“The ruling went over the history of the ban, and said it “arose out of a concern that, as a result of the rising popularity ‘of ‘Kung Fu’ movies and shows,′ ‘various circles of the state’s youth’ — including ‘muggers and street gangs’ — were ‘widely’ using nunchaku to cause ‘many serious injuries.’”
“New York lawmakers worried that some young people might be using the device nefariously. “
In 1974 ‘muggers and street gangs’ in New York was code for ‘Black kids’. ‘Kung fu’ films, tv, etc was hugely popular with Black kids (you can read more about that here).
The ‘nunchuck’ ban is interesting because it was clearly targeting this segment of the community in a period of economic freefall and city corruption.
I’m fascinated by this period in American history. There’s a really good documentary called Blank City, which looks at the rise of indy cinema in NY at that moment as well (including Lizzie Borden’s radical feminist film Born In Flames).
…just some random thoughts from a discussion on fb that i’m posting here to keep track of.
If big dance events that were held over new year could collect accurate covid infection stats, it’d be super interesting to compare these with other sample groups. 1 in 5 is lower than omicron in Sydney at the moment, so I suspect it was higher at Focus. But if it was lower, that’d be pretty interesting… maybe because it was mostly local people, we’d see a lower rate of infection?
The issue, though, is that an event like Focus brings together people from separate networks of people. ie we live and interact with a limited number of people in our day to day life (friends, family, workmates, shop keepers, etc). The big issue comes not when we interact with them, but when networks interact. So if you and I went to Focus, I’d be exposing you (and your network) to the germs of my network (and vice versa).
I’m interested in how the statistical side of things (numbers) works in cooperation with the social side of things (the ways people interact, and how relationships determine who we’ll interact with). Here in Australia, the govt health advice has been based on:
1) states (ie mid-level government borders of responsibility),
2) local government areas (ie groups of suburbs),
3) households (nuclear families in particular) in free-standing houses, and
ie we are divided up by government powers, labour practice, and patriarchal ideas of the ‘family’. So restrictions are put in place to open or close state borders (and our states are geographically massive, but very low population density), to enforce lockdowns or restrict gatherings in local communities. Contact ‘bubbles’ are defined by households (ie an actual house) rather than apartment block. Allowable activities are also defined by houses rather than apartments (eg ‘kids play in your yard’ rather than ‘kids play in your local park’).
We’ve seen these divisions collapse when it comes to people who don’t fit into the white, heterosexual, monogamous middle class parents model. ie most people don’t fit into these categories. Most people actually are: engaged in extended family networks, are in precarious employment, aren’t in a monogamous heterosexual nuclear family, etc etc. The higher rates of transmission happen in places like apartment blocks, and in extended families, whereas the govt advice has focussed on how to behave in free standing houses, nuclear families, and fixed workplaces.
We know it’s more useful to think of people as part of the relatively stable networks of family+friends+work I described above, than the ‘household’ or ‘individual’ . The networks are bigger than a nuclear family unit, but they’re also more stable; we tend to max out at a specific number of contacts. And if we think in terms of networks, we can account for extended families, networks of care (eg neighbours caring for neighbours, friendships, sexual partners, etc) and get a more accurate picture of how real people interact (the nuclear family model just doesn’t account for the majority of relationships).
We can apply this idea to dance communities. We all operate within local dance communities (eg I’m in the inner west of Sydney, in NSW, in Australia), and that community network includes musicians, DJs, dancers, venue operators, _and_ my family and friends. But when we go to exchanges, my local network interacts with other people’s local networks.
As dancers, we already think about this interaction of networks: we are all pretty good at identifying someone’s home town by the moves they dance, the shape or aesthetics of their dancing, the music they like or dance to (eg fast or slow) _and_ markers like ethnicity, etc. Even at our most athletic, we can only partner dance with about 40 people in 2 hours of dancing, max (so long as there are no birthday jams!), but are more likely to dance with between 10 and 20.
But when we go to weekend events, we dance for far more hours, with far more people. Each of us, individually, represents a different local network as well as a local dance scene. So when we interact at an exchange, we are exposing ourselves to far more germs. Or increasing the chance of catching covid.
Our state govt has just added a restriction on dancing, where our public health officers Kerry Chant explained that dancing (ie solo dancing) brings us into contact with more people, in closer contact. ie the stuff that makes dancing feel wonderful is also what spreads covid 😃
Bizarrely, years ago I did a conference paper on the way f2f and global networks interact at exchanges. The thing about lindy hop is that we _must_ interact physically – dance – as part of the community. When we travel to dance, we expand that network of physical contact.
In the lindy hop world, that network of contact spreads dance skills, aesthetics, moves, rhythms, ideas, friendships, sexual relationships, etc. But in the covid world it also spreads…covid. Because the lindy hop world is designed _specifically_ to enable that f2f physical contact, it’s as though we built a machinery specifically designed to spread covid.
Red Top – 2001 – Chris Tanner’s Virus – 109 – With Her Dixie Eyes Blazin’ – 4:59
Atlanta Blues – 1946 – Eddie Condon and his Orchestra (Max Kaminsky, Fred Ohms, Joe Dixon, Gene Schroeder, Jack Lesberg, Dave Tough, Bubble Sublett(v), James P. Johnson) – 123 – Complete Commodore And Decca Eddie Condon And Bud Freeman Sessions Mosaic [disc 07] – 3:07
Coquette – Carl Kress – 137 – Classic Capitol Jazz Sessions – 3:00
Summit Ridge Drive – 1954 – Billy Jack Wills and his Western Swing Band (Tiny Moore, Vance Terry, Dick McComb, Kenny Lowery, Cotton Roberts) – 143 – Sacramento 1952-1954 – 2:40
You Hear Me Talkin’ To Ya – 2009 – Luke Winslow-King (Rich Levison, Cassidy Holden, Shaye Cohn) – 142 – You Hear Me Talkin’ To Ya – 2:12
Squatty Roo – 1956 – Ella Fitzgerald – Ella Fitzgerald Day Dream: Best Of The Duke Ellington Songbook – 3:42
Bli-Blip – 1957 – Ella Fitzgerald with Duke Ellington’s Orchestra – 128 – The Complete Song Books (Disc 07) Duke Ellington Vol. 3 – 3:05
C-Jam Blues – 1998 – Lincoln Centre Jazz Orchestra with Wynton Marsalis – 143 – Live In Swing City: Swingin’ With Duke – 3:34
Moten Swing – 2017 – Andrew Dickeson’s Blue Rhythm Band – 166 – BRB Live at Jazz with Ramona – 5:27
Lemonade – 1950 – Louis Jordan and his Tympany Five – 121 – Let the Good Times Roll (1938-1954) [Disc 6] – 3:18
Li’l Liza Jane – 1961 – Kid Ory’s Creole Jazz Band (Andrew Blakeney, Bob McCracken, Bob van Eps, Johnny St Cyr, Bob Boyack, Ennis Doc Cernado) – 175 – The Complete Kid Ory Verve Sessions (Mosaic disc 8) – 4:06
Yesterday a white guy had a troll on a productive discussion about teaching lindy hop. The original post in that discussion was
I was teaching “jig walks” today and it was pointed out to me that the word “jig” miiight not be the best of words. Anyone know anything about this?
This is a pretty good way to open a discussion about race in jazz dance, and it’s not the first time it’s come up in that forum. I won’t go into details here, because that’s not the point of my post.
This discussion had last been active about three months ago. Yesterday a white guy commented:
I am the only one with a Color Screen? or all screens are in black and white now?
I could just hear the eyes rolling from the southern hemisphere.
This is a classic tactic by antagonists in a social setting. We see this sort of behaviour in dance classes quite often, where a student (usually a white man, but not always) derails a discussion or activity with a ‘question’ that centers him and his feelings.
In a dance class setting, I would not engage with this questions, as it will eat up time and energy. As a woman teacher (who usually taught as a lead), I would be very quick to manage this sort of behaviour, as it’s a common tactic used by male students to grasp power in the class. So I’d probably ignore that comment and move us along with a practical exercise that demands attention. If the question is actually relevant to the class matter we’re working on, I would make very clear our position on the topic, and then move on. I think it’s worth looking at how we can, as teachers, respond to racist comments in class. Some of the strategies we use for dealing with sexism and homophobia will work here.
This is also a fairly classic and predictable tactic used by white men to derail discussions about racism. Again, the premise of this sort of question is that the interests of white men are more important than those of Black folk, and that antiracist action is somehow less important than ‘real’ topics.
In the context of dance, ‘historical accuracy’ is frequently used as a tactic for de-centering the interests of living Black dancers. In other words, it’s very common to hear a white male ‘dance historian’ argue that Black dancers in the past did X, Y, or Z, and did not talk about how a word was racist, and that if we are interested in historical accuracy, we must center _their_ behaviour. These sorts of ‘historians’ very rarely ask themselves why a Black dancer of a previous generation, making their wage from teaching white people, would not have spoken up about racism.
This is racist because a white person is using the name of a Black person who has passed as a sigil of authority, rather than standing aside for living Black people to speak and address their interests. They are, effectively, taking ownership of a Black elder and that elder’s knowledge. I can only imagine how maddening and infuriating this is for Black dancers.
In my own mind, when I hear this sort of talk from white, male ‘historians’, I think “Ah, here is a white man using the name of Black elders to maintain his own patriarchal power. He is not comfortable with young Black people (of all genders) changing the discussion to address their living needs and issues. So he dismisses issues like ‘language’ as ‘irrelevant’, and derails a productive discussion to recenter himself and his own interests.”
I find this co-opting of Black lives and people very disturbing. It is as though white jazz dance historians are more comfortable with a dead Black man than with living Black people.
Ok, so it’s my favourite christmas movie subgenre: Adult goes home to family for christmas.
The flight is actually ok, people he meet say useful things that foreshadow later plot points. But it’s when he finally gets to his destination that the fighting begins. Unwelcome guests, drinking, desperate quiet moments alone in the bathroom. More fighting. The highlights are the little kids, and the friend he almost desperately hugs when they finally see each other.
Aside from all that, it’s actually a well plotted film. The tension builds, and every line of dialogue, visual, or character actively develops the story. Classic 80s cinema; you get 1.5 hours to tell a story, then get OUT.
There are some structural elements that are really pleasing. eg the Four Seasons motif that is played by a string quartet on screen, then hummed by various characters, and finally appears as a thematic element in the film’s score; Alan Rickman’s accent(s) are really magic – english sprinkled with the odd German emphasis on a vowel, the ‘American’ accent, etc.
In fact, Rickman makes the film. He perfectly embodies the greedy (aspirational?) crook who longs to have the sort of outrageous fortune that allows him to wear Saville Road suits and not brag about it.
It’s your classic 80s Hollywood film: ‘average joe’ working class white guy from NY overcomes feminism, Japanese workplace culture, financial greed, LA, and all the markers of 80s American bubble economy. All with plucky inventiveness and bravery. If you pay attention (or at least look at the screen occasionally), it is sexist, racist, homophobic, anti-intellectual, and violent.
I’ve been reading and thinking a fair bit about the effect of covid on Black Lindy Hop Matters activism. I did a blog post, but I’m mostly just thinking about this stuff in the back of my brain while I make little cardboard houses.
My main thinking points have been:
BLM was not the cause of anti-racist work in the lindy hop world, but it certainly provided a catalyst for _public_ talk in _white_ communities. ie white lindy hoppers finally had to think about race; Black lindy hoppers tell the children to carry cutlery to the table before they get to cook.
Was covid19 essential to the high profile of the BLM protests?
ie police brutality in the US has been going on for decades, with periodic ‘race riots’. What’s new about 2020? Was it covid? Was it the internet? Was it Trump?
Has covid19 slowed the anti-racism work in the lindy hop world?
ie have dancers have been distracted from anti-racist work by virus-risk-mitigation work? Have Black dancers talking about racism been shouldered aside by white medical specialist dancers talking about covid risk?
Why can’t white people think about more than one issue at once, while Black activists have been multi-tasking with intersectional discussions of race, class, health, and gender? It is a feature of white supremacy to see activism as necessarily dealing with one issue at a time and ignoring the intersectionality of oppression?
How has the ‘pause’ of covid19 (especially in terms of travel and the cancellation of international f2f events) given space for talking about race in lindy hop?
The last one made me wonder, ‘Has the dearth of videos of white people winning dance competitions given the international community space to actually talk about how racist this shit is?’
Why haven’t Australian lindy hoppers been talking about anti-racism, BLHM, etc? Is it because lindy hop stopped while we were busy being terrified of covid? Is it because the biggest scenes have been in lockdown, terrified of covid? Is it because our ‘national’ scene has been replaced by local city-based scenes centred on local (white people’s) concerns instead of anti-racism?
Is this tension between local issues and global activism (ie how do we do anti-racism in glocal lindy hop world?) in Australian lindy hop a model for requiring local anti-racist tool kits informed by global thinking and theory? ie does anti-racism in lindy hop have to be localised praxis within an international context (yes).
Was that conference paper I did about the localism, globalism, and embodied practice in lindy exchanges in 2004 more important than I thought?
BLHM is a matter of anti-racism to fight for justice _today_, not (only) an historical project to credit past Black artists for their work. ie Black Lindy Hop Matters is about more than knowing who Frankie Manning was.
If you catch covid, you have a 10-30% chance of it becoming long covid. One of the most comment symptoms of long covid is fatigue.
If we work with those assumptions, what does that mean for a community of dancers?
Let me be clear: I not an epidemiologist, a health specialist, a physiotherapist, or a disease expert. And I’m not sure if this long covid symptom is true across all covid variants and communities. But I am a cultural studies researcher. I have a lot of experience looking specifically at cultural practice within a particular community of people. So let’s start with this: what could happen to a community of dancers where some of the community members are living with long covid, and those people are representative of the different groups within the community? Teachers, performers, organisers, students, new dancers, experienced dancers, old people, young people, cancer survivors, volunteers, business people, trans people, everyone.
We’ve already seen the consequences of managing covid risk: massive financial loss, spacing requiring larger (more expensive rooms), crowd size management, no partner changing, no partner dancing, mandatory masks (and the effect on vigorous exercise), no social dancing, increased workloads for organisers, etc.
But what about the effects of one symptom of covid itself, specifically, fatigue?
Fatigue is not just being tired, where you can push through. Fatigue means you sit down to eat your breakfast, but afterwards you’re so tired from eating you can’t get up from the chair. You have to sit there for a couple of hours. Meanwhile your body cramps and you’re in pain. But this exhaustion is mental as well – you cannot concentrate, cannot follow ideas, and so on. What does this mean for a dancer?
If you’re a professional lindy hopper (a teacher or performer, or someone working in film or television), living with fatigue from long covid, then you cannot dance. You cannot work. Your income is gone. You cannot perform, you cannot choreograph, you cannot practice. Your body, already affected by illness (respiratory illness being the least of it), loses muscle tone and fitness. Your memory and ability to retain choreography disappears. That ‘muscle memory’ stuff (which is actually your brain working) dissolves. Not only can you not train for the hours every day your work requires, you cannot even coach other dancers and earn an income for choreographing for other people. Living will illness, and being separated from your support networks result in serious mental illness. Depression. Anxiety. And it’s impossible to do creative work living with an illness like this.
If you’re a new dancer who has to live with long covid, then you simply stop dancing. And probably never return to it. New dancers are the bread and butter of most dance classes and dance schools today. Dance organisations often fund their social events and weekend events with income from beginner classes. Without that cash flow, the parties dry up. Work for musicians and DJs dries up. The ability to play for dancers dries up.
What does this mean for dancing in the rest of the community? Even if those dancers falling ill are local teachers rather than traveling professionals, all that accumulated teaching knowledge, which lindy hop is notoriously poor at retaining and sharing, will be lost. All that historical and cultural knowledge is taken out of the community. The musical knowledge and dancing knowledge is gone. Not only in that one person, but in all the people they taught, danced with, inspired, and provoked into rivalry.
This is a little like having the Black men removed from jazz music and dance by conscription during the second world war. Whereas jazz music and dance at that time were actually real social practices, happening in sustainable social spaces (families, neighbourhoods, thriving businesses, cross generational gatherings), modern lindy hop in many scenes is not socially sustainable. It collapses when just one or two key people in a local community disappear.
Most lindy hop communities are small*, with perhaps a few hundred dancers, and classes and events run by two or a handful of people. Lose one or two or a handful of those, and that local scene will crumble. If that scene is socially sustainable, with different aged people, a sharing of power and responsibility, etc, then it may be fine. But we have seen over the past ten years, particularly in discussions around sexual assault and racism, that the modern lindy hop world in most cities is not socially sustainable. Patriarchy (and late capitalism) is doomed to collapse under its own weight.
But is it so dire to see a community based on white supremacy and patriarchy break down? Nope. But the thing about covid is that it infects everyone. Even rich white men. The real, serious difficulty with covid is that vaccination and risk management is much harder when you’re poor, you’re disabled, you’re homeless, you’re marginalised.
When a local cultural community collapses, we also see innovative and new types of work in that local field disappear. The modern lindy hop world is dominated by the concept of historical reenactment, with the implication that the best lindy hop is old lindy hop. This ideology in practice (as many people have pointed out elsewhere) is racist, as it privileges the white people who’ve been lindy hopping the longest, and marginalises (discredits! devalues!) living modern Black culture. As Thomas DeFrantz said in his Collective Voices for Change talk, Black dance is a medium for change, for innovation, for action and activism as well as cherishing history and preserving legacy**. Long covid threatens this new and radical work.
Cancelled in 2121 by the rising Omicron wave, the Belgian event Upside Down has determinedly shifted online. But though online fun is still fun, the face to face necessity of lindy hop suffers.
I mention Upside Down for a few reasons. It is rooted in live music, with the organisers working closely with local musicians. Musicians who are some of the best and most talented in Europe. These musicians lose a weekend of work. Upside Down features some of the most creative promotional design, art, and social media engagement in the lindy hopping world. But while some of this might flourish online, the face to face element (the decorations, the unusual party structures, the creative energy and excitement) does not. Upside Down focusses on its local city, and on local dancers. It’s smaller scale (a few hundred rather than a thousand), and it aims to be environmentally sustainable. It’s also responded to the Black Lindy Hop Matters movement by asking its staff and attendees to engage with race and history and social power. This type of energy and enthusiasm is staggering under the pandemic. And individual cases of long covid in key personnel could be disastrous.
The greatest consequence in the cancellation of events like Upside Down is not in the loss of the event itself. It is losing those moments of creative catalyst that result in waves of new thinking, new creativity, new activism, that spread out into the wider community beyond Ghent.
Think of the Jazz Dance Continuum project spearheaded by LaTasha Barnes and her crew. I’m knocking on wood and tossing salt over my shoulder as I type, but imagine an actor like Barnes catching long covid? The woman is a force of nature, working in so many areas of jazz dance, and the wider creative world. She’s also a social agent of good, working with the Black Lindy Hoppers Fund, Frankie Manning Foundation and beyond. And what if Julie Living in New York, or Tena Morales-Armstrong in Houston became ill? These women are the backbones of their local and wider communities (once again, fucking hats off to Black women for being true forces of nature… and hardcore professionals). If we lose these types of people, the truly innovative work will be lost.
If you’re a Black American, catching covid is a very, very dangerous thing, for you and your family. The disease is bad enough, but the American ‘health’ system has never been kind to the Black community. The people most likely to be exposed to covid (the breadwinners and caregivers in the family) are removed from the family structure. Feeding nanna or putting food on the table gets harder. And if you catch covid, you still have things like long covid to consider. Individuals are going to be devoting what little energy they have to sustaining family, neighbours, parish, school, and friends. So the Black dancers and Black culture which have begun to make a difference to modern lindy hop are once again marginalised. This is, of course, a familiar consequence of racism. Racism makes people sick. Racism reduces life expectancy. Racism destroys communities.
I’m writing this now in Sydney, where our government has decided not to enforce lockdowns or other restrictions. Our covid case numbers are higher than they’ve ever been before, and we are behind other countries in vaccination. Two years into the pandemic, the national lindy hopping community has been fragmented into local, capital city based scenes. The live jazz scenes in the bigger cities is also suffering. I fear for the future of lindy hop and jazz dance. Mostly because I think that any future ‘revival’ will be based on the white dominated communities of the 80s-2010s, as we move further and further away from the swing era.
Wear a mask. Get vaccinated. Avoid crowds.
*If most lindy hop communities are small, them most teachers are teaching locally for smaller groups, most DJing is done for local crowds and smaller crowds, most of the live music dancers listen to is played by local musicians, and most of the venues they use are smaller. The budgets are smaller, most labour is unpaid, and most of this unpaid labour is conducted by women. This is is something I learnt during my doctoral research (pre 2006), but which has remained the case in the following fifteen years.
If most teaching is done locally, then the most valuable teaching skills center on attracting and retaining newer dancers, or local people (rather than margeting to the more experienced market for weekend events). This type of teaching must, by necessity be locally specific: catering to the culture, values, and people of it’s home society.
**This idea of Black dance embodying opposing forces like preserving the past and fostering innovation is not new. Embodying ‘hot and cool‘ is a feature of Black dance, as DeFrantz, Malone and countless other point out. It is, again as Malone points out, almost the stamp of a vernacular dance to take elements of the past and rework them for current needs and wants. In other words, lindy hop wants to preserve the past and innovate and create. It is the quintessential modern dance of the 20th century.
Gottschild, Brenda Dixon. Digging the Africanist Presence in American Performance. Connecticut and London: Greenwood Press, 1996.
—. “Stripping the Emperor: The Africanist Presence in American Concert Dance.” Looking Out: Perspectives on Dance and Criticism in a Multicultural World. Eds. David Gere, et al. New York: Schirmer Books, 1995. 95 – 121.
Hazzard-Gordon, Katrina. “African-American Vernacular Dance: Core Culture and Meaning Operatives.” Journal of Black Studies 15.4 (1985): 427-45.
—. Jookin’: The Rise of Social Dance Formations in African-American Culture. Philadelphia: Temple University Press, 1990.
Malone, Jacqui. Steppin’ on the Blues: The Visible Rhythms of African American Dance. Urbana and Chicago: University of Illinois Press, 1996.
I’ve been thinking about this question: ‘why watch things you know you’re going to hate?’
There are lots of personal reasons – boredom, the pleasure of a hate-watch, curiosity, keeping up with trends, I’m not the only person watching the telly in my household, etc etc. But I also try to keep abreast of things that I know I won’t like, so that I have an idea of what’s happening in various media – film, telly, music, books, comics, etc. I also believe that it’s ok to dislike or hate something. And to talk about why we hate or dislike something.
In the case of the Beatles, they’re the epitome of Boomer cred: white person cultural tastes. To even say (as Heidi did) that ‘the Beatles are over-rated’ is almost a taboo. How can they be overrated? They’re the BEATLES!
When we talk about why dislike something that we’re _supposed_ to like (or love), we offer critical engagement with dominant culture. I do often say ‘I hate that!’ without qualification, but if I’m at the point where I want to talk about it on fb (unlike twitter, which is just friends), I usually offer qualification.
Why do I hate this program ‘Get Back’? What is it about it that makes me so uncomfortable? Why watch something I won’t like? What is happening in this text that narks this feminist so much? Why do I dislike it, even though I like the music? That last question is the interesting one: what’s happening in a text like this that lets me both love parts of it (the melodies) and hate other parts of it (the gender and race politics at work in the text and surrounding the text)? This is the best question, I think.
It’s an example of how a text doesn’t carry innate value or meaning. It’s just light and sound. But each time I engage with it, I make meaning, and my meanings change. I can look at this film and ask ‘Where are the women? Why has nothing changed in the music industry?’ And I can ask ‘Where are the poc? Why has nothing changed in the m/s music industry?’ But I can also ask, ‘Is this how a group of white men can negotiate disagreements without violence?’ or ‘Is this how a song gets made, collaboratively?’ The text doesn’t change, but my way of reading and interacting with it does.
This is, of course, the core of concepts like ‘critical race theory’. Why would I read the diary of a slaver who justifies his work as economic necessity, when I know I’m going to hate it? Why not just read things that I love that make me happy?
When you read and watch from a marginalised position (esp as a woman, a poc, etc), there are so few m/s texts that offer uncompromised joy and happiness.
A known offender is teaching at an event in your area. What do you do?
I’d probably think local. You can’t change the entire world, but you can be useful to local people. You know you and your mates won’t go (because you know who he is and what he’s done), but do the people outside your immediate peer group know? I’d imagine newer dancers don’t.
You don’t need to risk repercussions by telling people what he’s done. You can turn the issue upside down, and ask ‘what has he done to fight the fucking power?’
In less radfem sweary terms, maybe check in with them about what to look for in a teacher at a big event. Dancing ability isn’t enough. We need more. Who are they as a _teacher_ and person?
1. Are they straight, white, men?
If so, they need to prove themselves _better_ than anyone who is queer/poc/women/enby.
-> if he has no record of working to dismantle oppression. He’s not an ally.*
2. Do they do racist/sexist/homophobic stuff in public?
– Have they performed in black face (including ‘brown’ or ‘gold’ paint), a fat suit?
– Do their routines involve gay panic/homophobic jokes?
– Do they rely on sexualised jokes for their routines’ punch lines?
I have a one-strike-you’re-dead-to-me-policy. No second chances from me. So Ksenia Parkhatskaya is on my ‘no’ list because she’s appeared in black face in performances MULTIPLE times. Doug Silton is on my no-list because he appeared in black face on stage at a huge event (2013). Dax and Sarah are on my no list because they performed in a fat suit (2011) to recreate a Black dancer’s dancing, and stated that women should dance in high heels (2011). The list goes on and on. And all of these incidents are documented in footage from high profile events.
-> One of the things that WM actually did, and is recorded on film doing, is making a nazi salute (quenelle) during his performance at ILHC in 2014.
That’s enough to convince me not to attend an event he’s at. But are the other peeps in your scene also setting that as a baseline? If not, is it because they’re not Jewish, not people of colour?
3. If they’re white/straight/men, are they antiracists, anti-homophobic, and anti-sexist?
– Are they using their privilege in good ways?
– What do they post about on fb?
– Do they only work on all-white event staffs?
– Do they have a T&C document that says ‘I will not work at events that hire [known sex offender], [known racist]’ ?
– Do they post about antiracist efforts on fb?
– Do they donate money to, attend workshops with, or otherwise support projects like CVFC – Collective Voices for Change, Black Lindy Hoppers Fund, Maputo Swing, etc?
– Do they use their channels to advocate for marginalised people? ie do they suggest poc, women, queer, people for teaching/DJing/admin gigs?
– Do they give blog/media space to anti-racist actions, or do they devote that space to discussions about ‘technique’?
4. Are they white/straight, and have teaching styles and classes that are anti-racist, and advocating for students’ empowerment?
– Do they stand in the middle of the class and push you through a routine, or do they encourage students to explore ideas?
– Do they only teach moves they ‘invented’ or learnt from a modern day white guy, or do they continually name check Black dancers and musicians, giving a sense of history?
– Do they use racist/sexist language in class? eg do they use gendered language for leads and follows, sexualised jokes and metaphors, position a white man as the ‘norm’ in their anecdotes and metaphors?
– Do they ignore racism/sexism/homophobia in their classes, or do they call it out (even if from students) students in a productive way? If they ignore it, they are _condoning_ and enabling sexism, homophobia, and racism.
You’ll find that the sexual offenders, the bullies, and the bastards are fuckheads in a whole range of ways. Their sexualised violence is just one of the ways in which they exploit others.
In other words, we should all be asking ‘is this person being a force for good, or a fucking jerk?’ before we attend an event that’s promoting this teacher, musician, DJ, or MC.
Things that do not make you an ally:
– Having a photo taken with a Black dancer like Norma, Frankie, or other OGs.
– Wearing a Tshirt that features a Black dancer/musician.
– Standing by while bad shit goes down.
– Hiring one poc for your event.
– Posting a black square on your fb profile.
– Having women friends that you like.
– Having a Black friend.
– Teaching in Asia this one time.
– Knowing a gay person.
*you can’t just ‘be an ally’. You have to _do_ ally-ship.
Of course, as soon as I read Daniel’s original tweets on this, my brain started thinking about the way dance steps/styles travel between communities. Dance steps are units of meaning, ways of communicating ideas, who we are, and what we value. In Australia our local lindy hop scenes are separated by huge distances (the two closest scenes are a 3 hour drive apart; most are ~1000km apart), so they tend to have distinct local flavours, even with The Internet. We can think of these as functioning the way a workplace does. For many of us, these are our workplaces. Our germs and dance steps circulate within that local community, which expands into our homes and family circles.
When we travel to meet each other and dance together at exchanges, we literally exchange a whole bunch of things. Dance moves, strategies for preventing sexual assault, hospitality, songs, germs. We make jokes about things like ‘exchange flu’ or ‘Herrang flu’, but this is precisely how covid works: we move out of our own bubbles (local networks) and interact with people from other networks. Boom, new dance steps, new musical trends, new germs.
Daniel’s article does some fantastic work explaining why each local network is different.
Estimating transmission rates depends on understanding the network landscape, and that’s exceptionally difficult to map in real time. You can’t do it using the abstract mathematical models that dominate our public debate.
You and I, lindy hoppers, could do a very good job of explaining the internal relationships of our dance communities. The number and types of classes and parties. The formal dance troops gathering regularly to practice. The casual ‘sessions’ where people get together to jam and practice. Regular live music gigs where we interact with nondancers, venue staff, and musicians. Friendships. Romances and hook ups. Employer/employee gigs. After-dancing snack spots. And so on.
When I was doing my doctoral research, a big chunk of it was ethnographic mapping of local and global dance scenes (pre fb and youtube). To get an accurate picture of how a scene worked, I had to do participant-observation, and then have community members engaged in the ‘mapping’ process. I went from very big survey samples, to a series of smaller focus groups and discussions. Because each human is different, and each local community reflects not only the society in which they function, but also the particular dynamics of each local scene.
If I went in with the assumption that every local scene relied on live bands for social dancing, I’d have no way of describing places like Seoul. If I went in with the assumption that every scene had only male-female dance partnerships, I’d miss… every single dance scene that actually exists 😃
The way lockdowns are enforced in Australia at the moment, there is the assumption that every local community works in the same way. This ‘way’ reflects a particular type of family and culture: white, middle class, suburban, patriarchal.
As Daniel says, the structures within a local network are even more complex than a dance scene. Particularly migrant, outer-suburban communities. People taking turns bringing elders food. Sharehouses where everyone works at least 2 jobs in an ‘essential’ industry. Crowded apartments where more than one family share a shower, kitchen, and common areas. Informal childcare arrangements. And so on.
In the white nuclear family model where four people live in one house in the relative isolation of a suburban house, the father/husband goes to an office job, and the mother/wife stays home to look after the kids. This fits very nicely with the lockdown model. You can order people to work from home, to order groceries online, and stay home together, getting some sun in the garden every day.
Extended family networks don’t look or act like this. So they need different models. Curfews, cops on corners, and other draconian lockdown features won’t (and can’t) stop these people meeting.
The truly interesting part of Daniel’s article is where they point out that a relatively limited number of germs circulate within a smaller network. Even if you’re caring for nanna, living in a crowded house, or going dancing every week, practicing with your buddy, you’re only interacting with a set number of predictable people.
The difficulty comes when you go to work. In workplaces we see a number of the contained networks overlap. People from different networks interact and share germs. And not just on a one-to-one basis, where one father-worker shares their germs with another father-worker and his nuclear family. Boom. Exponential sharing.
In a dance scene, this might be a dance class where not only does everyone learn the new dance step from their partner, but everyone learns how to dance with a million other people. ‘Learn how to dance with’ = become more open to sharing and learning ideas (both physical ideas and creative ideas). Then they get onto the social dance floor and this sharing of moves and movement goes superexponential.
If workplaces are where smaller networks interact, then workers need safer workplaces:
– Shorter shifts, so they are exposed for less time;
– Better pay, so they need work only one job, and at that job for fewer hours (ie 8 hours a day);
– Paid sick leave, and leave for testing (or on-site testing) so they can go get those covid tests;
– Job security, so they aren’t fired or lose income if they miss a shift.
But none of these things are present in casualised work, or workplaces that have been de-unionised.
As a sort of extension of my doctoral work, I’ve found that a top-down response to sexual assault and harassment in a dance community is highly ineffective. Simply having a code of conduct where organisers lay down the ‘don’t rape people!’ rule does not prevent sexual assault.
Again, if we want to control a negative factor, we need to get highly specific, we need to give individuals the power to make decisions about their own lives and actions. Rather than a top-down, blanket order to ‘stop touching each other!’ we need to give people the freedom to avoid contact in ways that preserve their local support networks (families, or peer groups), and even more usefully _use_ their local networks to spread information, resources, and support. The agility of the Sikhs delivering meals safely. The authority of an aunty putting teenagers to work. The collaboration of girlfriends stepping in to divert a creeper from a new dancer. And so on.
Capitalism, patriarchy, however you like to think about these bigger, authoritarian hierarchies, are bad for people’s health.