15 Mar
2006
15 Mar
'06
12:25 a.m.
I heartily agree with Chris on the stepping or walking swing for beginners! My husband,
Bob Golder, who has been dancing for 30 years, and several other very experienced dancers,
only do a walking swing. They can keep up with the fastest of buzz step swinging partners,
and are very smooth. The stepping swing is easy to teach, and is a natural movement for
dancers. In addition, it keeps them moving smoothly. I always tell them that when they are
ready, and feel it in the movement, they will naturally begin buzz step swinging. And even
if they don't, walking swings can be just as terrific!
And in general to everyone, it is very enjoyable to be on this email list! The discussions
and suggestions are thought provoking and very helpful. Thanks to everyone!
warmly, Linda Leslie
Hi Tom,
I agree with all but two of these. Here's why I disagree:
2) Beginners have a delay in their reaction times to calls. They have to
process the call, translate it to what they know before they can tell
their bodies what to do. This is unlike an experienced dancer who has
muscle memory tied directly to the ears (or something like that). 8^)
When I have called to dances with a high percentage of beginners, the
dances with 8 count swings, by the time the dancers get into swing
position and start turning, they can't even get around once sometimes. 8
count swings also indicate a higher piece count in the dance and make it
more difficult. I have had better luck with 12 count swings when dealing
with beginners.
8) I am convinced that (with rare exceptions) when you teach someone
anything about the swing, they only can move up one notch along the
learning curve. They can only keep one instruction in mind when they are
practicing the swing. It took me a long time to learn how to buzz step
well and to incorporate it in such a way that didn't cause discomfort
for my partner. Since the swing is one of the first, hardest and most
common moves that they learn, it needs to be easy and quick to learn.
That's why I teach the walking swing. They have enough to learn about
posture, frame and dealing with eye contact. Why burden them with extra
information when they already know how to walk forward and it will work
just as well? By all means, let them know that the buzz step exists and
show them what it looks like. But also let them know that they don't
have to do it for a swing to be fun. I can show someone how to do a
walking swing in less than 30 seconds and have them dancing and their
mind will be clear enough to learn the other calls that they are being
taught. I have seen too many people befuddled by the buzz step and in a
daze while the first dance is being taught.
Hmmm... I guess that number 8 touched a nerve... 8^)
Happy Dancing,
Chris
http://www.chrisweiler.ws/
Tom Hinds wrote:
It occurred to me that many of the behaviors on
this list are due to
insecurity (dancing with other beginners, waiting to be asked etc.) That got
me to thinking about what callers can do to make sure the beginners have a
good experience. So, I've come up with my own list for callers. These items
may contain items that some may not agree with. But this may generate some
good discussion.
10 things a caller can do to help beginners have a good experience:
1) Prepare a logical program that starts easy and builds.
2) Like a professional dance teacher, warm up muscles slowly. Use dances
with 8 count swings (max) early in the evening. Keep the first couple of
dances shorter. New and not so new dancers are entering the hall and you want
them up and dancing sooner rather than later,
3) Be prepared well enough so that you don't have to use cards. Watch the
dancers. Watch the dancers.
4) Encourage everyone to dance with everyone else. When a dance ends,
suggest that those who just danced ask those sitting out for the next dance.
5) Demonstrate what smooth dancing looks like (especially if many newbees are
skipping).
6) Teach safe dancing - like proper allemandes. If you see dancers dancing
out of control take measures to make sure that they don't hurt anyone.
7) If you make a mistake, admit it. Often if something doesn't work, the new
dancers think it's because of them.
8) Teach the buzz step swing in the beginning workshop. Teach it well.
9) If a dance has a tricky move, show the dancers how to perform the move
with finesse. If the dance has a challenge in the timing department,
communicate to the dancers how to be on time.
10) If you call a challenging dance and the new dancers look a bit confused,
tell the crowd that that was a very difficult dance and that they handled it
very well (this one from Ted Sannella). If the dance was so challenging that
sets broke down, tell the dancers that you picked a bad dance (in other words
it's you, not them).
Tom Hinds
------------------------------
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End of Callers Digest, Vol 19, Issue 11
*************************************** 
15 Mar
15 Mar
6:25 a.m.
i also strongly agree! i *never* teach a buzz-step swing. i *do* demo a
swing with one person walking and one person buzzing, and point out to them
that they can walk to matter what the other person is doing.
i also tell them that after awhile, they will "feel" the buzz step, and when
they do, they should go ahead and try it out.
in my mind, it's more important to explain to everyone that they need to
carry their own weight during a swing. i also tell them that it's important
to swing in a way that's comfortable for both people, and "comfortable" is
the important word here.
also, the swing is the first thing i teach - it's the one figure that's
guaranteed to be in every dance. as soon as they figure out "lady on the
right" and the pointy hands thing, i'm ready to line them up.
it's my perception that if they can get oriented at the end of a swing and
be comfortable with that, they don't have much trouble getting oriented once
they're in line. so i teach the swing first, they are scattered around the
area. i explain about the pointy hands, then have them swing and end with
the pointy hands facing me. doing it again, face down the hall. do it
again, face the stage. they lady's always on the right, they get used to
following instructions - lots of info about orientation and position in a
small, coherent lump in a short time!
i see so many people swinging poorly these days, especially at places like
the thursday night dance and greenfield - the focus always seems to be how
many twirls/dips you can fit in, and there is no comprehension of the
musical phrase. i also hear a lot of guys complaining about chronic right
shoulder pain...
i'd be interested to hear anyone's thoughts on the current state of the
swing and what we, as people trying to set good examples in our communities,
might do about it. even if we teach new dancers good form, what can be done
about poor form from experienced dancers?
barb
http://www.barbkirchner.us
----Original Message Follows----
From: laleslierjg(a)comcast.net
Reply-To: Caller's discussion list <callers(a)sharedweight.net>
To: callers(a)sharedweight.net
Subject: [Callers] Teaching a Swing
Date: Wed, 15 Mar 2006 00:25:13 +0000
I heartily agree with Chris on the stepping or walking swing for beginners!
My husband, Bob Golder, who has been dancing for 30 years, and several other
very experienced dancers, only do a walking swing. They can keep up with the
fastest of buzz step swinging partners, and are very smooth. The stepping
swing is easy to teach, and is a natural movement for dancers. In addition,
it keeps them moving smoothly. I always tell them that when they are ready,
and feel it in the movement, they will naturally begin buzz step swinging.
And even if they don't, walking swings can be just as terrific!
And in general to everyone, it is very enjoyable to be on this email list!
The discussions and suggestions are thought provoking and very helpful.
Thanks to everyone!
warmly, Linda Leslie
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
Hi Tom,
I agree with all but two of these. Here's why I disagree:
2) Beginners have a delay in their reaction times to calls. They have to
process the call, translate it to what they know before they can tell
their bodies what to do. This is unlike an experienced dancer who has
muscle memory tied directly to the ears (or something like that). 8^)
When I have called to dances with a high percentage of beginners, the
dances with 8 count swings, by the time the dancers get into swing
position and start turning, they can't even get around once sometimes. 8
count swings also indicate a higher piece count in the dance and make it
more difficult. I have had better luck with 12 count swings when dealing
with beginners.
8) I am convinced that (with rare exceptions) when you teach someone
anything about the swing, they only can move up one notch along the
learning curve. They can only keep one instruction in mind when they are
practicing the swing. It took me a long time to learn how to buzz step
well and to incorporate it in such a way that didn't cause discomfort
for my partner. Since the swing is one of the first, hardest and most
common moves that they learn, it needs to be easy and quick to learn.
That's why I teach the walking swing. They have enough to learn about
posture, frame and dealing with eye contact. Why burden them with extra
information when they already know how to walk forward and it will work
just as well? By all means, let them know that the buzz step exists and
show them what it looks like. But also let them know that they don't
have to do it for a swing to be fun. I can show someone how to do a
walking swing in less than 30 seconds and have them dancing and their
mind will be clear enough to learn the other calls that they are being
taught. I have seen too many people befuddled by the buzz step and in a
daze while the first dance is being taught.
Hmmm... I guess that number 8 touched a nerve... 8^)
Happy Dancing,
Chris
http://www.chrisweiler.ws/
Tom Hinds wrote:
> It occurred to me that many of the behaviors on this list are due to
>insecurity (dancing with other beginners, waiting to be asked etc.)
That got
>me to thinking about what callers can do to make
sure the beginners have
a
>good experience. So, I've come up with my own
list for callers. These
items
>may contain items that some may not agree with.
But this may generate
some
>good discussion.
>
>10 things a caller can do to help beginners have a good experience:
>
>1) Prepare a logical program that starts easy and builds.
>
>2) Like a professional dance teacher, warm up muscles slowly. Use
dances
>with 8 count swings (max) early in the evening.
Keep the first couple
of
>dances shorter. New and not so new dancers are
entering the hall and
you want
>them up and dancing sooner rather than later,
>
>3) Be prepared well enough so that you don't have to use cards. Watch
the
>dancers. Watch the dancers.
>
>4) Encourage everyone to dance with everyone else. When a dance ends,
>suggest that those who just danced ask those sitting out for the next
dance.
>
>5) Demonstrate what smooth dancing looks like (especially if many
newbees
are
>skipping).
>
>6) Teach safe dancing - like proper allemandes. If you see dancers
dancing
>out of control take measures to make sure that
they don't hurt anyone.
>
>7) If you make a mistake, admit it. Often if something doesn't work,
the
new
>dancers think it's because of them.
>
>8) Teach the buzz step swing in the beginning workshop. Teach it well.
>
>9) If a dance has a tricky move, show the dancers how to perform the
move
>with finesse. If the dance has a challenge in the
timing department,
>communicate to the dancers how to be on time.
>
>10) If you call a challenging dance and the new dancers look a bit
confused,
>tell the crowd that that was a very difficult
dance and that they
handled it
>very well (this one from Ted Sannella). If the
dance was so challenging
that
>sets broke down, tell the dancers that you picked
a bad dance (in other
words
it's you,
not them).
Tom Hinds
------------------------------
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
End of Callers Digest, Vol 19, Issue 11
*************************************** 
16 Mar
16 Mar
2:18 a.m.
I call the first contra dance of the evening. If I observe beginners having
problems with the swing, I ask the dancers to form a big circle. I explain
that the second dance will be a circle mixer. I get into the center of the
circle, welcome the dancers to the event, and say something brief about the
joys of community dancing. While doing this, I look around and locate a
female dancer who is clearly a beginner. As I tell the group that we're
going to learn how to fully enjoy the swing, I walk over to this woman, and
then I ask her if she will help me demonstrate the swing.
Nine times out of ten, as we walk together back to the center of the circle
and I introduce myself and ask her name, she will say, "I'm Carol, I've
never danced before, I don't know what I'm doing," etc. I reassure Carol
that things will turn out great. I take a two-hand stance with this newcomer
and tell the group, "This is Carol. I've never seen Carol before, I've never
danced with her before, but I KNOW that Carol has a GREAT swing." (Now
everybody's watching Carol.) "And I know this, because I know that Carol can
WALK."
I start walking, and Carol automatically does the same, and presto! we're
doing a two-hand walking swing. And I point out to the group that Carol and
I are not leaning in toward each other, nor are we pulling away from each
other. We're just THERE for each other, each supporting our own weight, but
in satisfying contact as we circle each other in the walking swing.
As we continue the walking swing, I say "Now if Carol puts her left hand on
my right shoulder..." (and because I have eye contact with her, Carol will
automatically do this) "...and if I reach my right hand around to her
back..." (which of course I do) "...now we're enjoying a beautiful
swing!"
And we are! It's a great swing, and people aren't watching me the caller,
they're watching Carol the beginner, and they say to themselves, "I can do
this too!"
I then show how the swing ends with the lady on the right, and I encourage
the men to leave their right arm supportively at the woman's back for just a
moment as the swing ends, so there's no chance of her flying backward at the
end of a vigorous swing. The women appreciate that I'm addressing their
comfort and safety, and the alert guys note that I've just given them a tip
on how to make the women happier.
I thank Carol and return her to her partner. I ask everyone to take two
hands with his or her partner and try the two-hand walking swing. "When
you're ready," I say, "the woman puts her left hand on the man's right
shoulder, the gent puts his hand..." and they're immediately doing it, and
it looks good! The teaching didn't take long at all, and now we're ready to
learn the mixer and enjoy swinging with lots of dancers.
I learned the central, essential parts of teaching the swing from watching
Linda Leslie. And when Linda teaches the swing, she'll sometimes pick me out
to help, and then we can demonstrate the difference between the buzz step
and the walking swing. And that's fabulous. But I do find that for me as a
caller (and maybe it's a gender-based thing, being a guy), it is great to
ask a newcomer woman to help me demonstrate a smooth, walking swing. I work
to make HER look good. There's no temptation to make myself look good. I'm
SUPPOSED to be "good" at this, I'm the caller. But if SHE looks good then
every other beginner gets the message that contra dance is inclusive, even
beginners can "belong," can be a part of it, and have success and experience
joy in dancing right away!
And if I can accomplish all of that, then I've done a lot in three minutes,
and the buzz step can come later, when these happy new dancers return for
another evening of contra dancing. ... Bob
----------------------------------------------------
Robert Jon Golder
164 Maxfield Street robertgolder(a)comcast.net
New Bedford, MA 02740 (508) 999-2486 voice
6856
days inactive
6857
days old
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2 comments
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barb kirchner -
laleslierjg＠comcast.net -
Robert Golder