23 Jun
2015
23 Jun
'15
11:02 a.m.
Hi all,
I've included John's comments below, but thought I'd start a new thread on
introductory lessons, which is sort of the bigger picture of what we talk
about when we talk about a caller teaching the swing.
I don't call much, but I still teach introductory lessons before weekly
dances every now and then. In my community, it's pretty common for local
callers (or even some local dancers who aren't callers) to teach the lesson
when there's an out-of-town caller booked for the night. I think this
system has advantages and disadvantages: as an organizer, I like being able
to control what goes in the lesson, since, as discussed below, I have some
fairly strong opinions on what makes an introductory lesson welcoming and
successful, but if I were a traveling caller calling my home dance, I would
feel at a disadvantage if I could not tailor the lesson the program I
intended to call.
So, what do you all focus on when teaching the lesson? It seems from the
previous thread that there are several approaches:
- teach the moves that are most difficult for dancers to get (right and
left through, ladies' chain)
- teach the moves in proportion to how many times you call them during the
night (swing, allemande, circle)
- teach the moves that will mess you up the most if you don't do them right
(half promenade across, half chain, half anything, really)
- teach skills, such as sharing weight
My approach is really to do none of these. I do teach dancers how to share
weight, and generally teach it in the context of a circle, then a two hand
walk around with one other person, then a buzz-step swing. If I have time
after that I may quickly go through a few other moves, but I don't consider
that a necessity.
Instead, what I focus on is teaching newcomers to dance with a variety of
partners, ask experienced dancers to dance, listen to the caller, look up
for help when lost, and clap to show their appreciation for the performers
at the end of each dance. I tell them explicitly what I think is most
important and what I am there to help them get out of the night: I want
nobody to get hurt, and I want them all to have a good time. At the end of
the lesson, I will even try to point out experienced dancers who I think
the newcomers should dance with at some point. I tell the newcomers that
they should dance each dance with a different person, that it is totally
fine to sit dances out if they need a break, and that if somebody asks them
to dance but they don't want to dance with that person, simply say "no
thank you." I also identify members of the dance committee who are in the
room in case they have any questions at all or have any problems during the
dance, and again stress to them that we are here to help them have a great
time.
The way I view it, if I teach 20 moves in a 30-minute lesson, the newcomers
will not remember those moves after an hour of dancing. If I teach them
that the community is committed to ensuring they have a safe, fun dancing
experience, and that experienced dancers will help them through the rest, I
think that is 90% of what helps newcomers get the most out of their first
dance.
Obviously, my view of how the lesson should be only works in communities
with a lot of experienced dancers. I'd never be able to get away with
teaching a lesson without telling anybody what an allemande is if the hall
is full of beginners.
-Dave
Washington, DC
On Tue, Jun 23, 2015 at 2:13 AM, John Sweeney via Callers <
callers(a)lists.sharedweight.net> wrote:
Thanks for all the great ideas/
Yes, I should say gallop instead of skate-board – I start with “Now walk
fast on the spot” before I tell them to turn, so I assume they are going to
keep alternating their feet, but some don’t! Maybe “gallop” will help. I
did get one guy at a workshop tell me that he had been taught to keep one
foot fixed on the floor on a single spot. I showed him what would happen
if we both did that – in slow motion, otherwise it could have been quite
painful J
Ron asked, “Okay, so what about my first comment: Not everyone is
physically able to do the buzzstep swing?”
Well, my first statement was “Yes, of course I always tell dancers that
they can walk instead of buzz” and the last line of my sample teach was,
“If you are having trouble with the buzz-step then you can always just
walk.”
So I thought I had covered that. Sorry if I have misunderstood.
At one of the weekly sessions I run we get around 25 to 30 people each
week; most of them are ladies, and the ages range mainly from 50s to
mid-80s. We provide badges saying, “Please swing gently” and we tell them
they can walk. I always teach the buzz-step and they all try it. Most of
them carry on doing a buzz-step and very few wear the badges after the
first few weeks once they have got used to swinging.
They also love my no-swing contras – they don’t need swings to have fun!
Ron also said, “The single most important thing to teach a dancer is "it's
okay to make mistakes".”. I agree that that is important and we joke about
the mistakes a lot. Sometimes they have the most fun when they fail
completely!
But my Rule #1 is:
“Every dancer has the right to get on the dance-floor and have fun without
getting hurt.”
I have been hurt a lot on the dance-floor. I used to dance Ceroc/Modern
Jive three or four nights a week. You know the way that some people yank on
you when they step back in the Balance before a swing? Well in Modern Jive
you step apart about once every eight steps, and the general level of
technique teaching at Modern Jive classes is very low, so most of the
dancers have never been told that they shouldn’t pull when they step back.
In fact some of the <expletive deleted> teachers actually tell them to pull
to generate tension, without mentioning that the level of tension required
is around the one ounce level, not the one ton level! So I ended up with
repetitive stress injuries which weakened my muscular infrastructure and
when an aerial move went wrong in a practice session I ended up tearing one
of my rotator cuff (shoulder) muscles badly.
Aerials: https://www.youtube.com/watch?v=CJnL_Y63AnY – that’s me in black.
So, having had two shoulder operations, and not wanting any more, if my
partner appears to be about to throw their whole weight at me when they
step back in a Balance & Swing then I step forward to prevent it. (Once
having asked a lady to stop pulling on the step-back as she was hurting me,
and failing to get through to her, next time we stepped back I pulled on
her. She immediately got cross and said I had hurt her. The irony appeared
to be completely lost on her!). And if a lady leans back in a swing then I
move my hand from her shoulder blade to her waist so she has to stand up or
fall over! I have learnt a lot of self-defence skills over the years!
I recently ran a “Contra Skillz – Style and Technique” workshop at a UK
festival and the experienced dancers loved it – most of them do want to
improve and do want the caller to do some teaching. (Of course, they
self-selected by attending the workshop in the first place!)
One of the guys is a very good dancer, but my wife, Karen, complained that
his swinging was far too forceful; he was rigid and using too much power.
The first thing I taught in the workshop was that most people will swing
better if they relax. Next time she swung with him, he was, as usual,
rigid, but, because I had empowered her by teaching relaxation, she felt
able to say, with a big smile, “And relax <she breathed out>” – he did the
same and suddenly turned into a wonderful swing partner. She heaped on the
praise and he felt good that he was giving Karen a better swing.
I agree with Tom that we all have different perspectives and so we
approach things differently. That is a good thing as far as I am
concerned. If all callers ran their evening the same way then the dancers
would get bored. Different approaches help different people, and give the
variety needed to keep the dance alive.
My perspective is based on learning the Galway Swing from my Irish mother
when I was a teenager (take an Allemande Right hold, each of you cup your
left fingertips around your partner’s right elbow, buzz – great fun!), so I
have been buzzing for fifty years and would always choose it. But of
course I walk if I or my partner is tired, or if my partner can’t cope with
a fast swing, or if they are such a bad swinger that I need to slow the
swing down to avoid damage. Though actually you can do a slow, controlled
buzz-step swing and that can feel great too.
I also agree that programming is crucial to a successful evening. Apart
from avoiding overuse of particular moves or sequences, providing variety,
and trying to include something a bit different, I am also building the
move set slowly so that newcomers get to a point where they can do great
dances later in the evening because they have seen all the bits already.
The Right & Left Through is such a counter-intuitive move that I often
leave it out completely. If I need it for a particular dance then I can
change it to a Half Promenade. I certainly never spend time teaching it in
a beginner’s workshop unless I am planning to use it multiple times in the
evening.
Thanks again for all the great ideas in this thread.
Maybe I should stop rambling now… J
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802
940 574
http://www.modernjive.com for Modern Jive Events & DVDs
http://www.contrafusion.co.uk for Dancing in Kent
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http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
--
David Casserly
(cell) 781 258-2761
23 Jun
23 Jun
11:47 a.m.
On 6/23/2015 9:02 AM, Dave Casserly via Callers wrote:
So, what do you all focus on when teaching the lesson?
It seems from
the previous thread that there are several approaches:
<snip>
My approach is really to do none of these. I do teach dancers how to
share weight, and generally teach it in the context of a circle, then a
two hand walk around with one other person, then a buzz-step swing. If
I have time after that I may quickly go through a few other moves, but I
don't consider that a necessity.
This is where I usually start, but once we've had a few rounds of "swing
your neighbor and leave the ladies on the right" in a circle and folks
see that they change places every time by doing that, I put them into a
longways set and show them how progression works. I do something super
simple like circle left, neighbor dosido and pass through along the set,
take new hands four. Maybe neighbor swing, but I just want them to get
how a contra functions without too much choreographic baggage. I do
like to teach the courtesy turn moves (chain and R&L through), but will
only include R&L if I have 2 or more dances in the program that use it.
I often don't.
Instead, what I focus on is teaching newcomers to
dance with a variety
of partners, ask experienced dancers to dance, listen to the caller,
look up for help when lost, and clap to show their appreciation for the
performers at the end of each dance. I tell them explicitly what I
think is most important and what I am there to help them get out of the
night: I want nobody to get hurt, and I want them all to have a good
time. At the end of the lesson, I will even try to point out
experienced dancers who I think the newcomers should dance with at some
point. I tell the newcomers that they should dance each dance with a
different person, that it is totally fine to sit dances out if they need
a break, and that if somebody asks them to dance but they don't want to
dance with that person, simply say "no thank you." I also identify
members of the dance committee who are in the room in case they have any
questions at all or have any problems during the dance, and again stress
to them that we are here to help them have a great time.
These are all really excellent things to mention. I often add that they
should let their partners know (in words) if they need to take it slow
on swings, or if they've got sore parts that need to be handled gently.
Basically, that it's a good thing to talk to the folks you're dancing
with if you need something. Which boils down to the same thing Dave is
stressing above -- we want you to be safe and have a good time.
Kalia
1:08 p.m.
The way I see it, an essential part of the lesson is listed in what Dave talked about, but
I feel that it is somewhat useful to demonstrate an actual dance, like Jefferson &
Liberty or Babaloo's Reel, something super simple with few moves that demonstrates and
gives them practice dancing WITH music. If I don't have music, I'll deedle along
at dance tempo to give them the impression of what it feels like to dance in line - to
know the spot in the dance where you are, to show how the music and dancing fits together,
things like that. That way they know exactly what we will be doing through the course of
the evening. Getting them dancing gives them a sample of the evening and most new dancers
have told me they found that extremely useful.
Perry
From: Dave Casserly via Callers <callers(a)lists.sharedweight.net>
To: John Sweeney <john(a)modernjive.com>
Cc: "callers(a)lists.sharedweight.net" <callers(a)lists.sharedweight.net>
Sent: Tuesday, June 23, 2015 12:02 PM
Subject: [Callers] content of introductory lesson
Hi all,
I've included John's comments below, but thought I'd start a new thread on
introductory lessons, which is sort of the bigger picture of what we talk about when we
talk about a caller teaching the swing.
I don't call much, but I still teach introductory lessons before weekly dances every
now and then. In my community, it's pretty common for local callers (or even some
local dancers who aren't callers) to teach the lesson when there's an out-of-town
caller booked for the night. I think this system has advantages and disadvantages: as an
organizer, I like being able to control what goes in the lesson, since, as discussed
below, I have some fairly strong opinions on what makes an introductory lesson welcoming
and successful, but if I were a traveling caller calling my home dance, I would feel at a
disadvantage if I could not tailor the lesson the program I intended to call.
So, what do you all focus on when teaching the lesson? It seems from the previous thread
that there are several approaches:
- teach the moves that are most difficult for dancers to get (right and left through,
ladies' chain)- teach the moves in proportion to how many times you call them during
the night (swing, allemande, circle)- teach the moves that will mess you up the most if
you don't do them right (half promenade across, half chain, half anything, really)-
teach skills, such as sharing weight
My approach is really to do none of these. I do teach dancers how to share weight, and
generally teach it in the context of a circle, then a two hand walk around with one other
person, then a buzz-step swing. If I have time after that I may quickly go through a few
other moves, but I don't consider that a necessity.
Instead, what I focus on is teaching newcomers to dance with a variety of partners, ask
experienced dancers to dance, listen to the caller, look up for help when lost, and clap
to show their appreciation for the performers at the end of each dance. I tell them
explicitly what I think is most important and what I am there to help them get out of the
night: I want nobody to get hurt, and I want them all to have a good time. At the end of
the lesson, I will even try to point out experienced dancers who I think the newcomers
should dance with at some point. I tell the newcomers that they should dance each dance
with a different person, that it is totally fine to sit dances out if they need a break,
and that if somebody asks them to dance but they don't want to dance with that person,
simply say "no thank you." I also identify members of the dance committee who
are in the room in case they have any questions at all or have any problems during the
dance, and again stress to them that we are here to help them have a great time.
The way I view it, if I teach 20 moves in a 30-minute lesson, the newcomers will not
remember those moves after an hour of dancing. If I teach them that the community is
committed to ensuring they have a safe, fun dancing experience, and that experienced
dancers will help them through the rest, I think that is 90% of what helps newcomers get
the most out of their first dance.
Obviously, my view of how the lesson should be only works in communities with a lot of
experienced dancers. I'd never be able to get away with teaching a lesson without
telling anybody what an allemande is if the hall is full of beginners.
-DaveWashington, DC
On Tue, Jun 23, 2015 at 2:13 AM, John Sweeney via Callers
<callers(a)lists.sharedweight.net> wrote:
Thanks for all the great ideas/ Yes, I should say gallop instead of skate-board – I start
with “Now walk fast on the spot” before I tell them to turn, so I assume they are going to
keep alternating their feet, but some don’t! Maybe “gallop” will help. I did get one guy
at a workshop tell me that he had been taught to keep one foot fixed on the floor on a
single spot. I showed him what would happen if we both did that – in slow motion,
otherwise it could have been quite painful J Ron asked, “Okay, so what about my first
comment: Not everyone is physically able to do the buzzstep swing?” Well, my first
statement was “Yes, of course I always tell dancers that they can walk instead of buzz”
and the last line of my sample teach was, “If you are having trouble with the buzz-step
then you can always just walk.” So I thought I had covered that. Sorry if I have
misunderstood. At one of the weekly sessions I run we get around 25 to 30 people each
week; most of them are ladies, and the ages range mainly from 50s to mid-80s. We provide
badges saying, “Please swing gently” and we tell them they can walk. I always teach the
buzz-step and they all try it. Most of them carry on doing a buzz-step and very few wear
the badges after the first few weeks once they have got used to swinging. They also love
my no-swing contras – they don’t need swings to have fun! Ron also said, “The single most
important thing to teach a dancer is "it's okay to make mistakes".”. I
agree that that is important and we joke about the mistakes a lot. Sometimes they have the
most fun when they fail completely! But my Rule #1 is:“Every dancer has the right to get
on the dance-floor and have fun without getting
hurt.” I have been hurt a lot on
the dance-floor. I used to dance Ceroc/Modern Jive three or four nights a week. You know
the way that some people yank on you when they step back in the Balance before a swing?
Well in Modern Jive you step apart about once every eight steps, and the general level of
technique teaching at Modern Jive classes is very low, so most of the dancers have never
been told that they shouldn’t pull when they step back. In fact some of the <expletive
deleted> teachers actually tell them to pull to generate tension, without mentioning
that the level of tension required is around the one ounce level, not the one ton level!
So I ended up with repetitive stress injuries which weakened my muscular infrastructure
and when an aerial move went wrong in a practice session I ended up tearing one of my
rotator cuff (shoulder) muscles badly. Aerials:
https://www.youtube.com/watch?v=CJnL_Y63AnY – that’s me in black. So, having had two
shoulder operations, and not wanting any more, if my partner appears to be about to throw
their whole weight at me when they step back in a Balance & Swing then I step forward
to prevent it. (Once having asked a lady to stop pulling on the step-back as she was
hurting me, and failing to get through to her, next time we stepped back I pulled on her.
She immediately got cross and said I had hurt her. The irony appeared to be completely
lost on her!). And if a lady leans back in a swing then I move my hand from her shoulder
blade to her waist so she has to stand up or fall over! I have learnt a lot of
self-defence skills over the years! I recently ran a “Contra Skillz – Style and Technique”
workshop at a UK festival and the experienced dancers loved it – most of them do want to
improve and do want the caller to do some teaching. (Of course, they self-selected by
attending the workshop in the first place!) One of the guys is a very good dancer, but my
wife, Karen, complained that his swinging was far too forceful; he was rigid and using too
much power. The first thing I taught in the workshop was that most people will swing
better if they relax. Next time she swung with him, he was, as usual, rigid, but, because
I had empowered her by teaching relaxation, she felt able to say, with a big smile, “And
relax <she breathed out>” – he did the same and suddenly turned into a wonderful
swing partner. She heaped on the praise and he felt good that he was giving Karen a
better swing. I agree with Tom that we all have different perspectives and so we approach
things differently. That is a good thing as far as I am concerned. If all callers ran
their evening the same way then the dancers would get bored. Different approaches help
different people, and give the variety needed to keep the dance alive. My perspective is
based on learning the Galway Swing from my Irish mother when I was a teenager (take an
Allemande Right hold, each of you cup your left fingertips around your partner’s right
elbow, buzz – great fun!), so I have been buzzing for fifty years and would always choose
it. But of course I walk if I or my partner is tired, or if my partner can’t cope with a
fast swing, or if they are such a bad swinger that I need to slow the swing down to avoid
damage. Though actually you can do a slow, controlled buzz-step swing and that can feel
great too. I also agree that programming is crucial to a successful evening. Apart from
avoiding overuse of particular moves or sequences, providing variety, and trying to
include something a bit different, I am also building the move set slowly so that
newcomers get to a point where they can do great dances later in the evening because they
have seen all the bits already. The Right & Left Through is such a counter-intuitive
move that I often leave it out completely. If I need it for a particular dance then I can
change it to a Half Promenade. I certainly never spend time teaching it in a beginner’s
workshop unless I am planning to use it multiple times in the evening. Thanks again for
all the great ideas in this thread. Maybe I should stop rambling now… J Happy
dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233
625 362 & 07802 940 574http://www.modernjive.com for Modern Jive Events
& DVDshttp://www.contrafusion.co.uk for Dancing in Kent
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David Casserly
(cell) 781 258-2761
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25 Jun
25 Jun
9:06 a.m.
Dave, thank you for the new thread with a bigger focus.
I don't think that there needs to be universal set mandate for beginner
lessons. Heck, there's debate about what the best name for it is
(orientation, lesson, workshop, etc). It's going to depend on crowd, size,
timing, and a huge host of other factors. I share my experience and
approach as what I do and why, but it may not work for everyone.
The number one thing I want new dancers to get from the beginner workshop
is feeling comfortable enough to attempt dances.
If I'm calling at a series with experienced dancers, they'll help fix any
mistakes that happen on the floor. Mistakes will happen, and that's okay.
But what experienced dancers on the floor can't do is dance with someone
who won't leave the sidelines. So I see the main purpose of the lesson as
building trust in the new dancers that they can do this, and a willingness
in those new dancers to dance with experienced dancers.
I start folks in a circle. I encourage everyone there to join the circle.
Not just new dancers, everyone; including me. I introduce myself and say
that I'm the caller, and I'll be teaching the dances we do tonight. Then I
get folks moving in a big circle left, then back to the right with verbal
prompts. Then I say "now we're going to change this from walking to
dancing, and the difference is connection" (I prefer "connection" to
"shared weight", although I don't think we should rename the mailing list).
I talk through and show moving hands from down low to slightly above
elbows, making a w with the arms, and having "a little tension in the arms,
not the hands. If you're squeezing the hand of the person next to you,
they'll feel nervous for you. But with a little connection in your arms,
you'll feel when someone next to you starts moving." And as I'm saying
this, I lead a circle left without a verbal prompt, and then back to the
right. And folks follow along.
Then, I saw "we're going to have that connection in our next move, an
allemande. Pair off with someone next to you" and then I help folks shuffle
around until everyone has someone. I'm the spare and will either be in the
process or out, depending on if I'm needed. Do an allemande right with that
person, then left. Then the person on the other side of them. Allemande
Right. Allemande Left. If I've got a good mix of regular dancers in the
crowd, I don't both demoing it. If it's mostly new folks, I'll show it in
the middle of the circle with someone (and thank them!) and then let
everyone do it.
Then I do a do-si-do. And I emphasize that even though we're not touching,
we're still connected through the process of dancing around each other. I
sometimes use this moment to talk about flourishes. I say that they'll see
some people who twirl; and that twirling is totally optional, you never
have to twirl around, and you're in control of your own twirling.
I'll sometimes do a quick re-cap at this point. Circle left and right,
allemande once and a half to switch, next person allemande, that one do si
do; whole thing two or three times. They've got the moves, but I want them
to feel successful in doing them.
Then I get to the swing. I do not teach a buzz step swing. Depending on the
language choices of the dance, I'll talk about gents and ladies or other
terminology; but whatever the language choice I make it clear that people
can dance either role; and that one role ends on the left, and one on the
right. I emphasize that the swing should be comfortable for everyone; and
that if you find yourself getting dizzy there are straightforward things to
try. One is looking at the other person (and I explain eye contact, or
looking at a button they're wearing, as a steadying influence) and the
other thing is "you can say 'please slow down, I'm getting dizzy.' and
that
person will slow down because it's a community dance and we're working
together for everyone to succeed." And I explicitly want the experienced
dancers to hear that. New dancers have a right to slow down swings or not
be twirled, etc.
We do the swing with a couple different folks, moving around the circle; so
they get different swings and get the right-side/left-side thing down. I
talk about dancing with lots of different people. I'll mix in circles and
allemandes to recap. I usually get to balance and swing as another way into
a swing; again talking about connection in the arms.
This whole thing takes less than 10 minutes. Quick, and leaving them
feeling successful.
If I've got 15 minutes. I have them promenade one they swung around the big
circle, then I break the circle and have one person promenade up and
everyone follow them so I have a line of couples. Then I'll explain this is
how most of the dances will start; lining up opposite your partner. Then
I'll step through hands four from the top (I don't worry about crossing
over, and I explicitly don't talk about 1s and 2s). I might do stars in
those groups. But more important to me is just circle left, circle right,
balance the right, pass through to find new neighbors. Do it again to teach
the progression. Mention getting popped out at the ends and then going the
other direction.
In either the 10 minute or the 15 minute version, I close by having them
applaud themselves for the excellent job. I tell them they're ready for any
of the dances I'll call tonight, and that I'll teach all of the dances.
Then I ask for a favor; "If this is your first time here, please partner
with experienced dancers for the first three dances. Then go back to the
friends you came with and show them all the neat stuff you've learned." I
don't force the issue, but I encourage them to branch out and learn from
the community.
That's it.
For the orientation, I specifically avoid teaching moves like right and
left through, whole heys, or (and I've had this requested) contra corners.
I want the dancers to succeed immediately, and I don't want them bogged
down with things they won't remember if/when the move comes up. And while I
encourage the experienced dancers to take part in the workshop, I know that
I'll have a larger number of experienced dancers later in the evening. I'd
rather teach a move when half to three-quarters of a group of four know it
than no one in the foursome knows it.
As a traveling caller, I prefer to lead my own workshop at the beginning;
in part because I've seen helpful dancers spend twenty minutes on how to
swing their way, or teach contra corners because its so confusing.
My starting dance orientation is tailored to evenings when I know I'll have
some new dancers but a large crowd of experienced dancers they're mixed in
to. The *fewer experienced* dancers I'll have in a night, the *less of a
beginning orientation* I do. That's not a typo. If I don't have any
experienced dancers (weddings or other one night stands) I absolutely do
not do a beginner lesson; I choose dances that will succeed without a
beginner lesson. I adjust my program so that the dancers are successful and
have a good time, even if that means not doing heys, or not even doing
duple minor improper contras. With good music and willing dancers, I'll
happily call circle dances, scatter mixers, and longways sets. I'll
incorporate the elements of the workshop into the teaching of those dances,
and maybe move on to more complex dances, or maybe not. Depends on what the
dancers will succeed and have fun with.
You mileage may vary.
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
3236
days inactive
3238
days old
contracallers@lists.sharedweight.net
3 comments
4 participants
participants (4)
-
Dave Casserly via Callers -
Kalia Kliban via Callers
-
Luke Donforth via Callers
-
Perry Shafran via Callers