Hi Michael,
We are going to agree to disagree. My pre-dance lesson has been very
successful -- we've observed that many newcomers in those lessons
continue to stay into the second half of the evening or all the way to
the end. I've run my style of pre-dance lesson for more than 400
dances, and the observed results are quite clear. It works.
But one thing I consider important -- that the ultimate goal of a lesson
is for people /to learn/, not for us to teach. As teachers, we may favor
certain things -- like dancing to music -- but that might not be the
best way for the newcomers to learn to dance. Too many things happening
at the same time, with too many words of explanations.
So I break it down -- first the moves, lots and lots of muscle
repetitions. Then placement and holds, including allemandes, swings,
balance and swing, circle left, circle right, etc. Then the courtesy
turn -- again and again and again. Then counting -- a right-and-left
through with a courtesy turn takes 8 counts. Then, and only then after
they have done these moves 10-20 times, then we add the music. So in 20
minutes my lesson builds, piece by piece in small, logical,
understandable steps. For example, first the courtesy turn. Then the
pass through with a courtesy turn. Then the right-and-left through with
the courtesy turn. Then the ladies chain with the courtesy turn. All in
a firm count of 8. Sometimes I'll add 9 and 10 for slow movers and
everyone laughs. Then a half-hey, in a count of 8. Then the full hey in
the count of 16. Then and only then, the music -- when the dancers can
put this together in response to the calls, one move after another
without a break, all to the music. And so the dancers get the "feel" of
the music and moves subliminally. And it works because by then they are
ready to add the music to their knowledge base.
This way of learning is also the best way of learning languages -- just
copy and speak, copy and speak. We don't spend time on verb declinations
or extensive rules of grammar. That's how they do it in academia, of
course, but not in the Peace Corps or the Foreign Service. Or when we
are young children and we learn our language by copying and speaking.
Musical bars and musical phrases don't mean anything to newcomers who
don't play instruments; counting does.
Do you remember the old movie "The Karate Kid"? The newcomer kid wants
to learn Karate, but the sensei tells him instead to spend his time
waxing his cars. A lot. But eventually, in a scene where the sensei
suddenly throws punches at him, the kid uses those same arm motions to
automatically block the blows successfully. Much to his surprise. Of
course that was Hollywood, but the lesson is real. Learning doesn't have
to be direct. Sometimes indirect roads lead to a more successful outcome.
BTW, "no music, no dance". Have you ever seen an acapella clogging
routine? It's dancing without "music", but it's clearly in rhythms and
tempo; it's clearly dancing.
Woody
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On 9/11/2019 3:24 AM, Michael Barraclough wrote:
Hi All
I couldn't disagree more with the comments below.
For me, dance is movement laid upon music - no music, no dance. Having
the band is best, but if the band can't do it (why not?) then recorded
music can work fine. I start with a circle (no partner) and get
everyone moving. Dancers get to feel the music and to listen to the
caller. People aren't necessarily used to listening and to being told
what to do. Take this as an opportunity for new dancers to learn that
they need to do this at a contra dance. Try 8-bars, 4-bars, 2-bars
etc, mix them up, after a few circle left/right throw in a right/right
or left/left. As well as circling, you can do some in and out (again,
mix up everyone/men/ladies/tall/short) etc. After that, I pair people
up randomly by getting concentric gendered circles going in opposite
directions and you get a partner when the music stops. Now you can do
a few turns, do-si-dos and maybe swinging. After that promenade out of
the circle into lines. Then I teach the concept of progression (at
length, it's probably the most important thing for a successful contra
evening). Then, and only then, a few figures.
Michael Barraclough
On 11/09/2019 02:53, Woody Lane via Callers wrote:
Hi Jim,
I never use music during the pre-dance lesson until the very end of
the lesson. I don't think there is a need until the end.
My entire lesson is filled with moves -- either as a couple or as a
foursome. We repeat the moves; we repeat the moves, again and again.
For moves like courtesy turn, pass through, right-and-left through,
ladies chain, 1/2-hey, and full hey -- once they learn the actual
move, then I add the count -- either 8 or 16. Again, with no music,
just my voice.
Then, during the last 4 minutes or so of the lesson, I ask the band
to play a single tune -- whatever the band likes, reel or jig. I want
the tempo at regular dance speed -- 112-118 or so. The dancers are
still in their foursomes. Then I call those moves to the music --
hash call so no one knows what move is next. The dancers dance to the
music, do the moves at speed in the right tempo, finish the moves on
time, and learn to listen to the caller. I don't worry about lining
up for a contra and learning the progression -- I can teach that in
30-seconds during the first dance of the evening. Basically, I want
dancers to have fun and confidence in dancing.
I think this lesson does a good job of getting new dancers confident
and dancing to the music.
Best,
Woody
--
<><><><><><><><><><><><><><><><><><>
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
cell: 541-556-0054
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On 9/10/2019 12:41 PM, jim saxe via Callers wrote:
I'd like to hear from any of you who can share experience or advice about making use of music
during the introductory lesson (a/k/a "new dancers' orientation", "beginners'
workshop", etc.) that often precedes a regularly scheduled contradance.
What source of music do you use? (Recorded music played on a device that you control?
Live music played by a musician assisting with the lesson? Music that you yourself can
play on some instrument while leading the session? Your own singing of song lyrics,
nonsense syllables like "la la la", or dance calls? Music that may happen to be
coming from the evening's band doing their sound check at the other end of the hall? ..)
How--in as much detail as you care to supply--do you use that music in your teaching?
What do you think/hope your use of music contributes to the effectiveness or fun of the
lesson?
I tossed out a few ideas on this topic, with much uncertainty about which ones were any
good, in a message I sent on September 2 in the "Brain Dead - Need Suggestions"
thread. I'm re-raising the topic here under a more descriptive Subject line in hope of
getting responses from people who can offer comments based on actual experience.
Thanks.
--Jim
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