Dance Jewels
Posted on January 3, 2009 by admin
As I contemplated what I should write to start the new SEZ academic year, it occurred to me that I had recently read some material that I found invaluable. It was abundantly clear to me that this information is applicable and useful to both students and teachers. Therefore, I am sharing some of these priceless jewels with you.
Most of what you are about to read has come from one of my primary instructors and mentors, Ms. Skippy Blair. Much of it has been borrowed from the article “Thoughts for Dance Teachers” published in 1991. Still other comments are my own, an eternal student.
“People, who cannot learn, have not been taught.”
“Decisions based on education and discovery equal ten times the value of decisions based on personal preference and/or what someone said.”
“Successful dance teachers recognize that when a class diminishes in size and attendance that something is wrong with the teaching.”
“A successful dance teacher understands the needs of their students and provides what they need as well as what they want.”
“A successful dance instructor judges his/her competency not by how well they dance but how well their students dance.”
“Successful dance teachers keep their finger on the pulse of their craft by staying up to date through continuing education.” To stand still is to move backwards. Nothing is the same as it was five years ago, dance is not an exception.
“Education develops understanding and the ability to communicate. Language is the fundamental form of communication. Keeping an ear open to new terminology and new trends keeps all of us on the cutting edge.” It is my dream and the goal of SEZ to have Hand Dance as much of the cultural development of our young people as Ballet, Tap, Jazz and Modern dance and learning a musical instrument.
“Being able to train students beyond your own capacity is the true test of a teacher of any art form.” Limiting your exposure as a teacher and consequently limiting your students growth simply limits the growth of Hand Dance in the long run and potentially increases the likelihood of us losing once again one of our cultural art forms. If we lose it again it just may not come back.
In closing, I would like very much to hear from you and to get your reaction to these thoughts, positive and negative. Please take a minute and post your comments below.
Comments (8)
hello,
Well I just wanted to share that I had great teachers that taught me this dance. I graduated through the teachings of Kermit Banks and Novella Campbell at the Tradewinds. Kermit is an awsome instructor and I appreciated the patience that they have with the students. I have continued to hand dance since completing the class 2 years ago. As Kermit would always tell us.” Hand dance is something that you will get better at through out the years, don’t stop dancing!” So you are right when you have the right folks to teach then the people will be there to follow and learn!!!!
When do you sign up? What doyou bring on the frist day. What do you wear.
We look forward to you joining us! Just come to the Eclipse at 2820 Bladensburg Road, NE Washington DC at 6:30 on September 14 to begin. We have created a Frequently Asked Questions page for your convenience.
Click here for a map to the Eclipse.
I called a “meeting” at work. we covered the windows of the conference room and commenced to go over “gideup shuffle” and “cupid shuffle”. My co-worker, Mary Howard- Tiara’s mom then brought in Brad and Tiara for a demo to possibly have on-going classes at my job. Ended up graduating with Brad’s Class 59. I’m so glad I had that meeting! I enjoy being a student and a teacher! Both are very humbling and rewarding. Big UP to Brad & Lisa my hand dance instructors and Sharon & Deonne my line dance instructors. Can’t wait to learn Odessey…
There is a fundamental aspect of teaching dance that would contribute to a more rewarding experiene for students, beginners, semi-pro’s professsional dancers, and Instructors: “Dance Etiquette” Appropriate dance movement is only a portion of the total experience. Favorable communication and appropriate social grace and behavior(s) demonstrated by all dancers contributes to a positive dance experience.
Hello, Brad
I was reading your article on your thoughts and your article on the history of hand dance. I am a recent learner of hand dance, and though I was born in ‘46, I never had a chance to thoroughly learn “old school” before moving on to free style. Three years ago I started taking classes in hand dance and have never stopped. Currently, I’ m taking hand dance, line dance, social ballroom, steppin’ and recently but only for four week, it was too much–west coast swing.
I constantly watch so called female “old school” / old school dancers who have become certified instructors, and yes they do, when dancing as an individual at clubs, etc. do marvelous foot work. In many of my classes women constantly are told to follow and for a while that’s great, but I believe that women want a more participatory role other than just responding to a male lead. When women are allowed to do their “old school” foot work it adds a different diminsion and adds a greater depth to our dance. Unfortunaltey, with this emphasis on intricate turns and making women spin, we are simply reponding with a chance every once in a while with being able to do a little sweep.
I propose this– that women have a chance through some kind of signal, such as being in front of her partner and giving his hand a squeeze that she wants time to do foot work. And/or that men allow at least once during a dance with a signal that she has time for foot work. Also, I propose that more intricate foot work, beyond just keeping the six count, be included in formal instruction for men and women beyond the warm up and that it be included in some of the actual routines. It will help keep alive the foot work of old that younger or “old folk” such as myself who are taking instruction are currently not learning; it will perserve some history of hand dance; give younger dancer something new to learn and for instructors to teach; it will add greater depth of expression to our dancing, etc. . What are your thoughts on this? Please forgive any typos.
Pam Johnson
Thank you for your comments and your praise of the footwork of some of our certified instructors. I too agree that their dance displays some wonderful footwork.
Your point is well taken. I believe that I teach more basic foot patterns than most. The reason for this is so that ladies will have the ability to express their creativity during times in the dance when their partner is not indicating a spin or turn.
There are times during a dance when a leader will purposely give a follower an “Invitation” – a travel lead that allows the follower the opportunity to execute whatever footwork she wishes. However, most leaders execute several basics between patterns and amalgamations — this is a perfect time for your footwork.
Insertion of footwork into a dance can and should be done in conjunction with following and not instead of following. The ability to do this involves several factors: 1) Practice will give ladies confidence in their ability to execute footwork patterns while remaining in step, 2) A good connection will help ladies to know when they have the opportunity to execute footwork and 3) Both partners being attentive to one another.
I usually teach a number of footwork patterns during the course of the intermediate class that ladies can insert when they have the opportunity. During this class session I will teach a minimum of six patterns incorporate them along with other techniques executed in the intermediate and advance classes. This should get you and the other ladies started.
Can I begin March 29th to attend the certification program?