so not done. NOT DONE.

What? I have to talk about rape and sexual violence and a continuum of disempowerment in dance AGAIN?!

It seems, so. Because some fuckers apparently didn’t get the goddamm memo.

Boys are told from a young age that whatever they do will be excused under the “boys will be boys” mantra, and that “boys will be boys” mentality leads to what I call the “BOILING FROG” problem of women’s sexual boundaries. I call it that because if you put a frog into a pot of boiling water, it will jump right out, but if you put a frog into a pot of room-temperature water and slowly heat it to a boil, the frog will acclimate as it heats and never jump out, eventually boiling to death. Similarly, when we learn as young girls to tolerate “low-level” boundary violations like the ones we often are forced to suffer in silence at school, at home and on the street – bra-snapping, boob-grabbing, ass pinching, catcalling, dick flashing “all in good fun” relentless violations that adults and authorities routinely ignore – it makes it harder for us to notice when even greater boundaries are being violated, eventually leading to the reality that many women who are raped just freeze and fall silent, because that’s what they’ve been taught to do over and over since day one. You tell me what’s more infantilizing: repeatedly letting boys (and grown men) off the hook for their behavior because “boys will be boys” and we can’t ever expect any differently, or creating a consent standard in which all partners take active responsibility for their partner’s safety, and which acknowledges the truly diseased sexual culture we’re soaking in every day.

The (nonexistent) terrible, horrible, no good, very bad consequences of enthusiastic consent – Jaclyn Friedman

(via let my enemies take care)

Ken Lay, chief commissioner of police in victoria, made the point that sexual violence is a men’s issue

[This is pretty much what I wrote in the post A difficult conversation about sexual violence in swing dance communities. And this is why I argue that gender neutral language is important – not because it is an end in itself, but because the language we use to discuss an issue communicates not only the way we think about that issue, but the way we think we should think and act upon an issue.]

This what should we call lindy hop entry introduced me to the term ‘dudebro lead’ and I LOLed.

And then I got angry again, that we have to HAVE this term at all.

Someone hooked up The day I taught how not to rape which reminded me that it’s worth raising these issues again and again and again, because humans do, generally, want to do the right thing. Even if they are fuckwits.

Why the fuck do I have to keep banging on about this stuff? I feel like a broken record.

But you know why I keep going on about this fucking irritating shit?
Because on Monday I was yelled by three different men in three different cars as I tried to cross a road.
On Tuesday a sound guy mansplained how to turn the volume down on a mixing desk as I was DJing, after I noted it was the same model I’d learnt to DJ on EIGHT YEARS AGO.
On Wednesday a middle aged male student arrived at our class venue, and even after my female teaching partner and I introduced ourselves as the teachers for the venue, he continued to speak to the only man at the table, and then spent the next two hours interrupting us in class, telling our female students how to dance and generally badmouthing and disrespecting them, ignoring our instructions, and finally getting angry and trying to bully us into letting him do the level 2 class next week after I’d just told him he wasn’t ready and eventually said “I’m not talking about this now. It’s your decision, but you cannot do this level 2 class again.” He had done perhaps four lindy hop classes in his life ever.
Thursday I was yelled at by two different men in two different cars as I crossed (a different) road, and then some 20-something cockwit oggled my tits before looking into my face and realising I was telling him to fuck off.
Yesterday a venue manager openly mocked my understanding of live music politics, and mansplained how promotions work. He then proceeded to explain to me who Stephen Cummings and Reg Mombassa are. I chose not to tell him I’d been at a party with Reg Mombassa on the weekend.
The other week I was told (once again) that women leading isn’t ‘normal’ and that a woman can’t really lead the way a man can, and that this robs male students of a proper learning experience. I was also told I couldn’t do public promotional gigs because it gave the ‘wrong impression’.

This is WHY I am still fucking angry about this shit. EVERY DAY something fucking irritating happens to me BECAUSE I am a woman and not a man. It just makes me SO ANGRY. SO ANGRY!

But the part that really makes me angry, that makes me so determined to keep raising these issues and NOT ignoring them, is that I am a perfectly competent, capable woman, but these constant niggling bits of shit just wear me down and make me question my abilities.

And, finally, this is why I don’t just accept that this is ‘how men are’ or ‘how things are’:

Because on Tuesday night a whole big band full of young men politely introduced themselves to me or said hi if we knew each other, and then had conversations with me and my female teaching partner just as if we were ALL HUMAN BEINGS, and more excitingly, as though we were ALL COMPETENT PROFESSIONALS. And if they wanted to flirt (with the women in the room – not me so much :D), they just flirted and it was SUPER NICE because it’s possible to communicate sexual interest in a respectful way.
Today a musician answered some of my questions about the live music industry with respect and common sense, as though it was PERFECTLY NORMAL to have questions and to share ideas with a woman in a respectful, professional way.
On Wednesday when I just decided that that was IT and I had had ENOUGH and told that unpleasant man a) he couldn’t do as he liked, and then b) that the conversation was OVER and I wasn’t interested in his opinion, no one died, I wasn’t beaten up, my (male) partner didn’t feel the need to step in and ‘save’ me, and the whole thing was just RESOLVED.
On the last few times I’ve been social dancing women have asked me to dance and the fact that I’m a woman was just NOT AN ISSUE. And this is really just NORMAL for me, as a woman who leads – it happens all the time, and it’s actually so ordinary no one even notices!
The male dancers I worked with on Thursday night were totally ok, and in fact, probably didn’t even register the fact that our training session was coordinated by women. They were just HAPPY to be a part of a friendly supportive group, getting shit done.
And I read this nice piece by a man, about bodies.

If every man I dealt with was a complete fuckwit, I would give up on all this shit. But they’re not. They’re NOT!

Plenty of men are capable of treating the people around them – whether men, women or children – with respect. And THIS Is why I have NO PATIENCE with fuckwits who’ve decided that being a woman makes me – and you! – less capable, more vulnerable, less important and generally an object to be disrespected.

We are so not done with this conversation yet. SO NOT DONE.

Amazing

What people really look like is kind of how I think about bodies in dance classes, except it’s a gorgeous bit of writing.

There really isn’t anything more wonderful than a room full of people in that last 10 minutes of a class, laughing and shouting and dancing like fools. Doesn’t matter whether they’re any ‘good’ at it or not – it’s the sheer joy that makes it just so exciting and inspiring. It’s really, really, great to demonstrate a cool break step, hear the students say “ooooo” and then five minutes later see them rocking that step themselves, with that confident “I am the best!” expression on their faces.

Humans are just so amazing.

(At the moment my new favourite thing is watching men who’ve never danced, ever, and who are quite blokey, do their first dance lesson and move from incredibly uncomfortable to unconscious glee. In those moments, when they’re flinging their arms about and laughing really loudly, I think of Frankie and get the feels real bad.)

Leading and following are different.

This is what I think:
1. I don’t think everyone should have to learn to lead and follow. It’s totally cool to just do one. But whatever you or someone else chooses, aim to be excellent to each other.

That’s why I don’t like the idea in this post – Won’t Follow? Then We Won’t Dance. – that if a guy won’t follow, you shouldn’t dance with him at all. It is so not your place to judge if a bro asks you to dance, then doesn’t want to follow, but does want to lead.
In that piece, however, the author argues that they don’t want to dance with a particular type of guy – the yanky, rough, disrespectful lead. And their solution is to then ask them to follow instead. I’m actually ok with not wanting to dance with a yanky guy. That’s cool – I can dig that. But in that case, why not just say “Thanks for asking, but I’d rather not just now”? If you know that bro doesn’t want to follow, but does want to lead, why not answer the question he’s asking: “Do you want to follow while I lead?”

I mean, if a woman asks you to dance, but doesn’t want to follow, we should be cool with their decision not to follow. We don’t have to dance with them, but we don’t get to decide that they have to or should follow as well. That’s totally not our business. And it’s disrespectful to question someone’s choices about leading and following.

But.

2. Knowing how to both lead and follow is fun. And it means you can dance with anyone.

3. Leading isn’t just ‘for men’ and following isn’t just ‘for women’. What someone chooses to dance isn’t really any of your business. So get over yourself.

4. Leading and following are different. Sure, there are some basic principles of biomechanics and things that are common to both, but they are different. Yes, good leads are receptive and responsive, but great leads lead. It’s not like following.

BUT if you want to be serious about your dancing, and really work to improve and push yourself:

1. You need to learn to solo dance. And I don’t mean just hippity hop or dancehall or African dance. I mean 1920s, 30s, 40s era solo dance. Tap is great. If you want to be a lindy hopper, you have to be able to dance alone. If you want to be a good lindy hopper, solo skills is a fundamental prerequisite. Because lindy hop requires the skills solo dance gives you: superior balance, core stability, independent mobility, a degree of improvisation.

2. You can be a brilliant, gifted lindy hopper and never do aerials. But you have to be able to dance alone, and dance well on your own.

3. You need to do some sort of other fitness/strength work. Pilates, yoga and other conditioning/stretching disciplines are really important. Chances are you’re learning some bad habits in your lindy hop (particularly if you do self-guided work), and these other sorts of practices help you become self-reflexive in your dance work. They also often have a much longer history of practice than modern day lindy hop, so their teachers and masters have mad skills.

4. Here’s where I get controversial. If you want to get really good at lindy hop, you’re going to have to decide whether you lead or follow, and then devote your attention to that.

Yes, they do have some similar traits, but they work in fundamentally different ways. Leads initiate momentum, follows maintain it. Leads plan out the steps and moves, follows make them happen. Both bring improvisation and rhythm and all that stuff. And each dance and partnership is independently negotiated by the partners. But leading and following are not the same.

And at some point, your dancing has to move to becoming unconscious responses as well as conscious decisions. And if you have a moment when you’re dancing, where your body/brain pauses and can’t decide whether it’s leading or following, or it decides to lead when you’re following (or vice versa), you won’t be dancing at your best. You will interrupt the partnership. And if you’re dancing fast (which lindy hoppers usually are – 140bpm is faster than modern dance music), you need quick responses.

I strongly believe that the best lindy hop happens when there is a clear leader and a clear follower. Yes, you can have lovely dances where you share the lead and follow, and it’s often not clear who’s leading and who’s following. Yes, that is good and fun. No, I don’t think it should be banned. I quite like it.
But if you are serious about getting really good at lindy hop, you need to have a clear division of roles. Particularly if you’re interested in the sort of dynamic lindy hopping that people like the Whitey’s Lindy Hoppers or Dean Collins’ dancers did.

I believe that in each dance, I have an unspoken contract with my partner: I will lead or I will follow. I don’t care who does what, or if we swap half way through (or every phrase), but when I am leading, I am leading. And when I am following, I am following.

Because I have always found following creatively stifling, I now try to make my following quieter, and transfer all that pre-empting into my leading. I’m not hugely good at that, which is why I’m not (and probably won’t ever be) a brilliant follow. I’m just not that way inclined, temperamentally.

These days I’m quite strict about who leads or follows: I like to lead for a whole song or follow for a whole song. I don’t care which I do, but I like to see the thing out. A whole song has a pattern and a series of relationships at work, and I want to be a part of that in a consistent way.
When I’m feeling less strict, I like to keep to one role for at least the whole phrase.

…Now I feel like I’m being too anal. I won’t go nuts if we swap half way through. Sometimes that’s nice. But these days, I’d much prefer it if we danced two songs – me leading one, you leading the other. Unless you are a very good friend, and we have talked about this. Or you decide halfway through that you just can’t continue in the role you’re doing – in that case, we’re cool. We can swap.

There. I’ve just surprised myself with my own inflexibility.
But, really, what do you care what I think about this, unless you’re dancing with me?

8tracks: Swingin’ at the Peebs

Swingin' at the Peebs from dogpossum on 8tracks Radio.

Here are some songs we play a lot in our classes. For our beginner lindy hop and our solo classes.
I’ve just uploaded the songs randomly because we tend to play them randomly in class.
Songs:

(title artist year album length)
A Viper’s Moan Willie Bryant and his Orchestra (Teddy Wilson, Cozy Cole) 1935 Willie Bryant 1935-1936 153 3:26

Laughing In Rhythm Slim Gaillard and his Peruvians 1951 Laughing In Rhythm: The Best Of The Verve Years 142 2:56

Laff, Slam, Laff Slam Stewart Quartet (Erroll Garner, Mike Bryan, Harold ‘Doc’ West) 1945 Bowin’ Singin’ Slam 156 2:59

Drinkin’ Wine, Spo-Dee-O-Dee Lionel Hampton and his Orchestra with Sonny Parker 1949 Hamp: The Legendary Decca Recordings 134 3:24

Fiddle Diddle Lionel Hampton and his Orchestra (Walter Fuller, Omer Simeon, George Oldham, Budd Johnson, Robert Crowder, Spencer Odom, Jesse Simpkins, Alvin Burroughs) 1938 The Complete Lionel Hampton Victor Sessions 1937-1941 (Mosaic disc 02) 143 3:24

I’se A Muggin’ Le Quintette du Hot Club de France (Stéphane Grappelli, Django Reinhardt, Joseph Reinhardt, Pierre Ferret, Lucien Simoens, Freddy Taylor) 1936 The Complete Django Reinhardt And Quintet Of The Hot Club Of France Swing/HMV Sessions 1936-1948 (Mosaic disc 01) 176 3:08

Goin’ Out The Back Way Johnny Hodges and his Orchestra (Ray Nance, Lawrence Brown, Harry Carney, Duke Ellington, Jimmy Blanton, Sonny Greer) 1941 The Duke Ellington Centennial Edition: Complete RCA Victor Recordings (disc 12) 155 2:44

Stompin’ At The Savoy Jimmy Dorsey and his Orchestra 1936 Swingsation: Charlie Barnet and Jimmy Dorsey 162 3:12

Cole Slaw Jesse Stone and His Orchestra Original Swingers: Hipsters, Zoots and Wingtips vol 2 145 2:57

Sad Sap Sucker Am I Fats Waller and His Rhythm (John Hamilton, Gene Sedric, Al Casey, Cedric Wallace, Slick Jones) 1941 The Last Years (1940-1943) (disc 02) 142 3:03

All That Meat And No Potatoes Fats Waller and His Rhythm (John Hamilton, Gene Sedric, Al Casey, Cedric Wallace, Slick Jones) 1941 The Last Years (1940-1943) (disc 02) 143 2:47

B-Sharp Boston Duke Ellington and his Orchestra 1949 Duke Ellington and his Orchestra: 1949-1950 126 2:55

Lawdy Clawdy The Cats and the Fiddle 1941 We Cats Will Swing For You Volume 2 1940-41 148 2:57

Fan It Bob Wills 1936 San Antonio Rose [disc 02] 151 2:42

Flying Home Benny Goodman Sextet (Fletcher Henderson, Charlie Christian, Artie Bernstein, Nick Fatool, Lionel Hampton) 1940 Charlie Christian: The Genius of The Electric Guitar (disc 1) 167 3:16

Bearcat Shuffle Andy Kirk and his Twelve Clouds of Joy (Mary Lou Williams) 1936 The Lady Who Swings the Band – Mary Lou Williams with Any Kirk and his Clouds of Joy 160 3:01

This is the second playlist, because it was all a bit huge in one, and because we play a LOT of Fats, Hamp and Slim and Slam.

Swingin' at the Peebs #2 from dogpossum on 8tracks Radio.

Song list:

Slim’s Jam Slim Gaillard and his Orchestra (Bam Brown, Zutty Singleton, Dizzy Gillespie, Charlie Parker, Jack McVea) 110 3:17 The Legends of Savoy, Vol. 2 1945

My Baby Just Cares For Me Nina Simone 120 3:38 The Great Nina Simone

Lemonade Louis Jordan and his Tympany Five 117 3:17 Louis Jordan And His Tympany Five (vol 5) 1950

Don’t Be That Way Lionel Hampton and his Orchestra (Cootie Williams, Johnny Hodges, Edgar Sampson, Jess Stacy, Allen Reuss, Billy Taylor, Sonny Greer) 136 2:36 The Complete Lionel Hampton Victor Sessions 1937-1941 (Mosaic disc 02) 1938

Hey! Ba-Ba-Re-Bop Lionel Hampton and his Orchestra 135 3:21 Hamp: The Legendary Decca Recordings 1945

Wham Johnny Hodges and his Orchestra (Emmett, Berry, Lawrence Brown, Al Sears, Leroy Lovett, Lloyd Trotman, Joe Marshall) 140 3:07 A Pound of Blues 1952

Peckin’ Johnny Hodges and his Orchestra (Cootie Williams, Barney Bigard, Otto Hardwick, Harry Carney, Duke Ellington, Fred Guy, Hayes Alvis, Sonny Greer, Buddy Clark) 165 3:10 The Duke’s Men: Small Groups Vol. 1 (Disc 2) 1937

Moten Swing Jay McShann’s Kansas City Stompers 192 2:57 Kansas City Blues 1944-1949 (Disc 1) 1944

Hootie Boogie (1945) Jay McShann 148 2:55 Jay McShann: Complete Jazz Series 1944 – 1946 1945

Answer Man Harry James 143 3:47 New York World’s Fair, 1940 – The Blue Room, Hotel Lincoln, 1940

Functionizin’ Fats Waller and his Rhythm (Herman Autrey, C.E. Smith, Eddie Anderson, Fred Robinson, George Wilson, Rudy Powell, Gene Sedric, George James, Emmett Matthews, Fred Skerritt, Hank Duncan, James Smith, Charles Turner) 177 3:07 I’m Gonna Sit Right Down: The Early Years, Part 2 (disc 02) 1935

Fat And Greasy Fats Waller and his Rhythm (Herman Autrey, C.E. Smith, Eddie Anderson, Fred Robinson, George Wilson, Rudy Powell, Gene Sedric, George James, Emmett Matthews, Fred Skerritt, Hank Duncan, James Smith, Charles Turner) 162 3:11 I’m Gonna Sit Right Down: The Early Years, Part 2 (disc 02) 1935

Spinnin’ The Webb Chick Webb and his Orchestra (Louis Jordan) 132 3:08 Stomping At The Savoy (disc 4): Spinnin’ the Web 1938

Easy Does It Big Eighteen (Billy Butterfield, Buck Clayton, Charlie Shavers, Rex Stewart, Lawrence Brown, Vic Dickenson, Lou McGarity, Dicky Wells, Walt Levinksy, Hymie Schertzer, Sam Donahue, Boomie Richman, Ernie Caceres, Johnny Guarnieri, Barry Galbraith, Milt ) 129 5:14 Echoes of the Swinging Bands 1958

A Mellow Bit of Rhythm Andy Kirk and his Twelve Clouds of Joy (Mary Lou Williams) 158 3:20 The Lady Who Swings the Band – Mary Lou Williams with Any Kirk and his Clouds of Joy 1937

Here is the pic in full, because it was super fun to make. The dog (Buster), stuffed fruit bat (unnamed), and carpet pattern are all from the Peebs. The Peebs has a hand-pump and specialises in interesting beers. It is a lawn bowls club, where you can roll a few balls.

PBicon-small