Gadget
11th-May-2005, 11:49 PM
There have been a few threads recently rating teachers and saying that the ability to teach and/or entertain is vital, but it got me thinking: Are there any specific things that are the mark of a good teacher?
There are a few things I have noticed, but these have only picked up on by experiencing someone else teaching (or more precisely: multiple someone's teaching) and comparing them to my regular teacher.
Here's my list:
Counting in a song/routine - I consider myself fortunate in the fact that the teacher at my local venue was a music teacher in the muggle world: The rhythm and counts through the lessons are even and in time. The 5-6-7-8 count in continues in the same tempo into the routine. When doing the routine "to music", it's always on the right count with the track. If a particular area of a move goes over more counts, its highlighted. Intermediate moves are counted out over X counts...
Calling the moves - The timing of moves being called as the routine is being performed is done on the (eg)return before the move so that folks have a chance to recall it before actually going into it. Movements are called to the count normally one word per count and used as a check to make sure you are in the position you should be. (only difference being catching hands - normally given with enough time to work out which it is rather than cursing because it's the wrong one)
Demo as danced as taught - Only when I started nit-picking and watching closely did I pick up any deviation in how a move was demonstrated from stage and how it was taught; even then, any difference would be in the demo, not the teacher {with the possible exception of adding in triples instead of doubles :wink:}. Even "style" points with leg sweeps, looking, wavy arms, ... are given as optional plugins.
Another point is that the Demo is always danced as it would be danced in freestyle; ie focused on partner and not watching the class all the time.
Keeping pace with the class - While moves are being demonstrated to follow and broken down, the teacher is always aware of where the class is in the move and may stop to go over the same fragment again if some folk are having difficulty keeping up (especially true of the first lead into the move... and in particular the correct hand to use/catch with :blush: )
In a similar manor, if the class seems to all get something relatively quickly, it's not laboured on or repeated too often.
Having the class keep pace - There are several dancers who rush ahead with moves because they (think they) know them. {:whistle:} Keeping them in check and getting them to match the pace of the teacher I think must be one of the hardest things. One of the ways I've noticed this done is by halting at a specific point to explain something before moving on. I also think that my teacher(s) may be the only one who actually teaches the "Lower and step back" as a part of the move/return - inserting a pause (of variable length) between "return" and "lower and step back". Lots of good things about this practice.
knowledge of the moves - OK, you need to know the moves before you teach them, but experience and practice (and sometimes class feedback) will show particular areas of a move that may be problematic. Not only identifying common areas, but having the knowledge to pin-point why and remedy the fault.
Approachable & findable - Making a point of dancing with the new folk and beginners, staying until the DJ packs up, knowing the names of regulars and generally being there to answer questions and give feedback to.
Seen to enjoy the dancing/music - Everyone dances to the music and enjoys dancing, but having the teacher smile and really look like they enjoy it from the stage makes a really good impact: the lighting up of the face as the DJ plays a favourite to demo to (or laughter as they get the DJ's humour :rolleyes: ). Boogieing as the dancers move round 23 ladies.
Not singling out anyone - If someone is not getting something, it's treated as if the whole class is not getting it; no isolation or embarrassment {"that would be the other left":blush:} Praise given to the class as a whole rather than to a specific individual who was noticed doing something well. If a particular point is noted then it's put forward as "some of you are having difficulty with..."
Brass neck - being able to stand on stage and criticise or offer advice on traditionally "taboo" subjects like personal hygiene or slease without getting embarrassed. (or at least letting the embarrassment show/affect their teaching)
Silencing/focusing the class - Once folk move round, it's common to have a brief "hi, how's you doing? good week?" type of conversation - with lots of bodies this can turn into a buzz of noise that the teacher can't be heard over. Various techniques have been used to quell this and continue teaching:
Start the count before everyone is partnered up. Describing a particular technical point or timing issue. 'Sushing'. Gesticulations. Asking nicely. Shouting. Talking softly. Threatening. Pleading. Saying "Oi- Gadget, shut it!" :whistle:...
Moving people round - I think it must be an art form judging how much time you get with the same partner (or how long the lady's have to sit it out). I think it's very easy to forget about them and have them wait for a long time; at least I have heard more grumblings about the length of time sitting out than being moved on rapidly.
I also like the fact that the teachers up here make sure that all the ladies have done one particular thing before moving onto the next 'phase': Much better than having a move walked through & taught, then people moved and then the move done to music where the ladies get thrown in without any practice.
I've also seen multiple ways of handling large numbers of extra people; when to use these different formats and get the class to understand them is another act of art rather than science IMHO.
Mix of Takling & Demoing - I've seen it both ways: too much time standing round listening and too much showing without explination.
The balance should be enough to show clearly and not have the dancers standing round too long waiting for something to be explained. I think that talking as demoing and having multiple short "interuptions" is much better than explaining everything in one go.
I also like it when the routine is 'broken' to allow for a mini excercise to demonstrate a point or get people to understand the move/movement/timing better.
The actual ability to teach and entertain, although used in conjunction with the above, I consider separate & more to do with communication.
There are a few things I have noticed, but these have only picked up on by experiencing someone else teaching (or more precisely: multiple someone's teaching) and comparing them to my regular teacher.
Here's my list:
Counting in a song/routine - I consider myself fortunate in the fact that the teacher at my local venue was a music teacher in the muggle world: The rhythm and counts through the lessons are even and in time. The 5-6-7-8 count in continues in the same tempo into the routine. When doing the routine "to music", it's always on the right count with the track. If a particular area of a move goes over more counts, its highlighted. Intermediate moves are counted out over X counts...
Calling the moves - The timing of moves being called as the routine is being performed is done on the (eg)return before the move so that folks have a chance to recall it before actually going into it. Movements are called to the count normally one word per count and used as a check to make sure you are in the position you should be. (only difference being catching hands - normally given with enough time to work out which it is rather than cursing because it's the wrong one)
Demo as danced as taught - Only when I started nit-picking and watching closely did I pick up any deviation in how a move was demonstrated from stage and how it was taught; even then, any difference would be in the demo, not the teacher {with the possible exception of adding in triples instead of doubles :wink:}. Even "style" points with leg sweeps, looking, wavy arms, ... are given as optional plugins.
Another point is that the Demo is always danced as it would be danced in freestyle; ie focused on partner and not watching the class all the time.
Keeping pace with the class - While moves are being demonstrated to follow and broken down, the teacher is always aware of where the class is in the move and may stop to go over the same fragment again if some folk are having difficulty keeping up (especially true of the first lead into the move... and in particular the correct hand to use/catch with :blush: )
In a similar manor, if the class seems to all get something relatively quickly, it's not laboured on or repeated too often.
Having the class keep pace - There are several dancers who rush ahead with moves because they (think they) know them. {:whistle:} Keeping them in check and getting them to match the pace of the teacher I think must be one of the hardest things. One of the ways I've noticed this done is by halting at a specific point to explain something before moving on. I also think that my teacher(s) may be the only one who actually teaches the "Lower and step back" as a part of the move/return - inserting a pause (of variable length) between "return" and "lower and step back". Lots of good things about this practice.
knowledge of the moves - OK, you need to know the moves before you teach them, but experience and practice (and sometimes class feedback) will show particular areas of a move that may be problematic. Not only identifying common areas, but having the knowledge to pin-point why and remedy the fault.
Approachable & findable - Making a point of dancing with the new folk and beginners, staying until the DJ packs up, knowing the names of regulars and generally being there to answer questions and give feedback to.
Seen to enjoy the dancing/music - Everyone dances to the music and enjoys dancing, but having the teacher smile and really look like they enjoy it from the stage makes a really good impact: the lighting up of the face as the DJ plays a favourite to demo to (or laughter as they get the DJ's humour :rolleyes: ). Boogieing as the dancers move round 23 ladies.
Not singling out anyone - If someone is not getting something, it's treated as if the whole class is not getting it; no isolation or embarrassment {"that would be the other left":blush:} Praise given to the class as a whole rather than to a specific individual who was noticed doing something well. If a particular point is noted then it's put forward as "some of you are having difficulty with..."
Brass neck - being able to stand on stage and criticise or offer advice on traditionally "taboo" subjects like personal hygiene or slease without getting embarrassed. (or at least letting the embarrassment show/affect their teaching)
Silencing/focusing the class - Once folk move round, it's common to have a brief "hi, how's you doing? good week?" type of conversation - with lots of bodies this can turn into a buzz of noise that the teacher can't be heard over. Various techniques have been used to quell this and continue teaching:
Start the count before everyone is partnered up. Describing a particular technical point or timing issue. 'Sushing'. Gesticulations. Asking nicely. Shouting. Talking softly. Threatening. Pleading. Saying "Oi- Gadget, shut it!" :whistle:...
Moving people round - I think it must be an art form judging how much time you get with the same partner (or how long the lady's have to sit it out). I think it's very easy to forget about them and have them wait for a long time; at least I have heard more grumblings about the length of time sitting out than being moved on rapidly.
I also like the fact that the teachers up here make sure that all the ladies have done one particular thing before moving onto the next 'phase': Much better than having a move walked through & taught, then people moved and then the move done to music where the ladies get thrown in without any practice.
I've also seen multiple ways of handling large numbers of extra people; when to use these different formats and get the class to understand them is another act of art rather than science IMHO.
Mix of Takling & Demoing - I've seen it both ways: too much time standing round listening and too much showing without explination.
The balance should be enough to show clearly and not have the dancers standing round too long waiting for something to be explained. I think that talking as demoing and having multiple short "interuptions" is much better than explaining everything in one go.
I also like it when the routine is 'broken' to allow for a mini excercise to demonstrate a point or get people to understand the move/movement/timing better.
The actual ability to teach and entertain, although used in conjunction with the above, I consider separate & more to do with communication.