strathspey@strathspey.org:44671

Anselm Lingnau

Re: Rules for teachers

March 13, 2006, 1:37 p.m. (Message 44671, in reply to message 44607)

Pia wrote:

> I know - but where do you learn to understand a book and the way it is
> written?   We have a specific way of annotating dances in RSCDS - ok - not
> always brilliant - but it is there.   We have a lot of people who write
> dances - sometimes using wording which is  understandable to them, I would
> say in many cases because of what they have heard but not always seen
> written down, but not necessarily so the wording travels well.

The thing to remember is that dance descriptions, as printed in dance books, 
are designed to be precise (one hopes, anyway) rather than exciting. The 
problems faced by the authors of dance descriptions are similar to those that 
computer programmers or legislators have to contend with; all these domains 
require prose that conveys the exact meaning of highly misunderstandable 
concepts, and their output usually results in descriptions that are accurate 
but not exactly light bedtime reading to compare with the latest of Dan Brown 
or J. K. Rowling.

Like the interpretation of laws, the interpretation of dance descriptions 
requires training and experience. This is what a teacher is supposed to 
provide -- to take a precisely written dance description and translate it 
into whatever concepts their class is most happy with, such as demonstration 
or explanation in easier terms (or both). For example, if the dance 
description says »bars 25-32: 2nd and 1st couples dance rights and lefts«, as 
a teacher I will usually say »top two couples, rights and lefts« (if that is 
the case), since in my experience people find it easier to relate to the set 
as it is at that particular instance, rather than puzzle out which couple has 
moved where in an ongoing shell game. I don't usually mention bar numbers, 
and if I do, I use »relative« ones counting from the start of the 8-bar 
phrase, such as »2s move up on 3 and 4« while 1st couple are leading down the 
middle and up. Move-ups and such I try to relate to other movements taking 
place, such as »1s cross right and cast while the 2s move up; 1s cross left 
and cast to their left« rather than the more unwieldy »1st couple cross 
giving right hands and cast off, then cross left hands and 1st man dances 
round 3rd man by the left shoulder while 1st lady does likewise round 2nd 
lady (2nd couple move up on bars 3-4)«, which is the way the same movement 
might occur in a full dance description. (Incidentally, many of these ideas, 
which are by no means original, are mentioned in my »Guide to Briefings«, 
available from the Strathspey Server.)

I agree that often it takes several approaches to teach the same subject 
matter because people learn stuff in different ways. I also agree that recaps 
should be provided at most if not all social functions. However, recaps 
should be recaps and not full teaching sessions -- their function is to 
remind people how the dance goes. To all those people who complain that they 
have no time for swotting for the next social: Learning SCD is about 
»learning dancing, not dances«. I've found that being able to do the basic 
figures right and to string them together takes one a long way towards 
dancing many dances from recaps and watching the first couple do their thing 
(or picking up hints from the rest of the set if one happens to be the first 
couple). These are all abilities that do not come easy to many people, but 
which can be practised. The problems start when people approach each dance as 
a new microcosm of choreography that must be learned on its own (preferably 
by heart). This task, at 18 dances per evening, quickly becomes daunting, and 
it is therefore understandable that dancers clamour for more detailed 
explanations at the actual events. Perhaps this phenomenon is to do with the 
practice of running a class by teaching dances from the next social programme 
through reading the full descriptions from the book, rather than by teaching 
*dancing* through a well-chosen selection of dances that builds up systematic 
knowledge of formations and transitions? (Note that I didn't mention footwork 
at all.)

Anselm
-- 
Anselm Lingnau, Frankfurt, Germany ..................... xxxxxx@xxxxxxxxxx.xxx
Intellectuals solve problems; geniuses prevent them.        -- Albert Einstein