Toddlers all learn to babble before they can learn to talk with proper diction. Though we all _first_ learn to talk this way, note that this is _not_ the way to teach language to adults; their brains are wired differently. Ballroom dancing is like a language. I think it important to teach partner dance skills as a language, as you say, but the way you'd teach it to adults:
Adults are capable of assimilating this kind of organization, and using it to _speed_ the learning process beyond the kind of rote learning required for small children. If you consciously organize the instruction this way, _and make the organization known to the students_, you can make it very interesting and it will better prepare students for real dancing. They will learn that dancing _is_ a language, rather than a frozen set of steps and amalgamations. As it is, there are too many (studio-trained) partners who are terribly insecure as soon as you get off the schoolbook amalgamations.
Foxtrot comprises the following two most basic counts:
To prevent this, I would teach foxtrot thusly:
IF THEY CAN'T DO THIS THEY CAN'T DO FOXTROT!
IF THEY CAN'T DO THIS THEY CAN'T DO FOXTROT!
SQQ SQQ ... (box and other waltz patterns)
SSQQ SSQQ (magic rhythm)
mixtures of these
When I encounter a beginning student who confuses SSQQ basic with SQQ I often try to break up the step and 'practice' just forward walks (SSSSSSS) and side steps (QQQQQ left or right) in closed position. When these work I try various combinations of SSSSQQQQ just to practice the point. Then I stick to the school figure. In this case, for practice, I would talk and agree on the plan. Spontaneity can come later.
Other beginning school figures illustrate other techniques or positions: promenade position, offset, parallel partner, or moving backward.
The next level of the same concept is a student who follows the basic (closed position) patterns, but 'refuses' to follow offset position leads, trying to keep in closed position whatever distortions are required. Usually she hasn't been introduced to the offset position and feels it's 'wrong'.
One can execute any number of slows, backwards or forward, in offset position just to practice the feeling (learning situation) or just because that's what I felt like executing to the music (real-time dance situation). It's not required to stay with the school figures - though they do usually run the gamut of techniques.
When teaching foxtrot timing I call the Basic in American Style.
and Step, and Step, Quick, Quick. 1 2 3 4 5 6By calling the Slows "and step" it helps in getting the student to delay the weight change to the second beat. I have found that technique is the key to good timing. Remembering that the legs are there to hold up the body, so they should be under the body. Also try to push off the opposite leg in any step that has direction (fwd., back, side)
Go to the next section.
Go to the previous section.
This file is part of the lead/follow FAQ list. These are articles compiled from the newsgroup rec.arts.dance by Mark Balzer. Html-isation by Victor Eijkhout, victor at eijkhout dot net. See also the Rec Arts Dance FAQ list Copyright 1996/7/8/9 lies with the compiler, the maintainer and the contributors of various parts.
You may link to this page and make copies for private use in any form, but reproduction in any means, including book or CDROM, is not allowed without permission from the copyright holders.
It goes without saying that the maintainer and compiler of this FAQ take no responsibility for any inaccuracies in the information presented here or for any use or abuse of this information. They are neither a doctor nor a lawyer.