Gendering dance talk

My MA used lots of discourse analysis theory, which looks at the way language and words are used in written texts. I’ve also done some spoken discourse analysis work (which isn’t the same as linguistics, though there’s some crossover). I’ve been fascinated by the way spoken discourse analysis theory works in an online environment, where we can talk about online talk as spoken language. And of course, I’m fascinated by gender and power in these settings.

Let’s have a little think about the sort of public talk that women do in the lindy hop world. The lindy hop media world.

Radio (aka podcasts and streaming radio):
Hey Mr Jesse – no women hosts, but occasional women guest musicians (almost always singers) and ‘audience feedback’.
Yehoodi Radio Talk Show – Nicole is the new addition to the team (and is also a woman), but she is often out-talked by her co-hosts Manu and Rick.
Yehoodi Radio guest DJ – very few female DJs.

And in the blogging world?

I haven’t done the quantitative work to follow up on this stuff. When I was doing my PhD I did do some careful analysis of the Swing DJs discussion board, where I found there were far few women than men, and that they posted far less frequently than men. I think this is even more the case today, where I think I might be the only woman posting regularly. Though no one posts on Swing DJs regularly any more.

One of the things I noticed, and keep noticing, is that women tend to do more of the supportive talk online. They’re the ones who respond to people’s tweets about feeling bad with supportive comments (but not necessarily advice – they just make ‘comforting noises’ that helps people feel less alone). This was definitely the case in discussion boards – almost all the ‘supportive noises’ came from women. I was quite shocked when I realised this, because I thought it was a stereotype.
Men tend to be more combative, and to use more declarative statements. I’m like this, which is why I’ve always been confused for a man in places like Swing DJs where I’m not talking about gender. Though offering to kiss Reuben right on his face might have given me away. Because I don’t know a single queer male lindy hopper who’d have made that offer sincerely to another man in a public online forum.

This article, Language Myth #6: Women Talk too much, talks about perceptions of women and men talking. Or, how much we think women and men talk. The upshot is that people think women talk a lot, even if they’re talking very little. I’d have thought that anyone with half a brain has noticed that men dominate mixed gender settings, even if there’s just one man in the room!

It’s interesting to think about this in relation to dance classes. Who does most of the speaking in dance classes? The male teacher? The male students? And what are people’s perceptions of these amounts of talk? I have noticed, in almost every dance class I’ve ever been in that has mixed gender, men dominate talk. They ask more questions, and they are asked more questions.

There’s been a bit of talk lately about teaching follows and leads in class, and how to do it. Nathan Bugh wrote a piece Ladies First, which loses points immediately for unselfreflexive use of the word ‘ladies’, and then loses more points for some of the thinking. But it gains points because it suggests that we need to talk to the follows in class if everyone is to learn more. Though I’d argue that the fundamental point of Bugh’s piece is that we should give follows more attention in class so as to best improve the leads’ dancing. Yeah, nah.

My teaching partner and I have recently made a concerted switch from talking about leading first and mostly, to clearly setting out tasks for both leads and follows in class. I know, right? Two women, both of whom follow, and we’re still talking about leads? But we got wise, and realised that we needed to give the follows clear instructions and learning goals, or else they stood about saying things like “If the lead doesn’t lead it right, I can’t do anything.” inorite. But if we don’t actually point out to follows how they might improve their dancing in class, that’s how they’ll think.
Ramona Staffeld pointed out the importance of addressing follows in class to me this year, and it really helped me rethink my approach to teaching. It also made me rethink my leading, and to revalue following which is interesting, and tells you more about my own biases than I would like :D

I think, what I’m saying, here, is that if teachers address follows specifically in class, we give them something to work on, and more pertinently to this post, we give them something to talk about in class. We give them subjects for discussion, and we give them the language to talk about them with. We also make it clear that following is important enough to talk about, and that we invite their engagement – as learners and discussors – as follows. And, by extension (through gender tropes in our scene), as women.

So if you want women to participate more actively in class, you have to give them a way to participate (language tools, thinking and learning tools), you have to give them something to talk about (by talking about following as a craft requiring particular skills and practices) and you have to make the space more welcoming to women’s speech (ie actually shooshing the men, or addressing women as active participants in the lead-follow partnership).

In this way, you make a shift from thinking about following as some sort of natural state of grace, tied up with ideas about idealised femininity, to thinking about following as a craft. A craft which requires extensive thinking and practice and experimentation.

Isn’t it strange to see that old, old nature/civilisation gender dichotomy at work in lindy hop? Where we can map the masculinised ‘civilisation’ (doing and making and building and engineering and acting) onto leading, and the feminised ‘nature’ (being and feeling) onto following? It seems we need to do some second wave feminism work, here, my friends.

References
Ortner, Sherry (1974) Is Female to Male as Nature is to Culture? In Anthropological Theory, John McGee and Richard Worms, eds. California: Mayfield Publishing Press. Pp. 402-413.

Language Myth #6: Women Talk too much.

Spender, Dale. Man Made Language. London: Routledge and Kegan Paul, 1980.

Tannen, Deborah, ed. Gender and Conversational Interaction. New York: Oxford University Press, 1993.

Deborah Tannen has written both scholarly work and popular publications about interruption and gender in conversation. She’s a great place to start if you want to get a quick introduction to this stuff.

You might also want to look up some interesting stuff on politeness and gender. I don’t have references off-hand, but if you use ‘feminist’ and/or ‘gender’ with ‘polite*’ as keywords, you’ll find useful stuff.

NB ‘Men are from Mars, Women are from Venus’ is not a useful source. It essentialises gendered behaviour, and my type of feminism is very sceptical of essentialism. In fact, we think it’s bullshit.

WIMMIN and lindy hop RIGHT NOW in my city.

I’m going to wade into the discussion about bodies and lindy hop any second now. Because Parrot and Cat and Lindy Shopper and Aries have not only had a rowdy back-and-forth about bodies and clothing in dance, with high emotion and all caps (oh, that was probably me with the all caps), they’ve also had a series of calm, caring private message conversations (as have I).

Because feminist talk is robust. We can be furious and loud and shouting, and then we can also apologise, we can have calm discussion and we can talk about how we feel without getting all shitty pants. We can work hard to understand each other’s points of view, and we can also maintain our commitment to an idea. This is how feminism works, my friends. We do consensus, but we also do disagreement and negotiation. We do shouting, and we also do quiet talk. And I am feeling quite proud that such intelligent, capable, motivated, ambitious, formidable Sisters can do all this and STILL come out of this being awesome. And I’m super excited by the thought that these women are all my friends and that I can send them an email or private message to check in and see if they’re ok, or to share ideas, or to get angry and motivated.

But before I write about the fascinating, engrossing ideas that have been prompted by this discussion, I have things to do. I have to plan these three lindy hop weekends, get some DJs for another exchange, do some jobs for One Billion (Jazz dancers) Rising (which is on next week, and you should come), sort out some admin for my dance class, learn to strap my newly-bung foot, and do some of my paid work. That’s an awful lot of thinking about dancing, right there.

Wait. Commercial Time.

Some very clever friends of mine have organised a dance for next Thursday (14th February) night at the Petersham Bowling Club. There’s a free class at 7pm (taught by one or two women – one could be me, the other is definitely Alice, who is SOLO JAZZ QUEEN), then dancing til late to three female DJs (who are me, Kat Galang (who is fucking A1 DJ atm) and Justine Kinkade (Juke Joint organiser, long standing DJ GUN)). There will be raffles with a bunch of top prizes, including dance classes, random things, and a bundle of CDs donated by a heap of bands (GOOD CDs).

THE IMPORTANT PART: all profits are being donated to the Taree Women and Children’s Shelter. ALL the profits!

I think this is the best idea for an event, and I feel so thrilled and honoured to be part of such an exciting project. This is a really stop shelf team of women organisers and talent, and I have to point out: our Sydney dance scene has a lot of amazing women doing quite innovative and top quality work. We have some totally quality men involved and doing great work as well, but Sydney’s lindy hop scene should feel very proud of the arse kicker chicks we have. Look, I just feel massive wub for my local dance scene, ok?

This is why I don’t have time to respond to what is, essentially, same old beauty myth rubbish. I’m busy fucking over the patriarchy over here, so I trust you guys to get business done over there.

But I will say that while I am doing all these jobs, my breasts are often exposed because I rarely wear a bra, YOLO, and I work from home. If I were to flash my tits at a kid, I’d probably lol, and they’d probably lol because HA HA! One of the best dancing nights I’ve ever had was in a friend’s lounge room. I danced so hard I popped three buttons off my dress and didn’t notice and nor did anyone else and the half dozen kids there were wholly uninterested (at which I was quite disappointed). But I was kind of traumatised because I kept standing on bits of lego in my bare feet.

This is the most important thing I have to say:

If women spend half their lives fucking about worrying about what they look like, they don’t have time for much more important things. Like DANCING LIKE SUPERHEROES and DJing and running events and planning gigs for charities and talking shit with their homies.

So, really, who gives a flying fuck what someone ELSE is wearing? Really, you have much more important things to do!

The Reconstructionists

This is such a fabulous project. Lisa Congdon and Maria Popova are creating the Reconstructionists:

The Reconstructionists, a collaboration between illustrator Lisa Congdon and writer Maria Popova, is a yearlong celebration of remarkable women — beloved artists, writers, and scientists, as well as notable unsung heroes — who have changed the way we define ourselves as a culture and live our lives as individuals of any gender.

Every Monday in 2013, we’ll be publishing an illustrated portrait of one such trailblazing woman, along with a hand-lettered quote that captures her spirit and a short micro-essay about her life and legacy.

The project borrows its title from Anaïs Nin, one of the 52 female icons, who wrote of “woman’s role in the reconstruction of the world” in a poetic 1944 diary entry — a sentiment that encapsulates the heart of what this undertaking is about: women who have reconstructed, in ways big and small, famous and infamous, timeless and timely, our understanding of ourselves, the world, and our place in it.

Here is one entry that seems especially appropriate for this blog:

When 23-year-old Sister Rosetta Tharpe (March 20, 1915 – October 9, 1973) first walked into the recording studio in 1938, she likely didn’t dare imagine that she would one day be celebrated as gospel music’s first superstar. The godmother of rock and roll. “The original soul sister.” But that’s precisely what the talented singer and electric guitarist went on to become, bridging the spiritual lyricism of gospel with the secular allure of rock and roll arrangements.

Lemon parsley sauce

Make this and serve it with roasted veggies, some greens and poached eggs, or with salmon.

  • 1 bunch flat leaf parsley
  • 6 anchovy fillets
  • 2 tbsp capers
  • grated zest 2 lemons
  • 1/2 cup lemon juice
  • 1/4 cup olive oil
  • ground pepper

Whizz everything except the olive oil and pepper in the food processor. Then add the olive oil gradually as you whizz, til it’s mixed in properly. Then add some pepper.

If you’re a vegan or a vegetarian and you don’t eat anchovies, I’m not sure what you can do. Or what can be done for you. You’ll need to up the salt without them. And, well, look. Just don’t bother. Don’t bother. You need anchovies.