Re: [TANGO-L] How to teach rhythm? The Contrarian view - A question of Ethics

[Paul Akmajian & Karen Reck <paulnkaren @EARTHLINK.NET>]

This post is from Karen:

No Sean, we won't just let that matter drop & go on to "the general
question." ;-)

Barbara states that their student is also a good friend. That, combined with
awareness of the problem by both student & teachers, clearly removes the
"ethical" issue. Still Lucia chose to challenge Barbara's integrity,
gratuitously IMO, cultural differences not aside.

The notion of all instructors auditioning students in the real world of
teaching a SOCIAL dance is unlikely (to be kind); if implemented I'd suspect
it had more to do with the instructor's ego: screening for the best &
brightest as evidence of their own "excellence" -- something of a hedged
bet?

In discussions with AT teachers re students who "don't get it" more than one
related holding back from "releasing a hopeless case" only to have that
student thank them later, saying that tango was the one thing that helped
them through a very difficult time in their lives. Anyone may surprise our
expectations; reminding ourselves of this keeps us humble.

Sending a student to someone else presumes certain conditions. One would be
that there is someone else to send them to (which is probably not the case
in Puerto Vallarta).

In communities with a number of AT instructors, I am wondering what kind of
hold Sean is imagining an instructor has over their student that would
prevent them from seeking other instruction if their current instruction
isn't working for them? I doubt they've signed an expensive contract, and
most class series are 6-8 sessions or less.

I've co-coordinated a weekly class (on-going, all levels, drop-in) for the
past 4 years. The few occasions we've suggested someone go elsewhere/leave
include: when we very strongly feel there's a bad match in temperament; when
someone is consistently argumentative or otherwise disruptive to others;
when their comments/behavior indicate a preference for different style of
dancing or teaching. We've had "hopeless cases" come back to us after months
elsewhere or dropping out altogether. Some progress (amazingly) on their
return & others may still (in our opinion) be hopeless, but as long as they
have the will to get it, we won't turn them away.

Karen Reck
Albuquerque, NM
http://www.tangodowntown.net

P.S. Susana Miller's arms or hands-linked-line-across-the-floor rhythmic
walking exercises are very effective. And as others have said, listening to
the music as often as possible is invaluable.

> Lucia post is characteristically provocative, but I hardly think it
> qualifies as trolling. She clearly identifies her perspective as "The
> Contrarian view". She raises a valid point about ethics. If people will cool
> their flame jets long enough to think the idea through, it is possible some
> useful discussion will emerge.
>
> Christopher has adequately defended Barbara's ethical honor in this regard.
> So how about we let that matter drop, and address the general question at
> the root of Lucias comment: At what point should a teacher send a student
> who has not shown significant progress to someone else? I think that in
> general, it ought to be much sooner than one year.
>
> Sean
>
> P.S. My own provocative thoughts: Everyone can be taught; it's just easier
> to teach people with a lot of natural talent. IMHO, If the student is not
> learning, it is the fault of the teacher. A teacher who auditions students
> recognizes his own limitations, and is doing a favor to those he does not
> have the ability to teach.

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