Seeking advice for new dancers
Ken Davis
Ever since a friend introduced me to contra dancing over two years ago,
I have felt the need to repay the debt by introducing as many
(potentially receptive) people as I can. In addition to the basic
knowledge of how to do the moves, what additional advice can I offer
them? Among the things I tell them now is:
Give weight - I explain and demonstrate this.
You can't catch up, don't even try. Just wait for the next swing (or
similar "oasis" move)
Please send me your advice on what you think newcomers need to know. I
will compile a list and repost it. Please e-mail to me as well as
posting here. Thanks - Ken
Julie Mangin
When a pair of new dancers come as a couple, tell them to split up and try
to dance with more experienced dancers. Then they can get back together
and show each other what they've learned. They will become better dancers
faster than they would if they stuck together as a couple all night. I
understand that is a natural inclination, but being adventurous is
definitely more fun.
Julie Mangin
jma...@access.digex.net
VISIT THE CLOGGING PAGE: http://www.access.digex.net/~jmangin/clogging.htm
-----------------------------------------------------------------------------
"I prefer the phrase old-time music to old-timey music which sounds
perilously close to old-tiny music." --Mark Graham
Jonathan Sivier
Ken Davis <kend...@erols.com> writes:
>Please send me your advice on what you think newcomers need to know. I
>will compile a list and repost it. Please e-mail to me as well as
>posting here. Thanks - Ken
Here is an article I have found useful upon occasion. It may be more
than you want, but take a look.
Jonathan
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| Jonathan Sivier |Q: How many angels can dance on the |
| j-si...@uiuc.edu | head of a pin? |
| Flight Simulation Lab |A: It depends on what dance you call. |
| Beckman Institute | |
| 405 N. Mathews | SWMDG - Single White Male |
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-----cut here-----
Welcome to the ______ Barn Dance
Anatomy of a Barn Dance
PARTNERS: Sometimes you choose a partner and sometimes you get chosen.
It's acceptable for women to ask men to dance. We like for everyone to
dance, so if the sexes are unequal in number, ask someone of the same sex
to dance. We change partners after each dance unless the caller gives
other instructions.
DANCING: Use a light walking step, moving as smoothly as possible, with
one step on each beat of the music. (Don't skip, march, leap, or hop.)
This kind of dancing flows and is connected. That means firm hand holds
as well as eye contact with the other dancers.
It's more important to be with the caller (and the music) than to do
every figure. If you find that your set is falling behind the other
dancers, listen to the _next_ call and sort yourselves out. Don't try
to "catch up".
A good way to develop your dancing style is by watching someone whose
dancing you admire. Feel free to ask other dancers for pointers.
RELAX. HAVE FUN!
FORMING A SET -- TERMS YOU'LL WANT TO KNOW
A contra set is illustrated at the right.
MUSIC UP HERE
To start a contra line, stand with your
partner near the caller. If a contra _HEAD OF SET_
line has already started, join at the end (top)
farthest from the caller. Face your
partner with the men in one line and the M #1 W
women in the other. E #2 O
Above N #3 M Above
Starting at the top of the set every (up) ' #4 E (up)
other couple is designated as the S #5 N
ACTIVE couple (couples #1, 3, 5,...). : '
Couples #2, 4, 6,... are the INACTIVE : S
couples. The caller directs the calls <---across--->
to the active couples. Active couples :
gradually work down the set; inactives L : L
up the set. You _remain_ active or Below I : I Below
inactive until you reach the end of the (down) N : N (down)
set. E : E
:
A PROPER set will have all the men in one :
line; all the women in the other.
_FOOT OF SET_
An IMPROPER set will have the active couples (bottom)
crossed over. When reaching the ends of the
set you must change places with your partner.
Your NEIGHBOR (sometimes called OPPOSITE
or CORNER) is the person of the opposite
sex in your set who is not your partner.
THE FIGURES
DO-SI-DO: Back to back with the other person.
ALLEMANDE RIGHT: With your right hand, grasp the right hand of the
other person by interlocking thumbs. (As though you were going to
arm wrestle.) With elbows bent toward the floor, make a muscle (as
though you were going to arm wrestle). Don't arm wrestle. Walk
briskly in a small circle. This can also be done with the left hand;
called ALLEMANDE LEFT.
BALANCE: A small transfer of weight from foot to foot. Step on your
right foot and swing your left foot across in front of it. Then step
on you left foot and swing your right foot across in front. The swings
are small and low.
SWING: Take ballroom position with little toes of right feet almost
touching. To do a walking swing, take small close steps in the
direction you're facing. To do a buzz swing, pivot on the right foot
using the ball of the left foot to propel you in the direction you're
facing. Think of both feet and your body as moving forward, not
sideward. Strive for smoothness. Always end the swing with the
woman on the man's right. You may want to stick with a walking swing
at first - it's just as much fun.
STAR: Using the right (or left) hand, shake hands with the person
across from you in your small group. Walk in the direction you are
facing. In the handshake, make a muscle like you did for allemande.
We also call this "giving weight".
LADIES CHAIN: Ladies take right hands across the set and pull by.
Give your left hand to the gent you meet and place your right hand on
your waist. Gents take the lady's left hand in your left hand and
place your right hand on her waist. This is called COURTESY TURN
POSITION. Turn as a couple (the lady walks forward) until you are
both facing the couple you have been dancing with. The second part
of this figure (turn as a couple) is also called a COURTESY TURN.
RIGHT & LEFT THROUGH: Looking across the set, take right hands with
the person facing you and pull by across the set. Still facing out,
take courtesy turn position and do a courtesy turn until you are
facing the couple you have been dancing with. _Everyone_ moves in
this figure. This figure can also be done without taking hands by
simply passing right shoulders with the other person.
WE ARE GLAD THAT YOU CAME AND WELCOME YOUR COMMENTS
Adapted from the Kansas City (MVFS) Barn Dance Flier
mc...@vms.cis.pitt.edu
In article <339FE5...@erols.com>, Ken Davis <kend...@erols.com> writes:
> Ever since a friend introduced me to contra dancing over two years ago,
> I have felt the need to repay the debt by introducing as many
> (potentially receptive) people as I can. In addition to the basic
> knowledge of how to do the moves, what additional advice can I offer
> them?
I think that it is important to SKIP trying to teach the moves. the reason? In
a dance, they will walk through the move once or twice then DO it about a dozen
times. This is great learning technique.
If you spend 15 minutes showing someone eight or nine moves, they will try very
hard to remember those moves. Yhey will not sucessfully remember those moves
and they will not understand the importance of the other things you try to tell
them.
>Among the things I tell them now is:
>
> Give weight - I explain and demonstrate this.
>
> You can't catch up, don't even try. Just wait for the next swing (or
> similar "oasis" move)
>
These are excellent things to try to teach. The concept of weight with a lot
of individual feedback is, IMO, the easiest and best thing to teach (using
moves like circle, two-hand turn, alemande). I use the "roll-away with a half
sashay" to teach how to lead and respond and accomadate by moving out of the
way.
I stress that they need to keep working on their swing as long as they dance,
and that when their swing stops improving, people will perceive them as "stale".
I suspect I exaggerate this a bit, beause I've seen so many people that were
wonderful beginners become unpleasant dancers because once they "learn" it,
their dancing stops improving and they become rigid.
Gentleness and courtesy.
Timing is important to talk about, but don't expect to teach much unless you
actually have some dance music to demonstrate. If they understand that there
is a correct time to start a move they will be ahead of a lot of beginners.
In general, look at the perpetual beginners: the things that they FAIL to
learn are what you must teach beginners. The other things they are sure to
pick up.
Michael Young
Pittsburgh, PA
Lisa Inman
Ken Davis wrote:
>
> Ever since a friend introduced me to contra dancing over two years ago,
> I have felt the need to repay the debt by introducing as many
> (potentially receptive) people as I can. In addition to the basic
> knowledge of how to do the moves, what additional advice can I offer
>
> Give weight - I explain and demonstrate this.
>
> You can't catch up, don't even try. Just wait for the next swing (or
> similar "oasis" move)
>
> will compile a list and repost it. Please e-mail to me as well as
> posting here. Thanks - Ken
From the point of view of myself as dancer/caller/dance organizer:
I discourage experienced dancers from trying to teach people moves before
they are dancing, or during the dancing--let them join in, learn from the
caller and the repetition, get the feel and the fun of it--then they'll
start to pay attention to details. I think new dancers can be scared
away by being made to feel that the experienced dancers are going to be
up tight that they get it right right away. I suppose this depends on
the nature of the local dance however--our experienced dancers don't
expect beginners to dance perfectly, we enjoy having the new energy. As
a caller I may borrow lines I've heard from other callers along the way
to humorously discourage people trying to teach and sort things out in
the sets during walk throughs, "let me be the one to confuse everyone".
Years ago in a workshop for experienced dancers/teachers on how to teach
beginners to waltz, Sandy Bradley once said, "don't tell new dancers how
to hold their bodies, or they will *hold their bodies*" (the last
accompanied by her tensing up her body and clutching herself close with
her arms)....
One piece of advice for beginners I like and sometimes use as a caller, I
believe I heard Juanita Ramsey-Jevne use when she was calling: "Whatever
you do, stay in motion." A person moving is much easier to bump, guide,
steer in the correct direction than a person frozen still (as someone
recently aptly posted "deer in the headlights")
A reassurance I give to newcomers to this style of set dance (contras
and squares) is that one thing I love about it it is you are always
dancing *with* someone, and every move is reciprocal with someone else,
so if you aren't where you're supposed to be, chances are there's someone
who *needs you* to dance with (to swing, do-si-do, etc.) and they will
come find you and nab you for the move.
As a caller, I try to announce early in the evening that for anyone new
to our dance we welcome them and want them to please know that the local
style at our dances is for anyone to ask anyone to dance--women and men
can both ask others, and you don't need to know someone to ask them.
Even knowing this it may be hard at first, but without it some women may
just sit out watching until someone asks them to dance or men or women
may feel they should only ask someone they know (which is hard if they
don't know many people at the dance) and as a result these folks won't
get into the dancing.
Lisa Inman
Port Townsend WA 98368
Nancy K. Martin
Michael Young wrote:
: In general, look at the perpetual beginners: the things that they FAIL to
: learn are what you must teach beginners. The other things they are sure to
: pick up.
Wow! What a great idea. It seems obvious, so how come I never thought of
it? In defense of perpetual beginners, I have to admire their unfortunate
perseverance.
Bill Martin
mar...@teleport.com
Dan Pearl
In article <5np35o$b94$1...@vixen.cso.uiuc.edu>,
Jonathan Sivier <j-si...@staff.uiuc.edu> wrote:
>...
>Adapted from the Kansas City (MVFS) Barn Dance Flier
... which is taken from the "Almost All You Need to Know to Enjoy a New
England Style Dance" flyer composed in 1975 by Larry Jennings. A version
of that flyer, plus some historical context is in the NEFFA Essay Collection
at http://www.neffa.org/~neffa/docs/
--
------------------------------------------------------------------------------
Dan Pearl ** Stratus Computer, Inc. ** pe...@sw.stratus.com
I represent the views of my employer. [*WHAP!*] NO HE DOESN'T
Donna Richoux
Ken Davis <kend...@erols.com> wrote:
[snip]
> Please send me your advice on what you think newcomers need to know. I
> will compile a list and repost it. Please e-mail to me as well as
> posting here. Thanks - Ken
The piece of advice I give that I think has been most useful is:
Remember to use your eyes and look around. Watch for visual clues.
Beginners often think too hard, trying to remember calls and logically
figure out where they should be. All this furious brain activity
actually slows them down. It is much easier if they simply look and see
that someone is reaching for them or beckoning to them, and respond.
Athletes and dancers of other genres will know this automatically.
However, us brainy klutzes may not realize it for months or years.
As you keep an eye on your newcomer friends, you can tell if they are
having this problem, as their eyes may be downcast, on the ceiling,
unfocussed, or nearly shut.
Best wishes --- Donna Richoux
Posted and emailed
Robert R. Koblish
Ken Davis wrote:
[...]
>
> Give weight - I explain and demonstrate this.
>
> You can't catch up, don't even try. Just wait for the next swing (or
> similar "oasis" move)
Count to 8.
--
regards
-rrk
To reply, remove the leading X in my return address.
David Elek Kirchner
Robert R. Koblish (Xn3...@erols.com) wrote:
: Ken Davis wrote:
: > You can't catch up, don't even try. Just wait for the next swing (or
: > similar "oasis" move)
: Count to 8.
Remember, there are three kinds of people: those who can count, and
those who can't.
--
David :)
dav...@artsci.wustl.edu
http://www.artsci.wustl.edu/~david6
MacMKvr
Most of the advice i have been reading in this discussion are things it
would be nice for beginners to know, however they can pick most of it up
on their own very quickly. My experience is that you really don't need to
treat beginners any differently than the other dancers. Telling them
specific things they need to konw makes them feel like they are expected
to do things correctly.
I generally tell new dancers that if they are smiling and having a good
time they have accomplished the most important part.
It is very important to emphasize (not necessarily at the dance) with your
experienced dancers - the importance of making new dancers feel welcome
and asking them to dance.
At our dances it is hard for a new dancer to get very far into the room
without someone meeting them and either asking them to dance or helping
them get a partner. Our callers usually keep teaching to a minimum
(depending on how many new dancers there are) and get right into the
dancing - where the real learning takes place.
Mac - St. Louis
Denys Proteau
Hey What's Going With This Notion Of Smoothness?
It's the very SECOND main point the article makes!!
I get the sense that some contra dancers feel they are on a quest to be
ever smoother and smoother. (Some day they'll just be gliding as if on
skates for the whole evening... :)
I consider smoothness to be a matter of styling, not a matter of
necessity:
I certainly think it depends a huge amount on what figure
or move you are doing. For many contradance figures, you are barely
touching anyone and only making eye contact for a moment or from a
distance. I like to be especially bouncy during those moves "when the
music moves me"!
I have also heard several beginners say that people keep telling them NOT
to be bouncy; when you are new and excited and feeling groovy, it's a real
downer to be told to try not to bounce, to try and be "smooth". To
someone who doesn't know how to do that yet, that is the same as being
told to dance "calmer" and with less energy; which I think is ultimately
NOT the goal of the smooth dancing people.
One person I spoke to is a great swing dancer who had been to
two contra dances, and gave up on contra dancing because people kept
telling her to stop dancing bouncy and dance smoothly instead. I'd
watched her swing dance several times before she told me this, and I must
describe her swing dancing as pretty darn smooth.
So, after this rant I guess my points are
1. Smoothness is just style, and is not a necessity in contra dancing.
2. You don't need to tell beginners to dance smoothly, it's something
they will figure out on their own and gradually learn how to do if they
want to.
3. "Stop bouncing, dance smoothly!" is something that beginners hear
way too much and is very discouraging (probably because it's something
that is easy to say quickly, and even dancers who don't usually give
advice might be telling this one piece of advice to beginners).
denys "jumping bean"
Dale Rempert
mc...@vms.cis.pitt.edu wrote:
>In article <339FE5...@erols.com>, Ken Davis <kend...@erols.com> writes:
>> I have felt the need to repay the debt by introducing as many
>> (potentially receptive) people as I can. In addition to the basic
>> knowledge of how to do the moves, what additional advice can I offer
>> them?
>
>
>a dance, they will walk through the move once or twice then DO it about a dozen
>times. This is great learning technique.
>
As a caller/teacher I disagree with the concept that we should toss beginners
into the line without introducing them to the basic moves. But I do see this
as the callers job not the other dancers. My reasoning is ....
People learn in different ways. Some can learn by hearing and remembering the
discription, others by doing or tactile, and others by visual or seeing a move
done. A well designed intro session should be able to teach the basic moves
to most dancers in under 10 min. if the instructor covers all three learning types.
This leave 5 min. to cover other servival info.
But why is teaching the basic moves important? Because of the fear factor.
Fear or fealing uncomfortable is a big hinderance to learning and to relaxing
and having fun. Many biginners are not even shure of what contra dancing is.
Taking these few minutes to give them your full attention helps the newbees
feel welcome, and settles their fears. Once this is accomplished then they
will be better equipped to learn the rest as they go along.
About timing. I do teach timing after they know what moves they are trying to time.
But I find that this means little to them until they actually dance a set or two.
By then the regulars (the ones that "know" a lot more then they show on the dance
floor) will be there and then thats the time to talk about timing and giving
weight.
Also, I end my intro session by actually having them dance a glossary dance.
It turns out that this has a nice side effect. As the regulars file in they
feel like they have missed something and are showing up earlier. And the more
regulars that are there to help out with the newbees the smother the intro
session goes, which helps releave the fear factor. And the cycle continues.
>If you spend 15 minutes showing someone eight or nine moves, they will try very
>hard to remember those moves. Yhey will not sucessfully remember those moves
>and they will not understand the importance of the other things you try to tell
>them.
>
The point is not for them to remember the moves but to give them some confidence.
But the latter helps the former.
Also we must be carefull of our attitude. If we see them as a nuisance they will
play the part, If we see them as new friends waiting to be met again they will
play the part.
Dale Rempert
Austin Tx.
GregMc
Below is an article I wrote on this subject. It is posted in two parts.
Please observe the reprinting instructions at the end of the second post.
****
Five Common Myths
About Beginning Contra Dancers
by Greg McKenzie
It is a tradition in contra dancing that newcomers learn at regular
dances, not in separate lessons. Experienced dancers know that dancing
with beginners is an integral part of contras. Some do it out of a sense
of duty. Some actually enjoy it. I personally find it to be one of the
most satisfying experiences in contradancing. If you find that
surprising, it may be because you believe one or more of these "myths"
about beginners.
What follows are five commonly held beliefs that I would like to
challenge. Also included are my own "Rules For Dancing With Beginners" to
contravene those myths. My purpose is not to convince anyone to dance
with beginners but rather to help you enjoy it.
***
Myth #1. "The best location for beginners is far away from the orchestra
where the dancing is not so intense or confusing."
Not true. The best location for beginners is at the top of the center
lines. This is where they can best hear the caller and the caller can see
any problems which may develop. Unfortunately, newcomers are often slow
to find partners and, therefore, tend to congregate far from the
orchestra. Experienced dancers can help by using some forethought and
making themselves available early. Rule #1 is "Have a plan." Don't wait
for a beginner to approach you. Take the initiative and position your
partner where they are not surrounded by other beginners. This means more
fun for them and for you. By helping to mix newcomers in with experienced
dancers--and vice versa--you will be increasing the enjoyment of all
dancers in the hall.
Myth #2. "Experienced dancers can help by explaining the basic figures."
By far, this is the most common mistake. Verbal explanations are often
more confusing than helpful and can increas anxiety by giving too much
information. Almost all of what is dealt with in these efforts at
explaining will be learned during the walk-through with far less effort.
In fact, by offering instruction in the dance line you will be teaching
beginners to look to you for guidance rather than the caller. Rule #2 is
"Do not teach." Your most useful role is to help your partner relax and
build their self-confidence. Even when asked specifically for an
explanation it is almost always better to assure your partner that all
will soon become clear and direct their attention to the caller's voice.
Myth #3. "Experienced dancers can help by correcting errors made by
beginners."
Negative comments, critiques, or even careful suggestions almost never
help. Help beginners with a gentle and encouraging lead in the right
direction. When talking seems absolutely necessary, express yourself only
in positive terms. Be creative. If your partner is bouncing up and down
during swings compliment them that their swings are getting "much
smoother." Rule #3 is "Be positive."
Myth #4. "When a group of dancers is completely lost experienced dancers
nearby should shout instructions to them." Rule #4 is "Help only the
one(s) you are dancing with." When a problem develops
nearby--particularly if your partner is involved--it is actually best to
ignore it (mercifully) until it is your turn to dance with the confused
dancers. Instructions from uninvolved dancers will draw the beginner's
attention in the wrong direction and are likely to increase their anxiety.
You can be most helpful by providing a good example.
GregMc
This is the final paragraph to my article.
Greg McKenzie
Somewhere near Santa Cruz, CA
***
Myth #5. "Experienced dancers should be tolerant of beginners."
A beginner's greatest fear is that, because of their inexperience, you
will not enjoy yourself. If you are merely "tolerant" their fear will be
realized. Make it your job to relax and enjoy yourself and let your
partner know that you are having a good time. Maintain your sense of
humor, particularly when the entire line crumbles into horrifying
confusion, chaos and hopeless mayhem. As soon as your partner realizes
that you will enjoy yourself--no matter what happens--you will be able to
see them visibly relax. Rule #5 is "Enjoy yourself." Remember that the
greatest compliment you can pay to any dancer is to say that dancing with
them is fun.
This article first appeared in a slightly different form in the Spring,
1987 issue of the Bay Area Country Dancer. As long as credit is given,
this article may be reproduced.
Eric Conrad
In article <5nufls$1...@dfw-ixnews3.ix.netcom.com>,
Dale Rempert <drem...@ix.netcom.com> wrote:>>they will try very hard to remember those moves. They will
>>not sucessfully remember those moves and they will not understand
>>the importance of the other things you try to tell them.
>
>The point is not for them to remember the moves but to give them
>some confidence. But the latter helps the former.
When I do the intro here for beginners, one of the things I stress afterwards
that they don't need to remember the calls that I taught them. The caller
will teach the more difficult moves (e.g. Women's chain, Right and Left
Through) during the dance. If they just have a vague sense of deja vu,
that's more than enough as far as I'm concerned.
Eric
--
Eric Conrad (eco...@math.ohio-state.edu)
http://www.math.ohio-state.edu/~econrad/
Department of Mathematics
The Ohio State University
Sstollcall
3 Cheers for smile and have fun!
Brent Chivers
> : Ken Davis wrote:
> : > You can't catch up, don't even try. Just wait
> : > for the next swing (or similar "oasis" move)
> Robert R. Koblish (Xn3...@erols.com) wrote:
>
> : Count to 8.
In article <5nt80g$jne$1...@newsreader.wustl.edu>,
David Elek Kirchner <dav...@artsci.wustl.edu> wrote:
>
> Remember, there are three kinds of people:
> those who can count, and those who can't.
Some beginners are completely unaware of the metrical
structure of contra dances (AABB, 64 beats, all that
kind of stuff) until it is pointed out to them.
I found it amazing too (that someone could NOT have noticed), but there
are all kinds of different people out there. (Then again, I count light
bulbs in chandeliers.... Yah, you always _knew_ I was strange! ;-)
________________________________________________________________________
Brent Chivers __o
bchi...@mitretek.org -\<, Drink plenty of fluids,
McLean, VA, USA ......O/ O and Keep Dancing!
Nancy Mamlin
>Some beginners are completely unaware of the metrical
>structure of contra dances (AABB, 64 beats, all that
>kind of stuff) until it is pointed out to them.
Some people who have been dancing forever are sompletely unaware of the
metrical structure of contra dance tunes. And some people are still completely
confused when it's pointed out to them- they just don't learn that way.
Hey- guess what guys- all tunes, traditional, contra, classical, whatever-
have a structure.
Nancy
Roger Diggle
reason? In
> >a dance, they will walk through the move once or twice then DO it about
a dozen
> >times. This is great learning technique.
> >
>
> As a caller/teacher I disagree with the concept that we should toss beginners
> into the line without introducing them to the basic moves. But I do see this
> as the callers job not the other dancers. My reasoning is ....
There are many approaches to teaching beginners that work nicely.
My personal favorite involves no pre-dance teaching -- just get 'em
out on the floor and get 'em dancing to some energetic music. But the
beginning of such an evening of dance requires the same forethought
that is required for a successful pre-dance session. One of the reasons
I prefer throwing the beginners right into the pond is that, at my
Friday evening dance, almost no one will show up for a teaching session.
But there are other reasons -- many beginners don't come early even when
a session is available. So I've become a believer in designing an
evening of dancing such that a green beginner can start dancing at the
beginning of the evening and learn everything necessary along the way.
So I ask the callers at my series to design the evening that way.
Virtually anybody can do-si-do, circle, star, go down the hall and back.
There are perfectly serviceable dances that don't ask raw beginners to
do anything that they can't learn on the spot. Many of those same
dances also have those beginners dancing with their neighbors most of
the time, so it doesn't even much matter that those beginners are glued
to each other as partners... they aren't seeing much of their partner
anyhow.
> People learn in different ways. Some can learn by hearing and remembering the
> discription, others by doing or tactile, and others by visual or seeing a move
> done. A well designed intro session should be able to teach the basic moves
> to most dancers in under 10 min. if the instructor covers all three
learning types.
Righto. A well executed walkthrough does the same thing.
> But why is teaching the basic moves important? Because of the fear factor.
> Fear or fealing uncomfortable is a big hinderance to learning and to relaxing
> and having fun. Many biginners are not even shure of what contra dancing is.
> Taking these few minutes to give them your full attention helps the newbees
> feel welcome, and settles their fears. Once this is accomplished then they
> will be better equipped to learn the rest as they go along.
As callers, do we welcome beginners? Does our dance community welcome --
yea, encourage -- beginners? Do we begin evenings with appropriate
material? Do we ramp the difficulty level at a rate appropriate to the
dancers in attendance? If we do all those things, the fear factor
virtually disappears. The beginners feel from the beginning like they
are succeeding. They probably *are* succeeding.
Does this mean that I think teaching sessions before dances are a bad
idea? No, but there are some possible dangers. If the caller assumes
that the teaching session means that the evening can begin with
intermediate material, it's counterproductive. Or if the experienced
dancers more readily get honked off at the beginners (who should just
have learned this stuff) or at the caller (for calling material that is
"too easy") it's counterproductive. If all those things in the
previous paragraph continue to happen, then teaching sessions can be
perfectly fine. Maybe even a plus.
--
Any apparent resemblance of these opinions to any other opinions,
whether actual or imagined, certainly is a coincidence, isn't it.
-Roger Diggle
David A. Kaynor (Amherst RSD)
Hi Everybody,
We are discussing beginners' and newcomers' entries into contra
dancing yet again.
Every return of the topic reminds me how important it is. May
it keep resurfacing! I find something thought-provoking and
instructive every time.
This time, I am especially grateful for Roger Diggle's article
(#21106), which I predict will be heavily quoted and paraphrased
in dance-camp calling classes and workshops and dance leadership
discussions this summer and beyond. I printed it out for both
future reference and the general refreshing of my perspective.
Publicly: Thanks, Roger!
David Kaynor
--
Dan Pearl
The population of potential contra dancers is in one of the following groups:
A) Will not attempt the activity unless there is some teaching beforehand.
B) Will attempt the activity even if there is no teaching beforehand.
Dance leaders know that they can craft a program that starts dancers off
from a position they can feel comfortable in even without pre-dance
instruction; and introduces concepts one at a time to minimize overload.
EVEN THOUGH the program and presentation is crafted to handle the "A"s as
well as the "B"s, this is sometimes a tough sell for the "A"s: "You CAN
do it! It's easy! We just weave the instruction in during the evening", etc.
The "A"'s remain skeptical and resistant.
I would guess that the "A"s comprise about 10% of the universe of potential
contra dancers. You could increase the percentage if you add the "B"s who
would feel MUCH MORE COMFORTABLE with a pre-dance intro. My point is that
there is some NON-ZERO percentage of people who either need, or would feel
more comfortable with, a pre-dance intro regardless of our insisting that
it is just not necessary.
If dance administrators want to reach out to the "A"s and the reluctant
"B"s, then offering a pre-dance session would be helpful. Note that the
administrator can decide to DELEGATE the pre-dance teaching to the dancers
(i.e. NOT offer a formal session, and just let the dancer's teach their
friends.) This is only recommended if the community is experienced and
established; this would not do well if everyone has been dancing for just
one week. Despite Roger Diggle's vision, this type of informal
pre-dance teaching happens ALL THE TIME. If the administration offers
a formal pre-dance session, then at least there is a shot of ensuring
quality of instruction.
I think formal pre-dance instruction is warranted in these cases:
* Dance series in an otherwise dance-free area (otherwise you are
shutting yourself off from the "A"s)
* Small dance series in a heavy-dance area attempting to go for the
niche market of "A"s and reluctant "B"s. (i.e., "The Beginner's Dance")
We sometimes think that "A" dancers are poor dancers. This is not the
case. I claim there is no correlation between A/B and poor/good. The
"A" population is just another resource to tap for a forward-looking
series, and shouldn't be ignored.
Alan Gedance
I'd like to broaden this thread a bit by addressing something rarely
covered- Should teaching go on for new dancers after they've "learned all
the figures"? Most new dancers, after three or four evenings of dance,
are familiar with almost all of the common dance figures. But that's
still a long way from knowing how to dance well. In general the contra
dance community at large expects new dancers to pick up dance skills and
good dance habits by osmosis from the experienced dancers around them.
Unfortunately, this works well only for a relatively small fraction of the
newcomers, those with a good deal of natural talent. Remember, many of
the dancers whose habits rub off on the newcomers are themselves not very
good dancers.
I wish that as a group we harbored the notion that constant improvement is
desirable and to be encouraged, and acted on it. I'd like to see
occasional style workshops given for dancers who have at least six or more
evenings of dance experience and so can be expected to know the rudiments
of all the figures. I'd like to see more callers take a bit of time in
the course of an occasional walk-through to give tips not only on what a
figure is, but on how to do it with style and grace. I'd like to see it
impressed on the experienced dancers that it's to their own advantage to
put up with an occasional longer walkthrough which leaves the relative
newcomers with a bit more skill and understanding. In time this sort of
thing might even have a noticeable effect on the permanent beginners and
on the hotshots who leave a trail of disaster behind them.
Alan
Kiran Wagle
Roger Diggle <dig...@msn.fullfeed.com> wrote:
> No, but there are some possible dangers. If the caller
> assumes that the teaching session means that the evening
> can begin with intermediate material, it's counterproductive.
If the caller uses the workshop to teach figures they plan to use in their
program, and then chooses not to teach these figures from the stage as
well, it's also counterproductive. For this reason I think pre-dance
workshops should almost never be taught by the caller who's calling the
dance, and should almost never include much teaching of figures.
~ Kiran <ent...@io.com>
"Our gods are dead. Ancient Klingon warriors slew them a millenium ago.
"They were... more trouble than they were worth." --Worf, DS9, "Homefront."
Lisa Inman
Roger Diggle wrote:
>
> There are many approaches to teaching beginners that work nicely.
> My personal favorite involves no pre-dance teaching -- just get 'em
> out on the floor and get 'em dancing to some energetic music. But the
> beginning of such an evening of dance requires the same forethought
> that is required for a successful pre-dance session. One of the reasons
> I prefer throwing the beginners right into the pond is that, at my
> Friday evening dance, almost no one will show up for a teaching session.
> But there are other reasons -- many beginners don't come early even when
> a session is available. So I've become a believer in designing an
> evening of dancing such that a green beginner can start dancing at the
> beginning of the evening and learn everything necessary along the way.
> So I ask the callers at my series to design the evening that way.
>
> Virtually anybody can do-si-do, circle, star, go down the hall and back.
> There are perfectly serviceable dances that don't ask raw beginners to
> do anything that they can't learn on the spot. Many of those same
> dances also have those beginners dancing with their neighbors most of
> the time, so it doesn't even much matter that those beginners are glued
> to each other as partners... they aren't seeing much of their partner
> anyhow.
> As callers, do we welcome beginners? Does our dance community welcome --
> yea, encourage -- beginners? Do we begin evenings with appropriate
> material? Do we ramp the difficulty level at a rate appropriate to the
> dancers in attendance? If we do all those things, the fear factor
> virtually disappears. The beginners feel from the beginning like they
> are succeeding. They probably *are* succeeding.
>
> Does this mean that I think teaching sessions before dances are a bad
> that the teaching session means that the evening can begin with
> dancers more readily get honked off at the beginners (who should just
> have learned this stuff) or at the caller (for calling material that is
> "too easy") it's counterproductive. If all those things in the
> previous paragraph continue to happen, then teaching sessions can be
> perfectly fine. Maybe even a plus.
>
> --
> Any apparent resemblance of these opinions to any other opinions,
> whether actual or imagined, certainly is a coincidence, isn't it.
> -Roger Diggle
Thanks, Roger, for such a well stated posting. I agree with the need to
program to include everyone and build up figures/skills through the
evening, and you've said it better than I could have.
There have been many references in recent discussions to pre-dance
workshops before contra dances. It sounds like this is generally
designed to be an introduction to beginners for the first time(s)
beginners come, with or without music, but generally not seen as dancing.
I've seen such workshops done nicely, but would like to describe another
slant on the idea as we do it at our contra/square dance, in case it is
useful to anyone:
We have a regular dance which meets twice a month Sept-May and includes
many experienced dancers and always has newcomers as well--sometimes
quite a few. We have an hour long workshop before each dance, when we
focus on some type of dance, with "permission" to focus a bit more on
style or details than we would during the purely social dancing later.
However, we try to keep it moving and be dancing to great music during
this time. These workshops sometimes focus on basics, and sometimes
focus on more involved moves that are harder to drop into the evening's
program without a bit more teaching, sometimes couple dancing is done.
The caller leads the workshop (we have 3 regular callers who rotate
evenings) and the band plays for the workshop. What is chosen for the
workshop focus therefore reflects the caller's interest and the band's
ability (about 8 local bands rotate through playing for different
dances--therefore, for instance, when the band which is also a great
Cajun band is playing, it is a good night to do a Cajun two-step and
Cajun waltz intro/practice time, then throw in some extra Cajun tunes
during the evening, etc.--if the caller is the one who likes to teach
Cajun dance..)
The workshop focus is chosen ahead of time and advertised; I can tell
that people pay attention to what it is going to be, because somewhat
different people show up for different offerings. These workshops are
never advertised solely as beginners' workshops (who wants to be a
beginner, especially for very long, any way?)--in short form on the
schedule, it may say something like "learn and dance contras with hey
figures" or "waltz: basic instruction & practice/dance time". In longer
form, like in a news release for the dance, I may say "beginners and
newcomers come and learn, experienced dancers come for extra dancing and
to help out". Everyone benefits, and skills get built up.
Workshops that ended up being done this year or so included:
Waltz: basic instruction and practice/dance time (done 2x during the
year)
Contra dance basics and figures (done 3x)
Square dance basics and figures (done 3x)
Cajun waltz & two step basic instruction and dance time (done 2x)
Square dances with interesting star figures
Contra dances with "hey" figures (done 2x)
Contra dances, with styling pointers (done 2x)
Tango music for practicing and dancing
Southern square dancing, including basic figures
Schottische, a couple dance, to Scandinavian tunes
Non-turning waltz variations to do alone or with turning steps
Particularly challenging, fast moving square dances
Polka basics
Contra dance workshop--learn dances with the figure "contra corners"
Learn & dance Scandinavian mixers
Swedish hambo
There's always a mix of beginners and experienced dancers, and if it is a
more "advanced" type workshop the caller is prepared to adapt to the
level of dancers. For instance, I often do a workshop focusing on
contras with heys. If there are many people there who have never done a
contra before, I may start with Scout House Reel to teach a quick intro
to contra basics, then do Flirtation Reel which is pretty much all the
same moves with only the hey being new, then on to another dance with a
hey.
When we start the regular dance at 8:00, we program to include those
who've come in new at 8:00 without assuming everyone knows what was done
at the workshop--very much as Roger describes in his post. But we have a
gang of people who *were* at the workshop who are primed with what we've
done and that helps.
Also, for the record, when we initiated the workshops several years ago
we had two goals, and both have been important. The first was to have
time to teach beginning and advanced material more extensively. The
second was an ulterior motive: Many times attendance was skimpy at 8:00,
gradually building up. A dance that started with good attendance at 8:00
invariably had and maintained really good energy through the evening. By
having a workshop at 7:00, we moved the "straggling in" up an hour. By
8:00 there is a good quorum of folks dancing, and those arriving not only
find a good dance going on but see that they've missed something....
Sorry this post is so long, *maybe* someday I'll master the one-liner...
Lisa Inman
Port Townsend, WA
Bill Tomczak
Roger Diggle wrote:
>There are many approaches to teaching beginners that work nicely.
>My personal favorite involves no pre-dance teaching -- just get 'em
>out on the floor and get 'em dancing to some energetic music.
This brought to mind a technique I saw Tod Whittemore use to great
effect. Tod was always a great believer in having a good time (for
himself as well as all the dancers).
I was probably doing a one-night stand with him somewhere and I
remember him telling us to just start playing. He walked out and
grabbed a few people and just led them around the floor. Just walking
in time to the music. People caught on right away and started joining.
He would lead them around eventually into a circle and then slowly
start doing things in time to the phrase. Four steps in, four steps
out. Circle to the left, circle to the right. Music playing all the
time. The figures gradually getting more complex as time went on.
People getting it drilled into their feet and into their bodies about
simply walking in time to the music and learning phrasing. By the time
he did the next dance, they were ready to do a contra dance.
Everyone had a wonderful time.
__________________________________
Bill Tomczak <btom...@sover.net>
http://www.sover.net/~btomczak/
Nobody is so good that people want to hear them all the time.
-- Garrison Keillor
Charles L Rapport
btom...@sover.net (Bill Tomczak) writes:
>This brought to mind a technique I saw Tod Whittemore use to great
>effect. Tod was always a great believer in having a good time (for
>himself as well as all the dancers).
>I was probably doing a one-night stand with him somewhere and I
>remember him telling us to just start playing. He walked out and
>grabbed a few people and just led them around the floor. Just walking
>in time to the music. People caught on right away and started joining.
>He would lead them around eventually into a circle and then slowly
>start doing things in time to the phrase. Four steps in, four steps
>out. Circle to the left, circle to the right. Music playing all the
>time. The figures gradually getting more complex as time went on.
>People getting it drilled into their feet and into their bodies about
>simply walking in time to the music and learning phrasing. By the time
>he did the next dance, they were ready to do a contra dance.
>Everyone had a wonderful time.
I have seeen Todd do this, and it is an excellent way to get into it
without a lot of talk. Just do it.
I did something similar onn the first night of a series of international
dancing for adult education. We started the music and just began dancing
Hora Mare, adding a few easy variations before the music ended.
It is an excellent technique. How did the villagers of yore learn to
dance?
Charlie
Nancy Mamlin
In article <33ae6102...@news.sover.net>, btom...@sover.net (Bill Tomczak) wrote:
>Roger Diggle wrote:
>
>>There are many approaches to teaching beginners that work nicely.
>>My personal favorite involves no pre-dance teaching -- just get 'em
>>out on the floor and get 'em dancing to some energetic music.
[snip]
>Nobody is so good that people want to hear them all the time.
> -- Garrison Keillor
Bill,
You sig line is precisely why I always will do a no-walk-through first dance
at a one night stand. (This includes weddings, btw.)
Pre-music: I'll usually get folks to get in a circle, get them to circle four
with a couple nearby, and say, "When I say 'find another couple and circle up
four', *this* is who you go to first." Then I get them back in the big circle
and tell the band I"m ready to start.
The band looks at me in disbelief (even though I've told them I wasn't going
to teach anything), then plays.
The first dance has a few big circle figures (circle left and right, into the
center), and then they circle four. We do circles, star left (put your left
hand into the center and walk in the logical direction. this is a left hand
star). Right hand star (no other explanation), swing partners.
I do this enough times with enough other couples of four and then repeat the
big circle stuff again.
They're amazed at thier abilities and are then ready to have a little bit of
instruction for the next dance.
These are my favorite kinds of gigs.
Nancy Mamlin
Erna-Lynne Bogue
Here in Ann Arbor, I've been holding an "intermediate" contra dance for
several years now. It's billed as a workshop, and I state themes and
work (with varying degrees of determination and success) on skill
building. At the same time, I promise that I will *not* teach beginners
at that one session. The result is a fairly large proportion of
better-than-average dancers mixed in with those who are
just-past-beginners or eternal beginners.
It's an interesting format. One man had a weird, walking swing that was
not really with the beat and had no drive to it. It took about 18
months, with the swing workshops coming around every so often. First he
realized that he could go faster and had a running (not walking) swing.
Then one day the whole thing sank in. Now he's a bit of a dervish with a
grin on his face a mile wide.
The fact that the notion of "skill" is talked about and promoted does as
much as the actual teaching.
ELB
--------------------------------
Erna-Lynne Bogue / Ann Arbor MI
--------------------------------
jeme...@freenet.columbus.oh.us
The "secret purpose" of teaching first timers: 1. NOT REALLY: To get
first timers in the door, allay their fears, etc. Actually, as altruistic
as this is, we (@ Big Scioty in columbus OH) get as many one-timers,
fearful or otherwise, as we can possibly handle. 2. To turn a few of the
first-timers into second and third-time returnees, and thence into
regulars (because we need to replace regulars lost to attrition, not
market our group to a never-ending stream of one-timers). This
realization makes for a very different pitch: to the few, not the many.
The brutal way to do this is to get them to self-select. We already know
that most won't return (but can you tell which ones?) So, make it hard
enough that the timorous drop out at the intermission; then make a point
of personally asking the survivors, by name, to come back next dance.
Teach what the returnees need to know. (What is that?) 3. To get
strangers talking to each other. Call it an icebreaker, call it a mixer,
call it the Human Social Instinct but, please don't tell us to "smile,
have fun, and talk amongst yourselves." Better to give people something
to talk about. The best way to learn is to teach someone else. Besides,
the folk process demands that it be passed from person to person, not
from master to students. 4. To get beginners up to speed, so (some)
regulars don't stay away in droves. And, To keep the beginners standing
on the floor til the music starts, so they won't sit out the first few,
essential, easy dances. If the beginners start vigorously a half-hour
early, some will be satisfyingly exhausted earlier. 5. In order to get
more regulars into the organisation, get a different person to teach the
beginner-workshop every time. Use team teaching. Spotlight a demo
square. It doesn't matter if this is an effective way to teach, only if
it is an effective way to get more regulars gradually involved and take
ownership of the dance. The turnover at the top is continual. What we
need most is not a primer for first-time dancers but a primer for the
first-time teacher. 6. To do the sound check. The band hates to tune-up
and wait, so they're always making noise during the beginner instruction.
Don't fight it, put it to use. Then when the caller mounts the stage to
take over the mike, the show begins with a flourish instead of with
feedback.
Don't tell anybody these secrets, it'll ruin the conspiracy. Or, some
saying about how you can't do some things directly, only by subtrefuge.
Don't tell, but I love dancing with first-time one-night dancers; this
way I get more of them to myself.
yers, Jerry Emerick
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