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Hi Michael,<br>
<br>
We are going to agree to disagree. My pre-dance lesson has been very
successful -- we've observed that many newcomers in those lessons
continue to stay into the second half of the evening or all the way
to the end. I've run my style of pre-dance lesson for more than
400 dances, and the observed results are quite clear. It works.<br>
<br>
But one thing I consider important -- that the ultimate goal of a
lesson is for people <i>to learn</i>, not for us to teach. As
teachers, we may favor certain things -- like dancing to music --
but that might not be the best way for the newcomers to learn to
dance. Too many things happening at the same time, with too many
words of explanations. <br>
<br>
So I break it down -- first the moves, lots and lots of muscle
repetitions. Then placement and holds, including allemandes, swings,
balance and swing, circle left, circle right, etc. Then the courtesy
turn -- again and again and again. Then counting -- a right-and-left
through with a courtesy turn takes 8 counts. Then, and only then
after they have done these moves 10-20 times, then we add the music.
So in 20 minutes my lesson builds, piece by piece in small, logical,
understandable steps. For example, first the courtesy turn. Then the
pass through with a courtesy turn. Then the right-and-left through
with the courtesy turn. Then the ladies chain with the courtesy
turn. All in a firm count of 8. Sometimes I'll add 9 and 10 for slow
movers and everyone laughs. Then a half-hey, in a count of 8. Then
the full hey in the count of 16. Then and only then, the music --
when the dancers can put this together in response to the calls, one
move after another without a break, all to the music. And so the
dancers get the "feel" of the music and moves subliminally. And it
works because by then they are ready to add the music to their
knowledge base. <br>
<br>
This way of learning is also the best way of learning languages --
just copy and speak, copy and speak. We don't spend time on verb
declinations or extensive rules of grammar. That's how they do it in
academia, of course, but not in the Peace Corps or the Foreign
Service. Or when we are young children and we learn our language by
copying and speaking. Musical bars and musical phrases don't mean
anything to newcomers who don't play instruments; counting does.<br>
<br>
Do you remember the old movie "The Karate Kid"? The newcomer kid
wants to learn Karate, but the sensei tells him instead to spend his
time waxing his cars. A lot. But eventually, in a scene where the
sensei suddenly throws punches at him, the kid uses those same arm
motions to automatically block the blows successfully. Much to his
surprise. Of course that was Hollywood, but the lesson is real.
Learning doesn't have to be direct. Sometimes indirect roads lead to
a more successful outcome.<br>
<br>
BTW, "no music, no dance". Have you ever seen an acapella clogging
routine? It's dancing without "music", but it's clearly in rhythms
and tempo; it's clearly dancing.<br>
<br>
Woody<br>
<br>
<hr width="100%" size="2">On 9/11/2019 3:24 AM, Michael Barraclough
wrote:<br>
<blockquote type="cite"
cite="mid:e3f4217b-b38c-d6d9-a2c7-d44b18bd0cc9@michaelbarraclough.com">
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<p>Hi All</p>
<p>I couldn't disagree more with the comments below. <br>
</p>
<p>For me, dance is movement laid upon music - no music, no dance.
Having the band is best, but if the band can't do it (why not?)
then recorded music can work fine. I start with a circle (no
partner) and get everyone moving. Dancers get to feel the music
and to listen to the caller. People aren't necessarily used to
listening and to being told what to do. Take this as an
opportunity for new dancers to learn that they need to do this
at a contra dance. Try 8-bars, 4-bars, 2-bars etc, mix them up,
after a few circle left/right throw in a right/right or
left/left. As well as circling, you can do some in and out
(again, mix up everyone/men/ladies/tall/short) etc. After that,
I pair people up randomly by getting concentric gendered circles
going in opposite directions and you get a partner when the
music stops. Now you can do a few turns, do-si-dos and maybe
swinging. After that promenade out of the circle into lines.
Then I teach the concept of progression (at length, it's
probably the most important thing for a successful contra
evening). Then, and only then, a few figures.</p>
<p>Michael Barraclough<br>
</p>
<div class="moz-cite-prefix">On 11/09/2019 02:53, Woody Lane via
Callers wrote:<br>
</div>
<blockquote type="cite"
cite="mid:c5af5d1f-6530-2f41-0b66-e4831be3d078@woodylane.com">
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charset=UTF-8">
Hi Jim,<br>
<br>
I never use music during the pre-dance lesson until the very end
of the lesson. I don't think there is a need until the end.<br>
<br>
My entire lesson is filled with moves -- either as a couple or
as a foursome. We repeat the moves; we repeat the moves, again
and again. For moves like courtesy turn, pass through,
right-and-left through, ladies chain, 1/2-hey, and full hey --
once they learn the actual move, then I add the count -- either
8 or 16. Again, with no music, just my voice.<br>
<br>
Then, during the last 4 minutes or so of the lesson, I ask the
band to play a single tune -- whatever the band likes, reel or
jig. I want the tempo at regular dance speed -- 112-118 or so.
The dancers are still in their foursomes. Then I call those
moves to the music -- hash call so no one knows what move is
next. The dancers dance to the music, do the moves at speed in
the right tempo, finish the moves on time, and learn to listen
to the caller. I don't worry about lining up for a contra and
learning the progression -- I can teach that in 30-seconds
during the first dance of the evening. Basically, I want dancers
to have fun and confidence in dancing.<br>
<br>
I think this lesson does a good job of getting new dancers
confident and dancing to the music.<br>
<br>
Best,<br>
Woody<br>
<div class="moz-signature">-- <br>
<><><><><><><><><><><><><><><><><><><br>
Woody Lane<br>
Caller, Percussive Dancer <br>
Roseburg, Oregon <br>
<a class="moz-txt-link-freetext"
href="http://www.woodylanecaller.com" moz-do-not-send="true">http://www.woodylanecaller.com</a><br>
cell: 541-556-0054<br>
<hr width="100%" size="2"><br>
</div>
<div class="moz-cite-prefix">On 9/10/2019 12:41 PM, jim saxe via
Callers wrote:<br>
</div>
<blockquote type="cite"
cite="mid:5623FBF7-3ADF-4218-B0EC-DCEFE9198FFB@gmail.com">
<pre class="moz-quote-pre" wrap="">I'd like to hear from any of you who can share experience or advice about making use of music during the introductory lesson (a/k/a "new dancers' orientation", "beginners' workshop", etc.) that often precedes a regularly scheduled contradance.
What source of music do you use? (Recorded music played on a device that you control? Live music played by a musician assisting with the lesson? Music that you yourself can play on some instrument while leading the session? Your own singing of song lyrics, nonsense syllables like "la la la", or dance calls? Music that may happen to be coming from the evening's band doing their sound check at the other end of the hall? ..) How--in as much detail as you care to supply--do you use that music in your teaching? What do you think/hope your use of music contributes to the effectiveness or fun of the lesson?
I tossed out a few ideas on this topic, with much uncertainty about which ones were any good, in a message I sent on September 2 in the "Brain Dead - Need Suggestions" thread. I'm re-raising the topic here under a more descriptive Subject line in hope of getting responses from people who can offer comments based on actual experience.
Thanks.
--Jim
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