The Tango-L mailing list archive
Digest from 22 Nov 1999
to 23 Nov 1999
Reply-To: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
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Subject: TANGO-L Digest - 22 Nov 1999 to 23 Nov 1999 (#1999-71)
There are 14 messages totalling 714 lines in this issue.
Topics of the day:
1. a beginner's doubt: public lessons (2)
2. London Tango Festival: Nov 8-13
3. new year party in nijmegen? info needed...
4. New Years Eve Gala kick-off for the millinnium(Palo Alto Ca.
5. public lessons (2)
6. beginners (2)
7. premature ganchos
8. Beginners (2)
9. A beginners doubt: Public Lesson
10. Beginer's doubt
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Date: Mon, 22 Nov 1999 11:10:29 +0100
From: Emanuela Grecu <grecu @NOVARA.ALPCOM.IT>
Subject: a beginner's doubt: public lessons
First of all I want to thank all the list for responding to my previous
(and first) message to the list (the subject was: my first class:
follower's role).
I must admit that things have changed (I have had 6 lessons from than) and
now I find following is so "noble" as leading, expecially thanks to the
person who told me about her way of feeling the follower's role:
>What I explain to our
>new students is that it is similar to skiing, kyaking, or sailing in that
>you are responding to a force outside yourself, trying to keep your
>balance, enjoying the challenge or going for a "ride". When I ski I do
>not try to change the mountain, some days there is more snow, wind, >etc.
>then others, same is true for the river (low water, high water, the current
>and compositon of the river) or when sailing how the wind is, etc. With
>sports depending on weather or nature, it is different every time as the
>conditions change.
For me, now, following shows to me and the leader the ability we both have:
to give a clear signal (the leader) and to understand it in the right way
(the follower), so that now I find very challenging waiting for signals,
quite a mind experience.
My trouble, now, is: how about people who whatch lessons, without taking
part ?
During the tango lessons, sometimes me and my partner stop and watch the
other couple, in order to understand better some critical passage (the
couple is formed by the woman, a beginner, and the man who is the teacher).
I think I don't have to feel guilty, I just try to have instructions from
them, not to judge them.
Actually, 2 lessons ago, 3 persons came and sat down and watched the lesson
for about half and hour.
At the end, they go telling the teacher we were quite good, just a bit rigid.
I didn't like it, because noone told me they would have come, who they
were, what did thay do there. (I know they are friend of the teacher, and I
suppose they do not dance tango at all).
In that lesson, we learned a gancho: I don't know the exact name, but in
this figure me and the leader both do ganchos, and when he was doing a
gancho on my right leg I had to lift up my left leg, and the same for him,
so that we have some problems in stability and I must admit I didn't like
very much they watching me in that situation.
Do you think is it right to have public lessons ?
In this case, do you think the teacher must inform the class about it ?
I saw in some messages to the list that in some workshops public is not
allowed to enter.
Thank to all
Bye
Emanuela
Date: Fri, 19 Nov 1999 11:02:52 -0500
From: Nitin Kibe <nkibe @WORLDBANK.ORG>
Subject: London Tango Festival: Nov 8-13
I had the good fortune to combine "business" (a little) with pleasure (much
more) and attend the LTF, Nov 8-13. Some comments on my experience with the
festival and the other opportunities I had to dance in London:
1. Location: Day 1 was somewhat rocky. Because of a glitch with the UK Home
Office on work permit issues, the instructors could not legally teach. That was
sorted out by the end of the day (tuition refunds were promised so people were
presumably made whole; and the venues were opened for free dancing during the
day) and Days 2 on were normal. The logistics also took a little time to sort
out. Basically there were four venues: two in Porchester Hall, a newish (100
years? this being the UK) local government run facility which combined a public
library, a ballroom and other rooms, red carpeted grand staircases and all. The
main location was a grand salon, about 6,000 sq ft rectangular dance area with
about 300 tiered seats around it and a stage at one end; the second a 1,000 sq
ft room, the third, Carpenter Hall, attached to a nearby church (about 1,000 sq
ft but with pillars which made navigation interesting) and the fourth in Las
Estrellas, the restaurant owned by the organiser. All were in Bayswater, and
within five minutes walk of each other, but London being London, Carpenter Hall
was tucked away in a courtyard, entry through a discreet "medieval" arched
doorway/gate, and Las Estrellas in a mews. Guides were then provided to take
attendees from the one to the other. Bayswater is a pleasant part of central
London, along one side of Hyde Park, well connected with two tube stations and
extensively equipped with restaurants and the like. The weather was coolish
(50F, 12C max), breezy, dry, and either sunny or partly overcast.
2. Instructors: For the most part, I tried to take classes with those whom I
had never experienced before (Naveira/Giselle, Fernanda Ghi/Guillermo,
Sandor/Daniela, Mora Godoy/Leandro, Gabriel/Natalia: I hope I have the names
right). They were uniformly excellent: judicious in their choice of material
(for the intermediate level classes I attended), focused, clear, energetic,
generous, bilingual. I felt I learned a lot (not much visible difference
perhaps, but the art is long, etc etc). The classes I attended were not
overcrowded: some had as few as four students, the largest had twelve. Fewer
students does mean more individual attention, but I feel that group classes need
a certain minimum number to maintain a reasonably high energy level (too many
and the class loses momentum due to internal friction as the class organises
itself, gets into position, etc etc). Attitudes to videotaping varied: some
instructors banned it completely (students got around that by taping each other
demonstrating the figures after the class as a memory aide), others did not mind
if the entire class was taped, cinema verite style, and some allowed taping of
their demonstrations and instructions to the students but not of the entire
class itself (too intrusive and disruptive).
3. Performances: Every evening, there were dance performances by the
instructors, songs by a singer, followed by two hours of general dancing to
music from a live orquesta from Bs As, El Arranque. The live music seemed to be
largely tangos but the recorded music during the orquesta's breaks had some
valses and the occasional milonga. At between 25 and 30 pounds per night, it was
not inexpensive but again, not unreasonable, I suppose, as such things go. I
attended the full program on Day 1, the Monday, and then just the general dance,
apres performance, on the Friday, which had been opened to the local tango
community for 5 pounds.
4. Local Milongas: According to the Las Tangueras Tango Information Sheet I
picked up (info line: 44 171 813 6240; email: lizat @msn.com), there were 35
regular events during the week in the Greater London area: classes, practicas,
milongas. I managed to attend Christine Denniston's practica in Holborn,
Biljana's milonga (they call it "salon" locally) at The Boston Arms in Tufnell
Park, Miguel's El Caminito in Bayswater itself, the Friday milonga at the Welsh
Centre on Gray's Inn Road and then Paul and Michiko's El Once event at the
Grafton Hotel. Uniformly enjoyable. All conveniently located, within walking
distance (sometimes within sight) of tube stations; in pubs, bars, large halls
or associations (i.e. not in "anti-" or "a-septic" dance studio environments),
full of local colour and atmospherics. Well attended, diverse demographics,
reasonably gender balanced, with regulars quite hospitable and welcoming towards
newcomers and to visitors like myself. It was fun to renew connections from
earlier visits to London and make new ones. In the it's a small world category,
I also ran into other visitors from Germany whom I had last met at the CITA in
Buenos Aires in March.
All in all, a most enjoyable break and I consider myself lucky/fortunate that I
could do it. Back to the grind in Washington DC now.
Regards to all.
Nitin Kibe
Date: Mon, 22 Nov 1999 13:12:26 +0100
From: Mohan Pakkurti <mohan.pakkurti @KI.ERICSSON.SE>
Subject: new year party in nijmegen? info needed...
hej!
Can someone point me to information about the new year party
in Nijmegen(sp?) in Netherlands. I am interested to go, but don't
know who to contact for details. thanks for any information.
Cheers.
Mohan P.
Stockholm, Sweden.
Date: Mon, 22 Nov 1999 11:06:11 EST
From: Donna Sotiropoulos <VERGAD @AOL.COM>
Subject: New Years Eve Gala kick-off for the millinnium(Palo Alto Ca.
Hi everyone,
Freddy @ Cafe Fino who was so supportive and our last event has agreed to let
us kick this event off at his retaurant tonight.
Things will start happening at 7:30 tonight at Cafe Fino. We will dance to
some good music and start the millinium celebration.
There will be a television crew there to interview and capture some dancers
in action. The address is 544 Emerson in PaloAlto Ca.
He has agreed to give everyone that attends the New Years Gala event a gift
certificate at one of his exclusive restaurants.
All the sponsorship money will go to the Mayview Community clinic that has
many needs for the money.
They do H.I.V. and Std as well. Work with hispanic women and their children.
Help raise the quality of thier life by dancing New Years Eve for a cause.
Hope to see you there
Donna
Date: Mon, 22 Nov 1999 11:37:59 -0700
From: Tom Stermitz <stermitz @CSN.NET>
Subject: Re: a beginner's doubt: public lessons
>Emanuela Grecu <grecu @NOVARA.ALPCOM.IT>
>First of all I want to thank all the list for responding to my previous
>(and first) message to the list (the subject was: my first class:
>follower's role).
>I must admit that things have changed (I have had 6 lessons from than) and
>now I find following is so "noble" as leading, expecially thanks to the
>person who told me about her way of feeling the follower's role:
...
>Actually, 2 lessons ago, 3 persons came and sat down and watched the lesson
>for about half and hour.
>At the end, they go telling the teacher we were quite good, just a bit rigid.
>I didn't like it, because noone told me they would have come, who they
>were, what did thay do there. (I know they are friend of the teacher, and I
>suppose they do not dance tango at all).
>In that lesson, we learned a gancho: I don't know the exact name, but in
>this figure me and the leader both do ganchos, and when he was doing a
>gancho on my right leg I had to lift up my left leg, and the same for him,
>so that we have some problems in stability and I must admit I didn't like
>very much they watching me in that situation.
I'm horrified.
What kind of a teacher is showing ganchos to people in their 5th or 6th class?
This sounds like a class in stage choreography, not social tango. If
you pursue this methodology I don't think you will ever learn how to
follow, because you will only be able to dance the steps and patterns
you have memorized with that teacher's students.
I apologize for speaking harshly, but it is the same all over.
Somebody learns a few steps of tango and they start showing them to
the beginners; Somebody learns a lot of steps and then they think
they are a teacher.
Tango has an External and an Internal aspect. People see both, which
is why tango is so sexy. But, they usually only notice the external,
and mistakenly believe they can find the internal by duplicating the
external patterns.
True, you can choreograph the external, but that isn't dancing,
that's repeating a memorized pattern. The more interesting truth is
that you can have a spectacular dance with someone with very few
steps.
It would be nice for others to comment on how to choose a tango teacher.
I have two pieces of advice:
(1) Sample a beginner series from several different teachers.
(2) "Beware those who Tango but do not Dance!"
Tom Stermitz
2612 Clermont St
Denver, CO 80207
Chautauqua Publishing / Ragtime Interiors
"On-Line Arts & Crafts Movement Resource Directory."
(303) 388 - 2560
stermitz @ragtime.org
http://www.ragtime.org/ragtime/
http://www.tango.org/dance/
Date: Mon, 22 Nov 1999 15:35:33 EST
From: Jack Karako <JKarako @AOL.COM>
Subject: public lessons
> It would be nice for others to comment on how to choose a tango teacher.
>
> I have two pieces of advice:
> (1) Sample a beginner series from several different teachers.
> (2) "Beware those who Tango but do not Dance!"
> Tom Stermitz
GREAT advice,
For the first one you need to find out who is teaching in your community. Get a listing and sample it.
For the second one you have to go out to multiple milongas and see the prospective teachers and the way they dance.
Some very good dancers are not good teachers, the reverse is not true. Good teachers are good dancers.
Jak
www.BailaTango.com
Date: Mon, 22 Nov 1999 15:58:54 EST
From: Timothy Pogros <TimmyTango @AOL.COM>
Subject: beginners
All this talk about beginning tango classes. Reminds me of when I started
ballroom.
I do have one other suggestion on which teacher do you go to.
Do not look at the teacher, first look at the teachers students. If you see
someone who's dancing you like ask them who their teacher is. Good students
mean good teacher.
And as far as beginners doing advanced steps, HELP I'm pulling my hair out. I
have a beginning class followed by an intermediate class, followed by a
practica. Everyone want to do the qounchos first. No one practices the walks,
the lead and follow. I really think there is no getting away from it. Now I
start all classes no matter what level with something basic or beginning and
then go from there, but still no one practices the walks.
Does any one have a fun exercise for walking technique, something that will
keep everyone's interest. Most times when I start a walking exercise, people
will either sit down or go BS with someone.
I am
Tim Pogros (TimmyTango)
Date: Mon, 22 Nov 1999 16:07:03 EST
From: Charles Roques <Crrtango @AOL.COM>
Subject: Re: premature ganchos
>>>>Emanuela wrote, among other comments
In that lesson, we learned a gancho: I don't know the exact name, but in
this figure me and the leader both do ganchos, and when he was doing a
gancho on my right leg I had to lift up my left leg, and the same for him,
so that we have some problems in stability and I must admit I didn't like
very much they watching me in that situation.>>>>>>>
Emanuela,
I had originally posted this directly to you but since at least one of the
responses was along the same line I decided to make it public. I didn't want
to publicly criticize your teacher but perhaps it is something worth bringing
up after all.
I am surprised that the people observing you only said you were rigid.
Although I don't think non-students should offer opinions or for the sake of
the students comfort be allowed to observe. You have only had six lessons and
you are already learning ganchos? Your teacher is doing you a great
disservice by teaching you this. It takes a long time to learn how to walk
smoothly without bouncing and to learn to respond to the lead. This does not
happen in a few weeks unless you are the most amazing student on the planet
which I doubt. You should also be paying attention to things like learning to
do smooth ochos, both forward and backward and mastering molinetes, for
example. One of the dangers of learning tango is the seduction of learning
new steps. That seduction will always be there even when you become advanced
because there are literally hundreds of tango steps and there will always be
new ones to tempt you. This is where your own self discipline is very
important. Do you want to be a beautiful tango dancer or do you want to learn
lots of steps and figures? If you are not careful you will end up knowing
many steps badly. Ganchos are ornamental steps and should be for advanced
students, not beginners. Of course you can't do them well. I would be very
surprised if you did. Even here in NY, ganchos, if they are even taught at
all are taught after about eight or nine months (or should be). One of the
most serious faults of tango instruction is teaching students too many steps
too soon. But then again dance studios are businesses so they have to give
the students what they want or they won't remain in business so they show
them new steps and don't make them work too hard so they keep receiving their
money. The quality of your steps is only going to be as good as the quality
of your basic movements because most of the advanced figures are nothing more
than basic movements rearranged into something more complex.
I agree with your feelings about being observed by someone else especially if
they are not dancers but considering how long you have taken classes you
probably ARE rigid because you haven't had enough time to become smooth. That
doesn't happen overnight. It seems as if you don't have too many choices so
my best advice is to practice the basic movements over and over and always
keep in mind that you could always change or improve them. I have taken a
basic class along with my advance classes for over a year. I do it so I don't
lose track of the fundamentals. Even though I teach I am also a student and I
also sometimes feel frustration when I see some dancers doing steps I haven't
learned yet. But that doesn't usually last long because I have also learned
to distinguish between doing fancy steps and doing fancy steps well and that
is something I rarely see.
Another big problem is learning the difference between dancing classic tango
and doing stage performance. Unfortunately many people thinks that tango is
what the performers are going in "Forever Tango" or "Tango Argentino". No,
that's choreography. That's like calling rock and roll dancing what they did
in the Broadway show "Grease". I could teach you and your partner
choreography in a few weeks. But you won't be doing tango.
I don't mean to malign your teacher because you may not have any other choice
(but if you do I would change) but it is important to remain open minded and
very patient about learning. Concentrate on the basic movements until you can
do them flawlessly. You could do nothing more than a simple figure around the
floor but if you do it beautifully you will be dancing tango. And if you are
ever on a crowded dance floor, that may be all that you can do anyway. We
have plenty of guys here for example that can't wait to try out the newest
step they just learned (which means they usually can't do it very well) so
not only is it awkward for the woman that is being put through the ordeal but
the rest of us have to wait for them to finish because they are too busy
looking at their feet to notice that there other dancers on the floor. (Are
any of you guys reading this?) That's OK in a practice but not at a milonga.
But then again that is the fault of the instructors who don't teach people
proper dance etiquette.
Best of luck,
Charles Roques
Date: Mon, 22 Nov 1999 16:49:53 -0500
From: Jeff Allen <dancebook @EARTHLINK.NET>
Subject: Re: beginners
Hi Tim and Tango L Group,
Its been a while since I've posted. I agree with the tone of your post.
First: Many teachers like myself are so busy teaching, traveling, etc. that we
hardly ever get a chance to go out to Tango at a public milonga. Our students are
always the best advertising.
Second: Without the quality of walking in Tango there is no Tango! The
adornments which are so seductive to the viewer both in public and in classes are
only periphery or extremity movements to the Tango. Without good basics there is
no Tango! Just a dance of fragments and pieces, void of connection and
response. I have always felt that when a student learns something new or more
difficult, they should return to the most basic elements and improve on them.
There is always the danger that learning something that appears exciting to do,
but in reality too difficult for that level dancer to achieve effectively, can
have the effect of pulling down the quality of their overall dancing.
Third: I have created a stalking walk exercise that I mentioned in my text,
Quickstart to Tango. The whole class participates while learning to walk both
forward and backwards to a variety of tempi. At the center of the very large
oval is a chair with a red rose on the seat. The dancers are given the cadence
by the teacher and they move forward or backward according to the exercise
spelling out the word T A N G O aloud letter by letter in the specific cadence.
The group becomes responsible to each other moving in synchronization with
similar timing and stride being careful to maintain the size of the oval. The
result is a lot of fun while they stalk their imaginary partner (or lover) at the
center of the oval spelling out Tango. Some walks will curve and some will not.
Having done this as a solo they must be told not to diminish the quality of their
movement when with partner. They learn the importance of accepting a partner
through their former space.... an invitation to move or change direction. Once
this is done for a short while they partner each other without contact and move
as a group maintaining uniformity. The third stage is then to achieve the same
as a group but in contact with their partner. This is particularly useful as a
warm-up to a class and stresses the importance of walking without it becoming
mundane. The class actually teaches each other and the newcomers can get right
involved.
I hope this is of some help.
Kind Regards,
Jeff Allen
Timothy Pogros wrote:
> All this talk about beginning tango classes. Reminds me of when I started
> ballroom.
> I do have one other suggestion on which teacher do you go to.
>
> Do not look at the teacher, first look at the teachers students. If you see
> someone who's dancing you like ask them who their teacher is. Good students
> mean good teacher.
>
> And as far as beginners doing advanced steps, HELP I'm pulling my hair out. I
> have a beginning class followed by an intermediate class, followed by a
> practica. Everyone want to do the qounchos first. No one practices the walks,
> the lead and follow. I really think there is no getting away from it. Now I
> start all classes no matter what level with something basic or beginning and
> then go from there, but still no one practices the walks.
>
> Does any one have a fun exercise for walking technique, something that will
> keep everyone's interest. Most times when I start a walking exercise, people
> will either sit down or go BS with someone.
>
> I am
> Tim Pogros (TimmyTango)
--
*******************************************************************
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*******************************************************************
Date: Mon, 22 Nov 1999 17:31:11 +0000
From: Keith Elshaw <elshaw @INTERLOG.COM>
Subject: Beginners
Responding to Tim's question ...
We all know the absolute value of walking. But just saying it to
beginners, even over and over, isn't enough. They have to understand WHY
walking is the key.
So, I address the leaders by way of showing them how they can become
fluent in social dancing right away by using various walk patterns as
opposed to learning more "steps." These also carry the added benefit of
giving the leader some time to think of what they are going to do next
and being preparing to lead the next movements properly. This also
brings confidence - an essential for continuation and traction.
One way to think about impressing these keys on new students is to think
of how to effectively sell: the old Features vs. Benefits saw.
Features don't convince - benefits do. So if you want to really sell
your points, you must communicate the benefits of your propositions. If
they get the "why," they'll be motivated to learn the "how."
I'm not forgetting the student who is a follower. If the leader is
walking a lot, the follower will be, also.
Keith Elshaw
ToTANGO!
http://www.interlog.com/~elshaw
Date: Tue, 23 Nov 1999 09:40:10 +0800
From: Wendy Brown <wenbrown @OMEN.NET.AU>
Subject: Beginners
Hello Everyone
In reply to Emanuela Grecu's concerns, Charles Roques wrote:
"The quality of your steps is only going to be as good as the quality
of your basic movements because most of the advanced figures are nothing
more than basic movements rearranged into something more complex."
I most heartily agree. There are only so many places you can put your feet
- but it's the way you place them that is so important!
Wendy Brown
Perth
Western Australia
Date: Mon, 22 Nov 1999 13:30:10 -0800
From: Renaldo Leon <rleon49r @PACBELL.NET>
Subject: A beginners doubt: Public Lesson
I agree with Tom Stermitz' response to Emanuela.
Learning Argentine Tango from a teacher whom emphasizes the importance
of the "walk" and "feeling and hearing" the music is invaluable. I have
found personally that my own experience over the past 6 months has made
the entire AT "experience" most enjoyable because I happened to take my
first serious lesson in AT from Argentine instructors Diego and
Gabriella whom emphasized to me the importance of learning to master the
walk and feeling the passion and beauty of the music.
I, at the beginning only wanted to learn from Argentine teachers and did
so for the first 2 months until I found a few non-argentine instructors
whom emphasized the importance of the walk. After finally dancing this
walk at Milongas and "humbling" myself to be patient and follow the
advise of these excellent instructors whom danced with a "passion" and
feeling in their steps (walk) did I finally learn to have my own "style"
and "walk" that allows me to experience what I believe is the true
"essence" of what you are talking about.
Now after 6 months and dancing 5 nights a week, I accept and receive so
many wonderful "tips" and "compliments" from the many tangueras whom
appreciate my own personal passion for this great dance. To be able to
dance to the music instead of worrying about how many "ganchos" or
"sacadas" , etc. that I can perform is to me what this 3 minute love
affair is all about. I have found that by adding the little pieces at
a time (ochos, sacadas) at my own pace is just fine with me and I never
have a problem finding partners whom enjoy my style.
I notice a lot at the many milongas that I attend, that many of the
dancers seem to be "working" so hard during the dance to do "steps" and
that they seem to be missing the entire experience and beauty that they
could be having in the embrace with their partner. But then again what
do I know as a "novice" tanguero.
I personally choose to "stay" a beginner and enjoy the basics and music,
while adding a piece or two when I am ready and not any sooner. This
is the main reason why I love this wonderful dance and experience so
much. The freedom to express one's own style and passion at their own
pace and improvise as we go along is the utmost in freedom of
expression.
May this dance live on forever. Tango has found me.
Keep on Tangoing (AT that is.)
Renaldo
Date: Mon, 22 Nov 1999 18:40:02 -0600
From: Guy Barbe <gbarbe @GETUS.COM>
Subject: Beginer's doubt
Emanuela,
Very good advises have been given by Keith and Charles. I would only add
this: If you can, try and chose a partner who will spend the time with you to
walk and do basic figures almost endlessly. It is unfortunate to have leaders
intent only in doing their "fancy" figures before they are ready to lead them.
The teacher should split the class with one teaching the leaders their steps
and the other teaching the follower's steps, then get them together and
correct not only the execution but the lead, good posture and balance even if
it takes all of the two hours for the course. A simple figure done correctly
is most invaluable. In the beginning I was guilty of trying to learn as many
figures as I could, but soon realized if I wanted to dance I had better learn
how to execute simple basics to near perfection. I am happy to report that
now I get the ladies in search of a lead to relax with, after the grueling
work of a poor "fancy" execution.
Don't give up (I almost did) and good luck!
Guy
Date: Mon, 22 Nov 1999 22:47:19 -0800
From: JC Dill <tango @VO.CNCHOST.COM>
Subject: Re: public lessons
On 03:35 PM 11/22/99 EST, Jack Karako wrote:
>Some very good dancers are not good teachers, the reverse is not true.
Good teachers are good dancers.
I strongly disagree with this.
Many excellent teachers, especially teachers of beginners, are actually not
"good dancers". It is more important to be able to TEACH than to be able
to DANCE.
One of the finest riding instructors, Sally Swift, is very old and hasn't
been on a horse in years, and became famous only after she pretty much quit
riding and started devoting more of her time to teaching. What makes Sally
special is her ability to "communicate a technique" to her students, see:
http://www.centeredriding.org/sally.html
Sally uses a lot of non-traditional imagery. While her technique was quite
unusual in the beginning, more and more "traditional" instructors are using
her imagery (to good results) today. People flock to Sally and to her
Centered Riding trained instructors because they get good results following
her instructions, and can retain and duplicate her guidance later, not
because Sally herself is an excellent rider.
Many excellent dancers know how to hold their bodies and move their feet
but are actually really rotten at communicating HOW to do this to new
students. Learning from these excellent dancers can be a very frustrating
experience, although *if* you can learn what you learn will be (of course)
very valuable. A less experienced dancer who has a more limited repertoire
of moves but knows correct basics and can communicate them in a fashion
that results in correct learning by the novice dancer is almost always the
better choice, the better instructor for the *novice* dancer.
IMHO, the most important factor in being a good teacher is the ability to
teach the "non-moves" part about how to be a good dancer, and to make
learning those "non-moves" fun and exciting so that the students don't
clamor for "more moves". My experience has been that teachers with that
ability are few and far between.
Someone else recently asked for advice on how to get students interested in
the basics, especially in improving the walk. Here is one suggestion:
Demonstrate a move that uses both quick and slow steps for a special effect
(perhaps a molinete that goes slow slow slow slow quick quick quick quick
slow slow) and show how it can be adapted to the music (have a special
piece cued up that invites you to do the particular rhythm). Then
demonstrate walking that uses both quick and slow steps in the same rhythm
as the more advanced move, and explain that learning to lead (and follow)
this change in rhythm *in the walk* is essential to being able to do the
fancier move correctly, and so you will only be teaching this move to those
who participate in the first part of the class when you focus on the
walking technique. Then make the walking technique part fun (especially
for the follower, who can often really start to feel like a practice dummy
in this part of the lesson if she doesn't have some specific technique to
focus on) as you teach and practice it, and intersperse it with occasional
moves (like closing to the cross then walking out again) to help focus on
leading rather than "dancing the pattern". Then transition from the
walking practice to the fancier move, utilizing what was taught and
practiced in the walk. Do not let anyone join in once you quit the walking
part of the class and move into the more advanced move. Be firm and
consistent in this rule and your students will learn that to participate in
the later 1/2 of your class where the "new moves" are taught they MUST also
participate in the first 1/2 where the technique to dance those new moves
is learned while doing basics.
Note that you may initially have some drop off as some students refuse to
do the basics, but this should be offset by the other students who discover
that your classes teach the really important fundamentals and that their
dancing improves faster by learning the basics in your classes to then
learn how to *correctly* do the more advanced move that follows. You can't
make the people who are certain that they don't need "basic" instruction to
like to do basics in your class, but you can design your class so that the
rest of the AT students in your area find that they get quality basic and
advanced instruction in your class and they will then flock to your classes.
HTH
jc
End of TANGO-L Digest - 22 Nov 1999 to 23 Nov 1999 (#1999-71)
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