Greg,
I can agree with you to a certain extent. We have new dancers show up after the workshops
and they do reasonably well. Our experienced dancers are very good about finding new
dancers who will benefit from dancing wiht them (unfortunately - we also have some less
accomplished but regular dancers who also jump in to 'help')
The thing you are missing is it just makes the new dancers more confident. Even if they
don't need the lesson - they think they do. And it makes them feel better to have a
preview of what is going to happen. This is why some newer dancers actually return to the
same workshop for their next several visits. Some people prefer to learn this way - so we
give them that that option - some prefer to jump right in and learn on the fly - so they
skip the lesson. It is hard to make any general statements about new dancers - some
almost immediately look like they have been doing it for years and some after years look
like they never saw it before and still have to be pointed in the right direction.
Locally - we also encourage the caller to personally conduct the workshop so the new
dancers already feel comfortable with him/her when they suddenly appear on stage.
I do agree that being positive is a lot better than being negative - I especially
don't like callers warning dancers of all the bad things that will happen if they do
this or that - let them know how much fun it is to dance safely.
Mac Mckeever
________________________________
From: Greg McKenzie <grekenzie(a)gmail.com>
To: callers(a)sharedweight.net
Sent: Thursday, September 1, 2011 9:55 AM
Subject: [Callers] Implied Messages in First-Timer's Orientation (Was: Head Mikes and
Mike Heads)
I meant to post this to the entire list. Here it is.
- Greg
---------- Forwarded message ----------
From: Greg McKenzie <grekenzie(a)gmail.com>
Date: Mon, Aug 29, 2011 at 9:50 AM
Subject: Re: [Callers] Head Mikes and Mike Heads
To: Lewis Land <lewisland(a)windstream.net>
Lewis wrote:
I have to ask, what's the point of newcomers instruction if you're not going
to teach a few basic dance figures to the novices? I can testify from much
personal experience that some of those newcomers would end up standing
frozen, terrified, and immobile after the music starts if they haven't had
adequate instruction about the most common dance figures. I can only assume
that Greg calls to a much more experienced crowd, where there are more
seasoned dancers who can assist the novices.
Good question. The answer is an involved area which can't be addressed here
in any depth. But here are a few things to think about:
Whenever a speaker talks to an audience it is the nonverbal component of her
speech that has the greatest impact. Explicit instructions carry little
weight compared to the implicit messages in the speaker's demeanor, voice
inflection, tone, word choices, and actions. As Ralph Waldo Emerson once
said:
“What you are shouts so loudly in my ears I cannot hear what you say.”
As human beings we always look for hidden or implied messages in what others
say. This is a natural part of how we communicate. We look for implied
messages because they tell us what the speaker is really thinking, rather
than what the speaker wants to present as a public persona. This is how
cognitive frames are communicated and learned.
You cannot not communicate.
I don't want you to think I'm being critical or making too many
assumptions. But it might help to examine some of the implied messages in
your own comments. They are typical of most callers. Here are some
conclusions one can make about the mental frame you have activated
concerning first-time contra dancers:
- At least some first-timers are likely to be "frozen, terrified, and
immobile" at their first contra dance;
- First-timers need to have either a "seasoned dancer" to assist them or
separate "instruction" in order to avoid embarrassment or public failure:
- "Seasoned dancers" are not readily available and/or are not inclined to
partner with first-timers.
This framing, and these ideas, are common amongst callers. The assumptions
are that there will be many first-timers dancing together. Please put
aside, for a moment, your opinion about whether or not these ideas are
"true" and focus on the effect of these ideas upon those in the room who are
looking for your implied messages. If you "believe" these ideas then there
is no way you can conceal that fact from the dancers. None of us here is
that good at deception. Your nonverbal and implied meanings will be obvious
and almost everyone in the room will pick up on the implied messages and
respond accordingly.
The frame you have thus evoked in the brains of the dancers is, frankly, a
rather dreadful one. For first-timers it is a frame in which they may very
well fail and embarrass themselves in a public dance hall. Those who could
help them are not that inclined to do so and this is why newcomers need
separate organized instruction to reduce their chances of failure. Some of
them, nevertheless, will fail.
For your regular dancers the frame is also rather bleak. A small group of
"seasoned dancers" are encouraged to partner with first-timers and should
view this, not as an enjoyable experience, but rather as a duty. There is a
good possibility that their novice partner will fail, and the "seasoned
dancer" will then be a part of that. If you are not a "seasoned dancer"
you
should probably avoid partnering with first-timers.
This is a self-fulfilling prophesy in action. Your expectations are being
projected into the hall because of the frame you have activated in your own
brain. How can you avoid this situation? The answer is to change the frame
in your own brain to one that will assume the success of everyone in the
hall. Assume that anyone with one night of experience dancing contras is
qualified to partner with first-timers and that you will make that an
enjoyable and successful experience. Assume that all of the regulars enjoy
partnering with first-timers who are confident and ready to learn. Assume
that all of the first-timers are fully prepared to partner with the regulars
without any separate training. Assume that you will call appropriate dances
so precisely and clearly that everyone will be able to dance confidently
after only one walk-through.
Making these kind of assumptions could be called delusional. It could also
be called leadership. It depends upon the frame you are activating. These
assumptions are not "true" or "false." It is about crafting a
positive
vision of the regular dancers, the first-timers, and the entire evening and
projecting that vision into the room. It is about inspiring confidence in
others by assuming your own success. It is, actually, the only way you will
be able to accomplish your goal of calling well.
Now, back to your question. If you are successful at making the above
assumptions and if you are successful at adopting that frame about the
regular dancers, the first-timers, and your own calling, you will recognize
that teaching figures to the first-timers in a separate orientation is not
only a wast of time. It also sends negative messages to all of the dancers
in the hall. When you assume that all of the first-timers are going to be
partnered with regular dancers, you will know that teaching the figures will
take no longer than the time it takes for you to call out the name of each
figure. Actually, it is the regulars who will "teach" the figures--and they
will do it much more quickly and effectively than you could in any separate
orientation session.
Many of the comments and actions of callers are based upon expectations
about the dancers that are not positive. If you think the dancers don't
pick up on these implications you will not be able to call well. All
callers need to foster a positive view of the dancers in the hall. When
those assumptions are a part of your framing the situation will change and
the implied messages being projected into the hall will also change. This
is a powerful strategy to integrate the dance hall and to make your task as
a caller much easier.
Just a thought,
Greg McKenzie
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