisation?

Of course, having a code is pretty much a token exercise without supporting response strategies, training for all workers, and the code itself being readable, accessible, and available in paper form at the event. It has to be accompanied by in-class teaching and training for cultural change.

So of course, the next step in assessing Australian events would be to assess the in-person responses and processes of each event. So far MLX is winning: I was very impressed by what I saw this year at that event. Hopefully we don’t have to wait until something happens to assess an event’s response strategy.

Why did I do this? Why am I being such a pain? Because I’m a keen social dancer, I’m a DJ, and I go to events. I want to be safe. I want my friends to be safe. As a woman, I experience sexual harassment pretty much every week, and pretty much every time I leave the house. So you know what? I say FUCK THAT noise. I want my lindy hop to be safe, and I am DONE with fuckers who are busy with one hundred excuses for not doing something to make dance events safe. THERE IS NO ACCEPTABLE EXCUSE.

And if I ask questions about this, other people will too. We’ll stop being a community of ostriches, and we’ll start actually stepping up. I hope that other women will see that a woman can say something quite loudly, and be powerful.

Why is a code important?
It tells your attendees the ‘rules’. It makes it clear to attendees and workers that your event is thinking about and working towards safety and preventing sexual harassment.
It also helps create a culture of ‘prevention’ and ‘respect’. I was absolutely delighted by the way MLX’s public code of conduct and open discussion of these issues led directly to a general attitude of ‘look out for each other’ at the event itself. I saw dancers go out of their way to do things for each other.
So having a code tells people that a code is important. It tells people that these ideas are important enough to talk about, write about, and act upon.

What should a code include?

Basically, a list of ‘rules’: dos and don’ts.
You also need to include a ‘what do you do if you need help?’ process for dancers
a list of contact names (for both attendees and workers to contact)
a response strategy or process if something does happen (eg when do you call the cops?
training for all workers before the weekend, to be sure everyone knows the code, and knows the process.
I think it should also include a list of consequences: eg repeated complaints about you, and you’re banned.
A process and training for carrying out these consequences. eg once you’re banned, your name and picture is in the door kit, and door staff are trained in how to prevent your entry (eg calling the police). Banned dancers should be notified in person about being banned, and this knowledge should be circulated amongst local dance organisers.
Banning: if you have banned someone, do you have a responsibility to warn organisers about them?

This last point is particularly important, I think. It’s not ok to say “each issue will be dealt with on a case by case basis.” You need to plan ahead. That means coming up with scenarios, and response strategies, and then training people in these strategies. Because we are a community of dancers and musicians, and the relationships between scenes are absolutely central to our local, national, and international success and viability (try running a big exchange without a network of peeps in other cities to invite and to help you distribute promotional material), we need to think collaboratively about response strategies.
eg Last week I banned a guy who’s been groping women. He gave me a bullshit line about how ‘it’s just a blues’ hold!’ Yeah right, buddy. I’m not no noob to be buying that shit. I’ve told other organisers in my city about this guy, what I’ve done, and what he said. The blues dancers and event organisers were immediately alarmed, because this line ‘it’s just a blues hold’ is some very bad PR for blues. And let’s be honest: the blues scene has been faster and more diligent in their responses to these issues than the lindy hop scene.
So these local peeps now have a chance to raise the issue in class: ‘it’s a blues hold’ is not a license to grope. The other organisers in my town know that this guy is not welcome at my events, and that he’s aggressive and may retaliate against me personally at a dance event. So they’re keeping an eye out (I hope! I know other dancers are). And if they do choose to ban him as well, they have a precedent. But they may also use this as a chance to give him an ultimatum: get your shit together, or you lose my events too.

Me, personally, I’ve found having a network of organisers in my town, and good, clear communications about these issues absolutely essential. We may not all be best friends, but we are all capable of open, civil conversation, and have all worked in at least civil will to reduce conflict where we can. In this instance, I know that there are other organisers in my city (many of whom are actually my friends) thinking about these issues, and giving me feedback on my processes.

Anyway, back on topic.

NSW (Sydney)
Me first.
Little Big Weekend (lindy hop/solo jazz) – that’s me and Swing Dance Sydney. It does have a publicly available code, and we do have a safety response plan at the door. I circulate the code with all teachers, musicians, sound engineers, etc etc before the weekend, and make it clear to all these people in their written agreements, that they must all read and agree to abide by the code before they work for me. So we are pretty much pirates, right?
My weaknesses:
– no written copy of the code at the door
– the code has too many words
– I’m thinking about a visual guide to not harassing people, which I’d like to get done next year.
– I’m currently working on a readable, useable version of the code for the door
– we need more training: our teachers need in-class strategies; our door staff need training for dealing with banned people; we all need training in knowing when to call the police. I’ve worked with security guards at events before (including one memorable late night party where a DJ threatened me, and I got to tell the big security guard to kick him out), I’ve kicked people out quite a few times (random drunks mostly), and I’ve called ambulances. But what’s my plan for responding when a woman is sexually assaulted at my event?
– I’d like to do some security/defence training for dealing with trouble at events.

These are my focus areas for 2016.

Jazz with Ramona – as with LBW above

Sydney Lindy Exchange – no code of conduct (NB I did provide Bruce with a draft version when I was first working with this event earlier this year, but it’s not been adopted). This event is managed by Bruce Elder and Swing To It Sydney. Swing To It does not have a code either.

Sydney Blues – does have a code of conduct. I don’t know how it runs on the day. This event is run by Chris Kearns.

For Dancers Only (lindy, bal, tap, solo) is run by Trudi Pickering in Sydney and has a Code
NB the Canberra version of the site doesn’t have the code. This seems like a site design problem, rather than an oversight.

ACT (Canberra)
Canberrang (lindy hop, blues, balboa, solo) – no code of conduct. This event is managed by Jumptown Swing, a non-profit organisation based in Canberra. Jumptown does have a Declaration of Safe Space document on its website, but the link’s hidden under a drop down menu.

Jumptown Jam (lindy hop, blues, balboa, solo) – no code of conduct. Also Jumptown Swing managed.

Slow Down (slow lindy, blues, slow balboa, slow solo)- Does have a code, but the link is hidden behind a drop down. Run by Cathie Gough and Shobana Nambier, and sponsored by Cathie’s company Savoy Canberra. Savoy Dance Canberra has no code of conduct.

VIC (Melbourne)
Melbourne Swing Festival (lindy hop, solo, blues) – no code of conduct. Managed by Swing Patrol Melbourne, which does have a code of conduct on its site.

Melbourne Lindy Exchange (lindy hop, blues, solo, balboa)- has a safe spaces document AND guidelines for attendees. Run by a non-profit organisation the Melbourne Jazz Dance Association. Has a very good f2f safe spaces process, and provides hard copies of the code at the door to events.
I was on the MJDA founding committee, and we specifically included the concepts of equity and accessibility as well as promotion and preservation of jazz music and dance in the Association’s charter.

Blues Before Sunrise (blues dance) Doesn’t have a code of conduct, but was held in March this year, and was really too early to have gotten to this issue. It’s a tricky one because Steven Mitchell was involved with this event as a teacher. I think (but can’t be sure) BBS won’t be running in the future, as the organisers are moving on to other projects. This event was administered by Swing Patrol Melbourne.

Cider House Blues (blues) – Does have a code, and developed it before the Mitchell thing. This event is run by a few friends.

SA (Adelaide)
Southern Blues (blues) – Has a safer spaces policy.

WA (Perth)
Hullabaloo (lindy hop) – has an inactive page atm. It’s run by the Perth Swing Dance Association, and I’m pretty sure the event will have a code and a process, as they are fully ninjas behind the scenes on this stuff. The PSDA does have a code, but it’s hidden behind a few too many clicks.

Perth Lindy Jam has no code. It’s run by Swing It, and was only held in March, so again it’s probably not had time to get a code sorted. Swing It does not have a code.

Shag About (shag) – Does not have a code. It’s run by Shag About, which does not have a code.

Margaret River dance camp (lindy hop?) – does not have a code. It’s run by Simply Swing, which does not have a code.

QLD
Sunshine Swing (lindy hop) – doesn’t have a code on its site, but its site is a place holder only atm. This event has been undergoing some changes. I’m not sure whether it’s run by Empire Swing or Corner Pocket Swing. Corner Pocket doesn’t have a code, nor does Empire Swing.

Swing Camp Oz (lindy hop, etc) does not have a code of conduct. This event is run by Joel Plys from outside Australia. There has been a fb post about a code of conduct, but this code is wholly inadequate.

Bal on the River (balboa) does have a code.

TAS
Swingmania in Launceston does have a code, but it’s a bit tricky to find. It’s linked from the Registration page, and the link is right above the ‘register’ in this body of text: “SwingMania is an inclusive and warm environment. Any participant who marginalises another may be asked by the organising committee to cease their involvement with the event. To view our full Code of Conduct”. So while it’s harder to find, it’s actually cleverly placed, because you know registrants will read it. Hopefully.

[edit: I added For Dancers Only and Swingmania after this page was published because I forgot them]

As you can see, we’re not doing very well, Australia. Time to get your shit in gear, right? After all, we’ve had 11 months since January, so we should all have been thinking about it since then. And there have been some very good resources floating about.

Basically, if you haven’t got a code of conduct on your event’s website (and on your dance school’s website), you’re telling dancers you don’t prioritise their safety. I know that getting content onto a website can be a pain if you’re not tech-savvy, but I’m pretty sure we all manage to get ads for our next event up on the website promptly.

Let’s step up. Be more awesome.

Polite ladies don’t swear

I’m all about swearing.
And so is Clem Ford, whom I have the hero worship for atm.
I’m currently pushing up my program of asking difficult questions in public about how dancers are responding to and preventing sexual harassment. I’ve been told, repeatedly, that I need to stop shouting in public and start sending private emails. Yeah right. Because I really want to go behind closed doors with someone who has a history of enabling sexual assault.

[nb as I type this, I’m getting a bit trembly. Because every time I get public on this stuff, I get a host of nasty comments on this blog, scary messages on facebook, and thinly veiled threats. But fuck it. I think about the fact that my hesitating on banning a particular man at my dances this year eventually made it possible for him to grope and scare one of my students. I’m stepping UP because I can. It scares the shit out of me, but really, yolo, right?]

I’m just about to spend some time assessing all the Australian swing dance events’ websites, looking for codes of conduct. If they don’t have one, I’m going to ask them publicly where it is.
I recently had a discussion with the MLX committee about their code of conduct (and its absence a few weeks before the event). I was just DELIGHTED by their fierce response. They were all over this shit. And they produced a great document. As with all these things, it needs some pruning and tidying. But they got it going, they had it available in hard copy at the door, people were reading it, and I saw the process in action over the weekend. I was just so excited to see how public discussion about this stuff at a non-profit event prompted dancers to be pro-active about looking out for each other. It was just great. Just GREAT.

But not every event is doing so well. I’m going to spend a couple of minutes here with Swing Camp Oz.

Where is the code of conduct for this event? This is an important place to start, because Mitchell was heavily involved with this event, and was actually at this event in Australia when his history as a rapist and perpetrator of violent attacks was made public.

And yet there’s no code of conduct for this event. More worryingly, this event does not pay its local teachers and DJs properly*. This worries me, because I’m currently realising that sexual assault in lindy hop does not operate in a vacuum. We actually produce a culture which makes it possible by exploiting dancers in a range of ways.

I talk about this in the post How to exploit people, and I say:

More importantly, when you exploit people, you are facilitating conditions which make it possible for your workers to be abused in other ways. Including sexual harassment and bullying. So when you say, “Oh, you should DJ/teach/manage the door for free because I want you to, and I’m just doing this ‘for the scene’,” you’re telling people that they should do unfair, unsafe, unpleasant, exploitative things ‘for the scene’ just because someone powerful or ‘important’ asks them to.

To make it clear: when you fuck over volunteers, DJs, etc, you are creating conditions which train dancers to accept sexual assault and harassment by high profile teachers and dancers. You are creating and contributing to rape culture.

But let’s continue with today’s news.
Today there was a bullshit piece in New Matilda about Clem Ford‘s public outing of men who send her hate mail and attack her. This is a response: Why Courageous Jack Kilbride Is Not The Answer.

This bit is my fave:

Kilbride posits that “The problem with writers like Clementine Ford is although their sentiment is justified, their vitriolic writing style means that people will always get offended.” Which by virtue, is suggesting that politeness and civility are the only ways to get things done. We know by looking throughout history that every revolution was started by someone using their manners and asking very politely, right?

Because I like to swear a bit on my blog, and on fb, particularly when I’m talking about this stuff. I’m just full of the rage, and I have to let it out, so there’s room inside me for photos of overweight ponies and capybaras.

I’ve heard the expression ‘ladies don’t swear’ a few too many times, particularly in reference to lindy hop. I’ve also had a few men say that they don’t want to read my pieces on preventing sexual harassment (eg this one) because they have too many swears.

A lot of modern day lindy hoppers try to recreate an imaginary swing era where ‘women were women and men were men’, and those women were all fluffy and girly, and those men were spat-wearing gentlemen. This gives me the living shits, because these modern dancers are using this imaginary world to stop me leading, to make me wear ‘girly’ outfits, to stop men following, and to make me sit down and shut up.

But then I listen to Ryan Swift’s Track podcast where Dawn Hampton drops a few fucks and a few shits, and I realise: BAD ARSE WOMEN DANCERS USE ALL THE TOOLS AVAILABLE TO THEM. We are not here to make you feel comfortable, my friends. We are here to bring the shit.

*[EDIT: How do I know this? I was asked to coordinate the DJs for this event in 2009, and when I asked about the pay/working conditions, I was very unimpressed and decided not to take the role. Since then I’ve actually put my conditions in writing. I developed this document over the past 15 years of running events, through my experience working with various event organisers and DJs.
But that was six years ago. Have things changed since then? Marginally. But certainly not to the point where this event is inline with the rest of Australia. And absolutely not to the point of being inline with the larger, higher profile American and European events. How do I know? I talk to other DJs, teachers, and organisers who’ve been involved with the event.

[EDIT: I’ve changed the title of this post because it is misleading. In case you missed the point, asking questions about these things is difficult and destabilising. It is uncomfortable. Which is exactly the point. Our culture discourages women from asking questions, from being loud, from being rude, from being ‘difficult’. It wants us to sit down, be quiet, and put up with men assaulting or harassing us. It absolutely wants to stop us speaking up for other people.
A large part of patriarchy is training women to see each other as rivals and competitors. Lindy hop is talking a bit about ‘active follows’ at the moment, but what that really means is ‘be active up to the point where you imperil the status quo, and the status of your male partner. Then stop.’
When we don’t just take it quietly, we disturb the status quo. We make it harder for men to take advantage of us. This makes them angry. This makes us worry about our safety. The implied threat of violence is often what keeps us from speaking up. And sexual assault is an act of violence. To trot out that Margaret Atwood quote, “Men are afraid that women will laugh at them. Women are afraid that men will kill them.” This is not an exaggeration. I had an experience at SLX while I was DJing that had me worried about my safety. Because I didn’t do exactly what a man wanted.]

just fyi

how to exploit people

link

I’ve had a couple of emails this week alone asking me if my business would like the opportunity to work for free. I said no.
But I know a lot of DJs work for free for ‘experience’ or ‘exposure’, I know newer dancers perform for free for ‘exposure’ or ‘experience’, and I know teachers work at big events within Australia for ‘experience’. None of whom receive free entry to the event or any equitable compensation (eg a free pass). One of the bigger areas of exploitation in the dance world is administration – running large events or regular classes.
All of this is pretty much bullshit.

I’m particularly annoyed by the way volunteering is used to gain free labour from dancers, without providing safe, reasonable working conditions. Volunteering is a good thing in many cases (and the lindy hop community needs it to work), but you have a responsibility as the employer (because that’s what you are) to provide safe, equitable, and just working conditions and terms for all the people who work for you. Volunteers, employees, and contractors.Simply justifying this lack of pay as ‘growing the scene’ or doing it ‘for the scene’ is not ok.

If you really want to ‘grow the scene’ you pay people so they can then invest some of that money back into the scene (or you know, paying their electricity bill). A healthy, growing community is sustainable, economically and socially. In other words, you want to retain skilled workers (rather than overworking them and burning them out) so you can retain their knowledge and abilities and help your community improve what it does.
You want to offer people opportunities to develop these skills and interests, so that they can move on to run their own projects, develop their own ideas, and help your community become a more interesting, diverse creative space. In other words, you’ll get better dancing, DJing, and events in your scene if people stick around longer, and feel good about what they do. Eventually people get tired of being screwed over, and they drop out.

More importantly, when you exploit people, you are facilitating conditions which make it possible for your workers to be abused in other ways. Including sexual harassment and bullying. So when you say, “Oh, you should DJ/teach/manage the door for free because I want you to, and I’m just doing this ‘for the scene’,” you’re telling people that they should do unfair, unsafe, unpleasant, exploitative things ‘for the scene’ just because someone powerful or ‘important’ asks them to.

Whenever I hear the phrases ‘grow the scene’ and ‘doing this for the scene/community’, my alarm bells ring. Volunteers, workers, dancers, DJs, teachers, students ARE the scene. So you should – you have a responsibility protect their interests and rights.

Feminism is just about being decent to other people. And lindy hop.

Ok, so I have been very busy lately, so not much time to write.
Ran a weekend event in mid-October, just planned a big one for mid-May next year (so. many. venues.), begun planning a small one for February, blocked out the 2016 classes (adding another class night, expanding the regular party schedule from monthly to twice a month), planning out the promotion and advertising for 2016, and had a small think about the DJing I’m doing in November in Melbourne and in Sweden over christmas. This is the busiest time of year. I’ve been working on a website revamp for the business, and I made a fully sick legit facebook page for DJing. And I still have a few postcards to design and get printed.

As well as all that, I’m back in the teaching rotation for lindy hop on Wednesdays, which is grand. I’ve had a chance to teach with another friend for the first time at her venue, and that was great. So I’m full of ideas. The recent revival of the discussion about sexual harassment in lindy hop has also prompted a reminder about how we need to fuck up bullshit gender dynamics in lindy hop from students’ very first class.

The main idea in all our teaching with Swing Dance Sydney is to skill up students for social dancing. Which means we need them to develop independence, and to be capable and confident on the dance floor on their own. Which is pretty much the opposite of a traditional class. Things that we focus on in our classes:
students being able to take care of the music:

find the beat on their own;
count themselves in and start dancing to the music on their own;
understand phrasing (at least in a basic way) in swing music;
being able to put the swing into their dancing;
master a basic rhythm;
dance that rhythm to the music.

Students being able to take care of their partner:

get into closed position with a partner;
talk to their partner and negotiate a comfortable closed position with them;
figure out that each partner is a different size and shape, with different feelings about being close to other people, etc etc, and then adjust their closed position to work with that. By talking to them;
introduce themselves to a new partner, and get into closed position in a respectful way;
leads initiating moves when they’re ready, rather than in a fixed sequence all the time, so they lead when both partners are ready;
move around the dance floor in closed position with their partner, using that basic rhythm, in time, and with swinging timing, to the music;
adjust their connection to make this movement happen as a unit;

Students being able to take care of themselves, and be mindful/present:

both partners are responsible for their own sense of timing (groove/bounce/pulse/whatevs) and their own sense of rhythm, and both partners respect that in their partner;
no one sacrifices their posture, physical comfort, safety, timing, rhythm or sense of music for their partner. And no one asks them to;
follows are active in the partnership. They way they touch their partner sends information to the lead. And the lead learns how to listen to that information;
…which means that it’s not just the lead’s job to stay in time, to find the beat, to keep the rhythm. Both partners do this, and the lead can listen to the follow to get it together;
when you begin dancing with someone, you use closed position to become a partnership: you collaborate to find a shared sense of groove.

We do all this in the very first class, and everyone is very good at it. We see very, very good social dancing right in their first class. They learn to move around on the dance floor in their first class, and they develop perfect floor craft by the end of the class. This week we told the students it’s just like being at a very good party. And they just applied what they knew about parties to make this work: apologising when they bumped people; avoiding bumping people; introducing themselves to new people; taking care of their partner and people around them; listening to and enjoying the music. And talking. So. Much. Talking. The noise level is incredible.

Now, I have to make it clear. I might sound like a big old hippy, but I’m not really. At least not in class. Everyone wears shoes, students choose to lead or follow at the beginning of class, and they stick to that. We only teach with real, swinging jazz. We only teach historic dance steps, and we talk about the history of the dance. We don’t use a lot of jargon or technical dance talk. I try to NEVER use the words ‘frame’ or ‘tension’. When we first get them partnered up, we say “Get into this position” and then we just let them do it. Then we say “Check with your partner to see it’s comfortable” and then we model how we’d ask and reply to our partner, and then we get them to do that. We don’t count them in using numbers, we scat. And over the course of the class, we move from getting them started to saying “Start when you’re ready”, though I love Lennart’s line, “Start when you feel it is the right time.”

We began teaching this way to actively reduce and remove the conditions that made sexual harassment possible. We wanted women dancers empowered, and male dancers ok with that. But what we’ve actually found is that we’re just making it easier for everyone to be properly social when they dance. It is AMAZING AMAZING AMAZING.
I mean holy SHIT! In one hour, they develop perfect floor craft on our tiny dance floor. They have gorgeously relaxed connections. They are confident and happy, making friends and laughing and talking really loudly. They can count themselves in, find phrases, and express knowledgeable opinions about whether a song is nice or not.

So, we’ve just found that teaching this way makes for better dancing and dancers. My mind is just blown.
I looked at them dancing this week and realised: traditional lindy hop classes spend a lot of time and energy ruining people’s natural ability to hold a person in their arms and move to the music. It’s like we’re trying to reverse engineer swing outs (or whatever) as though we’d never seen one before. When we should just start with what we all know how to do already: enjoy music and hold someone in our arms. And then take the natural or most obvious route to the end goal. Want a swing out? Do a circle to generate momentum, then let go. Any old count will do – if you insist on letting go on count X (in a beginner class), you end up with people fucking each other up on the dance floor, and being rough with each other. If you count people in 5 6 7 8 all the time, they rely on you to get them started, rather than learning to get their own body ready, getting their partner ready, and then dancing when they’re both ready. If you only teach them using fixed sequences of steps, they social dance that way too – they dance in figures. But they also (and this is WORSE) they dance as though getting through the figure is the most important thing. And as though having the best and most number of figures is most important. When it’s not! The music is!

Anyhoo, all this thinking is a result of some learning I’ve been doing:

Peter Loggins spent an hour with a couple of us at Herrang explaining what two step dances are, and how he teaches/taught in New Orleans in bars. Basically: simple is best, and the goal is just to get moving to a band. He said something quite provocative: “lindy hop is not a social dance.” I thought this was interesting, as the idea of a ‘swing out’ as the ‘basic’ step is quite problematic. I prefer Frankie’s point that the promenade is the most important move in lindy hop: closed position, moving in time with a partner to music, using a nice rhythm. But I felt a light go on when Loggins talked about teaching and dancing in crowded bars in New Orleans: music first. Don’t kick over the tip jar. Tip the band. Buy a drink. Be able to dance with randoms (ie dance, don’t do figures). Enjoy the music. Interact with the people around you like a real social person (ie don’t dominate the dance floor, obscure the band, or put dancing before real social interaction).
All of these things are on one hand reasonable rhetoric around live music and dance culture. But on the other hand, if you begin teaching like this, and dance like this yourself, you develop very good floor craft, you focus on your partner, you dance to the music instead of pushing through figures. You become a very good dancer. And a better person.
The Frankie stream/Harlem Roots stream at Herrang this year and last year taught me that figures are less important than rhythms. I was kind of excited about this because it taught me you could dance with ANYONE if you approach lindy hop like this. You can do simple figures with anyone and have a good time, and you can enjoy it too, because you can add it fun rhythms to keep you interested. And because you’re focussing on your partner and the people around you, rather than pushing through a series of figures, your floor craft is better, you can dance to any tempo, with anyone. Basically, you rule.
The idea of ‘rhythm first’ is important. Not just because it’s about understanding music and actually dancing. It also helps your partner feel what you are doing with your body. ‘Clear rhythms’ can be another way of saying ‘clear weight commitments and transfers’ and ‘engaged muscles recruited in the most efficient way.’ And if you do all this, your partner can feel what you’re doing.
I am very, very VERY STRONGLY committed to the idea of both partners contributing to the dance. It’s not just a matter of follows ‘just following’ or leads ‘leading’. It’s two people dancing together. Gotta learn to dance on your own so you know who you are, and you have some sense of rhythm and timing. Then when you dance together, dance together, and trust each other. You don’t have to do exactly the same rhythms: that is some boring and dull shit. It’s also the opposite of jazz.
But you do have to be ‘together’ in Frankie’s sense: you are in love for three minutes. They are the centre of your world. If you’re just pushing through figures, who cares who you’re dancing with, as long as they can lead/follow that sequence of figures. If you’re just jumping about randomly while holding someone’s hand, it’s fun, but that’s not really jazz either.
But if you’re dancing simpler shapes with rhythms that are dictated by the music, you have to keep checking in with your partner – looking at them, listening to them, responding to them. And because it’s jazz, it’s not formal turn taking: we can both speak at the same time, and we can say different things. Hello polyrhythms, hello layers of rhythm, hello lead and follow contributing different pieces to a rhythmic whole.
Rikard said while teaching with Jenny at Herrang: “I trust Jenny to know how to improvise. I trust her to do something interesting.” I think this mutual trust is essential, to being a human or a lindy hopper. As a lead, I don’t have to micro-manage my follow. I can let them do what they need to do. And that’s a relief. And interesting – who knows what they’ll do! I’d better pay attention! I’d also better look at them, listen to the messages they send to me through the connection, and respond to what they’re doing.
I throw out the idea of ‘hijacking the lead’ by follows, because it reveals a profound limitation in understanding of how leading and following works. It assumes that the status quo is the lead ‘driving’ and the following ‘along for the ride’. No. No. No.
I throw out the idea of ‘lindy hop like a conversation’ where leads and follows take turns ‘doing variations’. No. No. No. Lindy hop is a relationship between two people for three minutes, and we both participate in it. We might take turns, but we can also contribute all the time. We have to – we have to be present, if we want to respect and properly engage with our partner. As a human being.

So, by stripping out all the bullshit ‘technique’ and jargon talk, and all that shit about dancing as science or specialist skills, it’s much easier and fun. If we approach lindy hop as just something we can do, we empower students, we take the focus away from the teachers, and we create a more equitable power dynamic. As teachers we are discovering jazz with students, not holders of knowledge that we dole out.

Some direct consequences of this approach for me as a teacher:

You can’t teach as much content in classes. In fact, content is much less important, and you focus on other teaching goals or priorities. And you realise it’s not the number of moves you have, but the way you dance with another human that’s important;
You take longer to do things in class. Which is nice;
You talk less, and play more music while teaching. Which is grand;
You ‘correct’ students less, which means they feel better about themselves. Remember, every time you correct someone’s dancing, you’re effectively telling them they’re doing it wrong;
If you let them dance steps in any sequence, taking as long as they want, starting when they want, and giving them ages with a partner and lots of music, they solve a lot of their own problems themselves. They just figure it out, with their partner or on their own. Which means you talk less. So hold yourself back: don’t jump in and ‘fix’ them. They’ve got this;
I’ve shifted to asking them “What was hard? What was easy? What made it easier?” after they’ve danced a bit, and they tell us. Because they’re relaxed. And they ask us questions. My favourite thing when they ask a question like “Where does my right foot go?” is to say “You watch us dance and tell us” and then we do and they do. Or we reply “What an interesting question. Let’s all dance on it and observe ourselves and what we do.” And then we do, and they do, and then we come back together and we say, “Ok, what did you notice?” and they answer their own question. I LOOOOOOOVE THIS APPROACH! Because it tells students they know a lot. They know more about their bodies than we do. And that they can figure out the answer to questions by experimenting.
A direct, and most pleasing consequence of all this, is that you get intermediate students who are ENGAGED in classes, and more than willing to figure out how something works on their own.
You also get students who go social dancing and smile into their partners’ face. I love seeing our students on the social floor. They laugh and smile, they’re relaxed and happy, and they look like they’re dancing. When I see them social dancing, I think ‘Frankie would be proud.’ I look at them and I see joy. I see people being good to each other, and happy. Because they feel confident and relaxed, and ok with just being themselves on the dance floor.
I’ve had to step up and make social dance spaces for our students. They have to be friendly, relaxed, and familiar. So we just started having regular social dancing at the end of our beginner blocks. We ditched our intermediate class in those weeks, and we party on. This was something all the teachers wanted, because we all wanted to spend more social time with students, and because we saw that they found full on social nights intimidating. They needed a next, interim space for practicing dancing. So we did it. And we all LOVE it. It’s just like a real party: talking, eating, laughing, and dancing. Not just dancing.

Ok, I’m not going to let my anger and sadness weaken me

Hey, dance event organisers and teachers!
Feeling pretty bloody awful about sexual harassment? You’re not alone. Want to _do_ something? You can!

Do you have your sexual harassment and OH&S policies and strategies up and working? No? It’s not that hard. And it makes you feel really good and powerful. Like you’re really making a difference and being the boss of jazz.
You don’t need to worry about ‘being a downer’ by addressing these issues. Making plans, training up, and then acting on them will make you and your peeps happier, healthier, and fully legit awesome.

If you want to talk about how we’re going about doing things with Swing Dance Sydney, with the events we run, and in working with other organisers – drop me a line! Email me on sam at dogpossum at dogpossum dot org

We have:
– A code of conduct (with helpful tips on how not to assault/harass someone);
– Explicit tips for not being a poop to other dancers in our FAQ:
– Response strategies for our volunteers, managers, and organisers (getting hassled at the door? Tag in your ninja-like event manager! Call the cops!);
– In-class teaching strategies for tooling up students with mad harassment-destroying skills, and getting teachers fighting fit for dealing with dodgy behaviour;
– Super powers: saying NO and STOP with confidence and pride, being cool when someone knocks you back for a dance. Like GUNS;
– Guidelines for teachers who work with us (both weekly and for big weekends): we are looking out for YOU;
– Strategies for teaching musicians how not to be pervs, and how to be forces for jazz GOOD (rock on super-powered musos!);
– Draft agreements for DJs, teachers, bands, and organisers to lay out the rules, and remind them that we all deserve safety and wellness;
– Event management rules to reduce stress, and increase joy (including the 5 minute time out rule; knowing your limits; work with a buddy; running events should be fun; listen first, talk second; speak slowly and clearly into the microphone, and be sure to point out where the toilets are).
– And most importantly: the ability to improvise, innovate, and change our strategies. Because we are jazz dancers, and that is what we DO.

And more.

Honestly, maintain the rage, but also get into the agitate-educate-organise side of things. If learning the Big Apple makes you feel powerful, imagine what learning to kick a sexual harasser out of a venue can do for you. If we’re a community of dancers, then we got to look out for each other. Step up.

[edit]Something I added to this post on fb:
Oh, and if you are running teeny tiny events or classes, and not sure you’re ‘ready’ or ‘big enough’ to tackle these issues? NO way! You’re in the perfect position to get started on this. Just like we start learning to social dance right from our first classes, you can learn to develop a good, solid oh&s policy/process with just your weekly casual practice session, or your irregular DJed party night. You’re totally in a great position to pwn this stuff.
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[edit 2]And I also think it’s important to think about the things that you can do if you’re not an organiser. Punters are powerful. Organisers make money from events, they garner status and respect. Don’t buy any of that ‘I’m just doing this for the community’ bullshit. That is fucked up martyr bullshit. YOU are the community, and organisers have a duty of care to provide as safe an event as possible. So call them on it!

1. Have a look at the event’s website. Do they have a code of conduct? No? Ask them publicly on their facebook page where it is. Public questions are important, because it says “Hey, this is important to me.”

2. Most of the dance code of conducts I’ve read are completely token and useless. No practical tips, no definitions of harassment. If you read a code of conduct and you’re left with any questions, it’s not good enough. And there’s a code of conduct, but no information about what to do if you need help, ask a public question on the facebook page.

3. If they have a code of conduct but some sort of vague line like ‘see one of our staff’ (rather than ‘speak to Person, contact a door person (who will speak to Person), then you should ask a question like ‘How do I know who can help me? Will they wear a name badge? What happens after I tell them?”

4. If you are volunteering at an event, do you know what to do if someone comes to you saying they need help? Is there a written handbook or emergency process? Who is your point of contact? What do you do if there’s an accident? When do you call the cops or an ambulance? You should know this information before the event starts.

5. Check in again after a week or two. Still no response/code/strategy? Ask again. Be a pebble in their shoe. A little big of niggling can keep you and friends safe, and it can make it clear you mean business.

6. And if you want to say not to a dance/drink/whatevs, just say “No thank you” and leave it at that. If someone says “No thank you” when you ask them to dance, say “No worries” and move on. If you aren’t ok with people not wanting to dance with you, you haven’t grasped the fundamentals of _social_ dancing. No one is obliged to dance with you.

DJs:
You are watching the room all the time, right (RIGHT?!)? That puts you in a super powerful position for keeping an eye on creepers and dodgy behaviour.
But you’re also stuck at a desk with a computer. Virtually every time I’ve DJed at a big event, some random dickface bloke has hassled me. I’ve been groped by sound guys, hit on by punters, hassled by dickhead dancers. I’ve had dancers take photos of my computer screen without permission, random men (they’re always men) have touched my computer and scrolled through my sets. Most recently I was hassled by some fuckwit dancer from Canberra while I was DJing at SLX. If I could remember who he was, I’d name and shame.

This shit is happening to all of us. If it’s happening to me – who’s pretty darn intimidating – you can be sure worse things are happening to your less scary friends. You need to step up and speak out for them. And for yourself.

Statistically, one of you reading this facebook comment is a harasser or offender. We DJs are WATCHING you. The door staff saw you come in, they took note of your vibe. They’re watching you too. And if you see me in the room, you can be damn sure I’m going to call you on bullshit if I see it. Have done before, will do again.

It’s important that organisers see that we take this seriously, and that your attendance will depend on how safe you and your friends feel at an event. If you don’t raise the issue, organisers won’t do anything about it.
Volunteers are particularly powerful, because events simply can’t work without masses of free labour. So you can really make a difference.

Organisers: if people are asking you these questions, it means you’re not doing a good enough job. So don’t get narky, get ON it.

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Step up.

I’m reposting this link to my 2011 post A Difficult Conversation about Sexual Violence in Swing Dance Communities.

The bottom line is this: these men (and I am talking about men, here), are not doing these things in a vacuum. Other men will have noticed that their behaviour is inappropriate. But they did not call this man out because he is a high profile teacher.

It is your job – as a human being – to say something when you see people doing inappropriate things, or when they make inappropriate jokes or comments. There is no excuse. If you saw something and didn’t speak up, you enabled it.
This sort of grooming and then assault take place over longer periods of time. There would have been times when someone saw something. Why didn’t you do something? Why didn’t you do the decent thing?

If you had even a niggling suspicion, why didn’t you act on it? Why didn’t you speak up?
If you are a man, this is how you can step up and be a real man: call out another man on inappropriate behaviour.

Here’s a good guide:
– If someone is a teacher in your scene, particularly a guest teacher, it’s not appropriate for them to make sexual jokes in class. At all. This is an important place to start, as it sets up the terms of the class and scene culture.
– It’s not appropriate for guest teachers to make sexual jokes. Yes, I know that sounds a little conservative. But that’s the point: teachers need to be a bit more conservative.
– It’s not appropriate for them to initiate sexual relationships with students. Yes, there are fuzzy points. But If the student is much younger than the teacher, it is 100% not ok, because we have two points of power here. If they want to begin a relationship, they need to end the teacher-student relationship. If the younger person is under 18, it is illegal. And not ok. It is over now, before it begins.

Look, let’s just make it clear: sexualised jokes in class. Not ok. Just stop that shit now.

I have many more things to say on this topic, but I just can’t.

But, once again:

Speak up when you see bullshit behaviour. Right now, as I write this, I can think of a few high profile international male teachers who are definitely inappropriate in their manner. Everything from sexualised jokes to the sort of nasty buddy-boy sniggering about women in the scene (and their bodies). If I heard them, if I was that buddy there, I’d speak up. Take a risk, yo. Become the better man. Call them on their bullshit.