What Makes A Good Teacher?

[SDsalsaguy]

Being an excellent dancer does not a good teacher make!

I've recently watched some excellent dancers (based both on ability and placement) who do not seem to be very good teachers, especially for newer and more beginning dancers! So what does make a teacher "good"?

[Phil Owl]

Great Thread SD!!!

Here's my 2-Hoots worth:

1) Friendliness, a student needs to feel comfortable with their teacher, otherwise, their ability and willingness to learn is severely impaired and discouraged. Snootiness and ego have NO place in this arena! :x

2) Knowledge of variety material

3) Able to communicate their material in a way that ANYBODY can understand and grasp it, dmakes sure the student grasps it before moving on.

4) Great patience and careful instruction

5) Works with the student to define their goals and devise a way of getting there, doesn't impose his/her vision on the student.

6) Makes the lessons fun, upbeat and enjoyable, not like undergoing a root canal! :shock:

[Liz076]

Those are definately some good points! :wink:
I've had several teachers throughout my life and I think one of the best teachers I had would always look for input from me on an individual basis. She would ask me questions and try to conform to my needs. I had lots of fun and in the process, improved considerably. :D

[DanceMentor]

Welcome to the forums, Liz076!

Those are also very good points, Liz. Not every student is looking for the same thing and I believe it is important for the teacher to try their best to figure out what the student desires most. Sometimes teachers have their own agendas such as teaching their favorite dances when they are not the student's favorite dances or teaching a competitive program to a student that especially enjoys Salsa dancing.

[SDsalsaguy]

Those are definately some good points! :wink:
I've had several teachers throughout my life and I think one of the best teachers I had would always look for input from me on an individual basis.

Hi Liz076!

Welcome to the forums and great point! It is vitally important that an instructor tailor their teaching to what the student is after. Its your dancing! If the instructor isn’t even concerned with what you want out of it, leave! Fast :!:

As DanceMentor points out… Not every student is looking for the same thing and I believe it is important for the teacher to try their best to figure out what the student desires most. Sometimes teachers have their own agendas such as teaching their favorite dances when they are not the student's favorite dances or teaching a competitive program to a student that especially enjoys Salsa dancing. …and, indeed, I have ended up on the losing end of this equation myself, back when I was starting out. In my own situation I was taught largely syllabus mambo, but “on1” in one studio, as salsa, and sold a package of multiple dances at another. Some of the rhetoric involved in this later scenario included “well, cha cha will help you with speed, rumba will help you with body control, and samba will help you with body rhythm.” While all of those might be true in the grand scheme of things, all I wanted help on (at the time) was salsa! (Don’t even get me started on how they justified why I should be learning foxtrot too!)

In a different vein, however, I don’t entirely agree with everything Phil suggested. I think, precisely because individual purpose and goals enter into it, that some of the items in question may be more or less applicable, depending on the situation. I want to go through the points one at a time but, as a general caveat, let me say that I think these items are, by and large, all quite important in a social dance instructor. Also, in so far as my original prompt did specify newer and beginning dancers, I think Phil is more right then not! I just add the following considerations on top of – not in place of – his valuable commentary:

1) Friendliness, a student needs to feel comfortable with their teacher, otherwise, their ability and willingness to learn is severely impaired and discouraged. Snootiness and ego have NO place in this arena! :x
Especially in a competitive coach, I think that comfort is the issue, not necessarily friendliness. While learning will, indeed, be impaired if you are not comfortable with a coach, I do not think that the same is necessarily the case regarding friendliness. I also find that this varies cross-culturally – what we, in America, find to be friendly, many from other countries find to be rather disingenuous since genuine friendliness (from their frame of reference) takes time to forge. Just an observation from my travels/experiences.

2) Knowledge of variety material Again, not necessarily true. A competitive Latin couple, for instance, probably have little if any interest or concern if their teacher a competitive coach knows any foxtrot whatsoever. Similarly, someone who really wants to learn WCS, or Argentine Tango, can be very well served by an instructor who is not very well versed outside of the dance in question. Again, as relates to newer students Phil makes a good point since exposure to more, rather then less, helps students find what they want and like. To me, however, the underlying issue here is misrepresentation. A good teacher knows their own limitations and doesn’t try to teach beyond their capabilities just because the student, who doesn’t know any better, is willing to pay them for such “instruction.”

3) Able to communicate their material in a way that ANYBODY can understand and grasp it, makes sure the student grasps it before moving on. And, again, it depends. This seems particularly apt for a social instructor or one working with beginners, and less so for a more competitive coach. Certainly the better teachers will be able to convey their information to a wider variety of people but, ultimately, what counts is whether that instructor can convey the information to you!

4) Great patience and careful instruction Nothing needs to be said, save that what counts as patience is situationally variable.

5) Works with the student to define their goals and devise a way of getting there, doesn't impose his/her vision on the student. HELL YES! And exactly the point both Liz and DanceMentor were picking up on!

6) Makes the lessons fun, upbeat and enjoyable, not like undergoing a root canal! :shock: Especially for the newer dancer this is, indeed, absolutely, 100%, incontrovertibly crucial. Later on though, I might modify it to say “rewarding.” When I’m gearing up for a competition and really getting my @$$ kicked by my instructor, it may not be all that much fun…but I’d leave them in a heartbeat if they compromised that to make it fun. I seek out such coaching to improve the quality of my dancing, hence that lesson better be rewarding, it better help my dancing, but I’m OK without it being fun. But, again, this is a different focus from that of the new student.

Anyway, have to run now…heading over to the evening session of the Southwest Regional Dance Championships

--Jonathan

[Anonymous]

Hi everybody!
Just my 2 cents: I actually like "undergoing root canal" because if it's well done it won't hurt anymore!
The worst thing for me is to hear "you shouldn't be concerned about it right now", and then next week to correct exactly the thing that "wasn't necessary" the week before! :x
Also, those who can't get basic figures right shouldn't be forced into something more complicated just yet (in group classes). Likewise, don't bore "quick" students to death - give an idea what to work on for a few minutes while you're busy.
And I had a teacher once who tried to explain clave to the beginners (literally beginners, first salsa lesson ever). 8) Imagine all the fun!

[SDsalsaguy]

Good point redhead! The same teacher and teaching are not suitable at all levels. A good teacher can, of course, adapt accordingly, but some may be good teachers for students at certain stages vs. others.

I do think, however, that there are times for an instructor to legitimately say that a student shouldn't be concerned with something yet. Obviously not if they're then going to get there next week ( :!: ), but when a student sees something and wants to do it -- because it looks cool, etc. -- but doesn't have the fundamentals in place yet.

Mind you, a good teacher will then show how the fundamentals all contribute to, or set the foundation for, what the student had seen.

[Anonymous]

I totally agree with you, Jonathan. It can be unsafe. :wink: What I meant - it's frustrating if you learn a new move, your teacher explains the footwork, you ask about were your head goes, or hands, or whatever - and hear "don't worry about it yet". Then for a week you do it the way that seems logical to you, and THEN you learn it was wrong! You could learn it the proper way in first place! It might be just me...

[Sean Boogie]

I think good teachers are the ones who dance with there students,I've seen a lot of over weight teachers that i think are in it for the money.A good teacher should know the history behind the type of dance. Also you have 2 types of Teachers, The teacher and the Master teacher.

[DanceMentor]

Welcome to the forums, SEANBOOGIE :)

Good Points: Some teachers get too comfortable with their current knowledge and don't train (and get overweight!). Also, it's good to identify whether you are learning from a new teacher or a true "master".

Thanks for you participation. We welcome your comments. If you want to put a link to your website in your signature that is included at the end of every most you make, go into your profile and add a signature.

[Sean Boogie]

Thank you Dance Mentor for the welcome.

[DanceMentor]

No problem, SEANBOOGIE

Looks like you got the link in the signature working. Cool!
If you get a chance, I hope you'll tell us a little bit about your dance background.

[SDsalsaguy]

I totally agree with you, Jonathan. It can be unsafe. :wink: What I meant - it's frustrating if you learn a new move, your teacher explains the footwork, you ask about were your head goes, or hands, or whatever - and hear "don't worry about it yet". Then for a week you do it the way that seems logical to you, and THEN you learn it was wrong! You could learn it the proper way in first place! It might be just me...

Ok, now I see where you were coming from…and definitely! If the whole point of practice is “muscle memory,” then knowingly letting a student go off and practice something incorrectly is the height of irresponsibility as an instructor. That would be like me letting my students (I work as a teaching assistant at UCSD) go home to study incorrect material for their final.

Any such occurrence demonstrates either (A) lack of responsibility from their teacher, or (B) a student teacher who doesn’t know better yet themselves. Either one of whom is a poor investment of your time and $.

[SDsalsaguy]

Hi SEANBOOGIE,

Let me add my welcome to DanceMentor’s. I had a friend who was competing in her first ever ballroom competition, doing pro-am, with an instructor who hadn’t been to an event or pursued his own training in over 10 years. It was ridiculous! Some of his choreography was practically archaic, he had no idea about how the ballroom itself was organized (i.e. on deck area, that there was water in the ballroom, etc.) and, worst of all, was his dance knowledge. Now don’t get me wrong – he had more training and ability then I do, but I could see tons of problems which, when the two of them took a coaching session the next morning, were exactly what the coach pointed out! That, to me, is ridiculous. When the coach finds more problems in the teachers dancing then the students, something is…well, for lack of a better term, &#$%@!

[MissAlyssa]

Well I may be biased because I am an instructor lol but hmm..
1) Overall warmth and genuine excitement in their personality
2) Knowledge of dances
3) Patience!!!
4) Constant question asking without coming across as too agressive.
5) Teaching at just the right speed. Not too fast so they don't get confused or forget what they learned and not too slow so that they get bored.
6) Make students feel proud of themselves because after all...dancing is not easy!

My two cents :)

[DanceMentor]

6) Make students feel proud of themselves because after all...dancing is not easy!
If you can do this one well, you'll go a long way. I'm also curious what skills a teacher must possess to keep students for longer than 6 months. I would say that calling your students is always important in building a long-term working relationship.

[MissAlyssa]

Honestly I think that keeping a student longer than 6 months depends on what student you have. If the student is very interested in dance than they may continue but some may just not get the "hang of it" or may decide that they'd rather play badminton or something haha. :D I just make my students feel as if they can come to me as a friend without getting to be too close of a friend (otherwise I'd feel guilty asking them to turn bronze/silver/gold etc) :!:

[msc]

Here's a twist on the question ... suppose you have a talented "mid-level" instructor, the instructor is friendly, good-natured, etc. Now suppose that, after 10-15 lessons or so, you come to the realization that the teacher has some fairly obvious weaknesses, and they try to "correct" you, although you're certain they are mistaken in their beliefs. What do you do?
I ended up stopping the lessons after 20 or so, I just couldn't continue, but I really couldn't level with her as to why I couldn't continue, so I made up some lame excuse. I thought maybe I was crazy (even if the competition videos I had leaned in my favor,) until I started taking group classes from a very accomplished instructor, and she uses essentially the same body actions and techniques I use, so that was a bit of a relief. Still, I'm not sure if I handled the situation properly with my former instructor.
I'd appreciate any thoughts on the matter.

[MissAlyssa]

Well first I would have to ask how you knew she had weaknesses and what they were. Then I would have to say that if an instructor has a student that is "mid-level" he/she should be able to dance and teach mid-level before they try to "wing it". And to answer your question about how you handled it..it's tough answering that. I don't think it was necessarily "right" for you to straight out lie to her face. She WILL find out if you decide to go on with classes, especially if you are doing group lessons at the same studio or if you decide to do comps. I think that you should have told her the truth, but not so bluntly. Let her know how you feel and don't burn bridges by bailing out!

[msc]

Well first I would have to ask how you knew she had weaknesses and what they were

See, this is the attitude that scared me. Your response seems to justify my actions, unfortunately.

[MissAlyssa]

Oh yea and as a sidenote, maybe she was teaching you what she was supposed to teach you. I am assuming (I know I know ass out of you and me right?) that you were thinking her weaknesses were in technique..? At most studios the instructors must wait until (I know you hate to hear this) you pay for a certain program to teach you more than the basics. It may have been a missunderstanding on your part and you may have lost a great instructor..but it's not too late to come to her and explain yourself. Don't think I'm coming down on you, I may have made the same choice. :D

[DanceMentor]

Welcome to the Dance Forums, msc!
(and thanks for your involvement)

I can understand a student who wants to seek out the very best instructor possible. Keep in mind however that "top instructors" have weaknesses too including:
1) Difficulty scheduling a lesson because they are booked.
2) Top competitors are not alway good teachers.
3) Their goals for you may be skewed by their own financial goals.

Also keep in mind that a lesser recognized teacher today may be a top competitor tomorrow. Also, there are some incredible teachers who teach better than they dance.

[MissAlyssa]

True true.

[msc]

I'm afraid not MissAlyssa, but I do appreciate your point. In fact, many warned me that this instructor was more known for Latin than Standard, that I should perhaps look elsewhere. She was actually incredible adept at connection and maintenance of the frame (usually a difficult issue, even for top competitors,) but as I said there were other issues of concern for me. Still, she was always very pleasant, thus my reservations. Worse yet, she has taught for some 15-20 years or so, so she is probably set in her ways. Thus I can't imagine any scenario under which I would consider further Standard lessons with this woman, however genial she might be. Anyway, the other teacher has a large case of Standard trophies, so I feel fairly justified in my previous concerns.

This brings up a point, though. I'm essentially paying for a service. If I decide the provider is not up to snuff, why can't I simply say so, and move on? This happens in the business world every day. Still, I suppose the problem is one always tries to be on friendly terms with an instructor, and one doesn't wish to hurt their feelings, and there's the rub. It must be said, I have made the mistake of staying with an instructor for that very reason, and I will not make that mistake again.

DanceMentor-
I'm only all too aware of point #3. If I sense that, I'm gone. Period.

[MissAlyssa]

This brings up a point, though. I'm essentially paying for a service. If I decide the provider is not up to snuff, why can't I simply say so, and move on?

Then why didn't you just do that.. :?:

[DanceMentor]

msc,
In the long-term it is essential to get a variety of instruction. In the short-term it is important to get consistent instruction from a single teacher. It sounds like you have had the benefit of both, agreed?

[SDsalsaguy]

Thanks for the additions/input MissAlyssa.

Just having returned from another research jaunt to Europe, where I got to watch and interview several more of the best dancers and coaches in the world, I have come to the following conclusion, as an addition to everything mentioned so far: a lack of ego!
:arrow: As long as an instructor still has too much ego investment in themselves, their dancing, or even their teaching, then the focus is misplaced – it should be on the students and their dancing.

[Vince A]

-Open - not afraid to discuss your dancing with you - no B/S
-Patient
-Has a personalty
-Know how to dance - makes me look at them if they are on the floor
-Corrects me on the spot - doesn't "come back to it later"
-Tells me when I'm doing something wrong - I pay for it!
-Tells me when I'm doing it right - a pat on the back never hurts - I pay for that too!
-Can come down to my level
-Doesn't foget that they were here once

I also teach (WCS), so this thread is well read by me!

[MissAlyssa]

[/b]Tells me when I'm doing something wrong - I pay for it!
-Tells me when I'm doing it right - a pat on the back never hurts - I pay for that too!

those made me laugh. very good points!

[pygmalion]

Here's a twist on the question ... suppose you have a talented "mid-level" instructor, the instructor is friendly, good-natured, etc. Now suppose that, after 10-15 lessons or so, you come to the realization that the teacher has some fairly obvious weaknesses, and they try to "correct" you, although you're certain they are mistaken in their beliefs. What do you do?
I ended up stopping the lessons after 20 or so, I just couldn't continue, I'd appreciate any thoughts on the matter.

msc,

The same thing happened to me. I had several teachers at the time. One was a young gentleman with about 5 years teaching experience and no competitive training. The other, my current coach, has 15 years teaching experience and significant competitive experience, plus fairly impressive dance credentials.

When the "junior" instructor started correcting me for doing things my more experienced coach was teaching me, I had to do a serious reality check. What did really want, as a student? And, based on their resumes and my gut instincts, who could I trust? For obvious reasons, I discontinued lessons with the "junior" instructor. He was actually very good, given his level of experience, and there was plenty he could have taught me. But he was relatively immature, and I felt that, at that point in my dance "career", his input was detrimental to me.

[pygmalion]

Oh, and here's my input on what makes a good teacher. Among many other things, a good teacher needs to have a balance between healthy financial self-interest, and respect for students.

I have a very good teacher, who attracts and retains students because he's good, not because he pressures students to buy anything. He has a no-pressure policy, and still his students come back.

I contrast this to previous teachers I had, who weren't nearly as good, and who sometimes resorted to high-pressure sales techniques. I understand the need to make a living, and think dance teachers deserve a good living as much as (or more than) anyone else. But the feelings of the students must also be considered. In my view, if the teacher is good, high pressure is unnecessary.

Hmm. Teachers and others out there, what do you think?

[dancergal]

I began learning WCS in a group class with two dance pros. They are wonderful people and great instuctors for beginning and intermediate WCS (they also teach country, chacha, hustle, waltz). I still go to their WCS classes regularly. We began take a few privates with one of them to help with our dance. Just recently we have been taking a few privates from another Pro from another city, just to have a different point of view, not because we aren't happy with our first Pro. Some instructors just have a different way of teaching. Our second Pro pointed out things that we were doing wrong, that our first Pro never mentioned. Don't know why he never mentioned these things or maybe it's just his way of teaching. I'm just glad they are available to help us in our dance.

[Holiday]

What do you do when you notice that your teacher selectively favors the better students over the other students?

A friend of mine invited me to a ballroom class she attends that is sponsored by her apartment complex. The teacher really teaches some nifty stuff but we both noticed that she heavily favors the students she knows that are good over those who are more or less struggling.

My friend is one of the better students but it frustrates her to see when the teacher wants the class to try a move, she selects the first group of students by name (meaning those she preceives as the better students.) and have them do it as the rest of the class watches on. And then she snowballs everybody in which means those who are better gets a half dozen cracks at it while those who are struggling get one or two at best. And that's not right.

My friend is a very fair person as she is a sensitive one and after one hour of watching, I can totally see where she's coming from.

I told her I really enjoyed what I learned in that class last night because the teacher was really swift in her pace. (She was teaching some sort of cha-cha twinkle silver level step to a basic class, woohoo!) And even if the class wasn't complimentary, it would have been a bargain compared to the pace and cost of those other basic dance classes I've tried in the past.

If my friend quits, I'll probably quit with her as well... But I want to know whether I should ask the teacher about changing the rotation at the risk that she might give me the evil eye being the newcomer and alienate me as a student or something?

[SDsalsaguy]

I think that it would be fine to go to the instructor and tell her how much you enjoy the class but that you just want to bring a dynamic to her attention that you know has been upsetting some other participants. Hopefully she'll appreciate this for the constructive feedback it's meant to be.

[pygmalion]

If my friend quits, I'll probably quit with her as well... But I want to know whether I should ask the teacher about changing the rotation at the risk that she might give me the evil eye being the newcomer and alienate me as a student or something?

Please don't quit. Talk to the teacher first. She may not realize what she's doing, or other things may come into play here.

For example, she may be trying to be sensitive to the newcomers who are struggling, therefore not drawing attention to them. A totally different spin, but also possible. Or she may know the other students well, and use them as examples, because she knows that they will demonstrate the moves effectively.

There could be any number of explanations for her misbehavior, so before you quit, have a conversation with her. That will give her a chance to clean up her act, and may salvage these classes for you.

[pygmalion]

Some instructors just have a different way of teaching. Our second Pro pointed out things that we were doing wrong, that our first Pro never mentioned. Don't know why he never mentioned these things or maybe it's just his way of teaching. I'm just glad they are available to help us in our dance.

Yeah. I'm not sure why teachers withhold info when we're messing up, but I've had many tell me that I get distracted by unimportant things. I'm an extremely visual learner, so when I look at me and the teacher in the mirror, I see a million differences, and start asking about them all. But if, for example, the teacher is trying to focus on footwork, and I'm asking perfectly valid questions about leglines, I'm off on an irrelevant tangent, even though my thought was correct.

Maybe that's what's going on with you :?: Maybe you're thinking good stuff, and asking good questions, but it's not time to address them yet. :?: :?:

[dancer at heart]

I was fortunate to start my dancing exerience with a good instructor that I connect really well with. I'm at a point where I want to work on styling (other than spinning, this is my weakest area since I'm kind of shy) but I do not really like the styling that my instructor teaches. If I were to take styling classes with another, would that conflict with what I am learning with my main instructor? Do people get offended if their students try to work in stuff that they learned from others?

[Danish Guy]

Do people get offended if their students try to work in stuff that they learned from others?

Some do. :(
But in my eyes this is very unprofessional. But some times they get a little too worried where our money goes. It is business. :(

Some admire a nice little trick, and use it in their school later. :wink:

The best must be to try different teachers, and see what they are capable off. Then chose the materials you like, and what works for you, and use this material to make your own style. Don’t be an exact clone of your teacher. :shock: :D

[Danish Guy]

By the way, if you don’t try different teachers, how can you evaluate the one you got?

[MissAlyssa]

You don't have to "switch" teachers usually. I'm not sure where you take lessons but in some cases you can just request to have a few lessons with a different instructor (or a few). You find this frequently in franchises where in a lot of cases each student or couple is to have at 2 teachers. This gives the students the chance to learn a few different ways and gives the teachers more scheduling flexibility 8)

[pygmalion]

Check out this information on choosing a ballroom dance instructor (http://www.ndca.org/information/brochures/NDCAInstructBroch1200.pdf) -- from a downloadable brochure at ndca.org (thanks smoothdancingirl! :D )

You have to have adobe acrobat reader on your computer, to access the brochure in .pdf format. Great information for questions to ask a potential ballroom instructor. :D

Oh yes. I should have mentioned that NDCA is a US-based organization. So if you're in the UK, Asia, etc. some things may not apply. I'm pretty sure ISTD has a similar information page on selecting an instructor.

[Leon Pieket]

What makes a good coach?
Interesting question. I would say that he/she deffinately needs to be aware of all the techniques that excists, next to that he/she needs to be a good listener. A friendly person with loads of patience, the coach deffinately needs to do it for the fun of teaching somebody how to dance and deffinately not for the money. If they do it for the money the lesson will be lousy. The coach needs to have a creative fantasy and a huge imagination. A good coach should be interrested in their students 100 %.
In my opinion it's better to have 2 couples rather then to have 25 couples. The coach could spend more time with them and give them all that is needed, 100 % involvement is a must. The coach should be a person that can be thrusted and thrust the couple. A good coach knows what is happening in the life of dancing, knows all the opponents and their skillz. A good coach prepares you mentally and fisically for the contest.
A good coach gives you advice in cloathing, and all other in looks and presentation, he/she tells you all the inns and outs (to do and not to do's) in dancing. If he/she is really good your total life will be more worthy. ;)

[pygmalion]

Hello Leon Pieket. Welcome to the forums. :D I'll be back later this evening, and post some well-thought-out responses to your posts.

[ShyDancer]

"What makes a good teacher?" means different things to different people as I have seen through this entire thread :D

To me a good teacher ..

1. Knows what they are trying to teach you! :evil: :evil: I had one teacher teach me the wrong steps to a dance once, needless to say I never went back.

2. Patience ,like many of you said is one of the most important aspects. I get nervous when I see a teacher getting huffy because I cant follow something straight after Ive been shown. Give you student a bit of time to let it sink in!

3. They have to be encouraging.
I dont know how many times I have been utterly frustrated and complained that "Im never going to get it" and my teacher, always with a smile on his face says "Sure you will, it just takes time, remember when you couldnt do -------- ?"
He always tells me how well Im doing here or there.

4. Has a positive attitude.
Kind of ties in with patience. Instead of telling me that what Im doing is wrong, my teacher will say "Lets try that again" and he walks me through the steps. I know I have stuffed up but the way he puts it doesnt leave me feeling silly like many other teachers do.

5. Give you things to work on at home.
Not much point in them teaching you something if you are just going to go home and forget about it.
I always get "Homework", he never forgets and makes me show him to prove Ive been practicing it :lol: :lol:

6. Cares about you.
Not romantically of course, maybe not even as a friend, but definatly cares about what you want to learn and care about how well you are learning it.

[Warren J. Dew]

Just having returned from another research jaunt to Europe, where I got to watch and interview several more of the best dancers and coaches in the world, I have come to the following conclusion, as an addition to everything mentioned so far: a lack of ego!
Was that based on finding such people, or not finding them?

I have to admit, most of the time I've had (generally mutual) difficulty with coaches was when I expected them to justify what they were telling me with a "why", and they wanted me to just take their word for it 'cause they were the coach.

[SDsalsaguy]

Just having returned from another research jaunt to Europe, where I got to watch and interview several more of the best dancers and coaches in the world, I have come to the following conclusion, as an addition to everything mentioned so far: a lack of ego!
Was that based on finding such people, or not finding them?
I'd say both Warren...

The distinction, once I made this connection, really seemed to jump out at me. If a coach is focussing on their own reputation, for instance, than they are not fully focussed on their students' dancing. Such coaches try and train you to be like them as a dancer rather than try and help you to discover and become yourself as a dancer. Ultimately this can't be in a student's best interest since they are thus being trained to be a coppy (no matter how good) vs. an original.

I have to admit, most of the time I've had (generally mutual) difficulty with coaches was when I expected them to justify what they were telling me with a "why", and they wanted me to just take their word for it 'cause they were the coach.
Hmm, I'm not sure how you're using "coach" here Warren... as in a regular coach or as in a traveling/visiting coach? If a regular coach, than I have no idea what such a person could be thinking! Isn't the whole idea to help you understand not only "what" but also "how"?

Beyond this, however, I think there is an important distinction to be made. Asking specific, targeted questions to deepen one's own understanding is one thing, but challenging every comment the coach makes is something else entirely. And I've seen both. If you aren't going to trust that the coach knows what they're talking about, why are you even taking a lesson with them? Same for a visiting coach too...

Now I seriously doubt that you're the "challenge every word out of the coache's mouth" type, so your dificulties make sense to me... and, again, I think it goes back to those coaches who can focus entirely on you, the student, vs. the ones who still have an ego investment in their own stature.

[I hope this makes some sense but I'm rather fuzzy brained at the moment so not sure if I am being at all clear let alone articulate... :oops:]

[Svet T.]

Aside from the ones previously posted qualities, i like a coach who is not afraid to push their dancers to reach their maximum potentials. There are alot out there whoa are contended with being "ok". For people like me who likes challenges, it is nice to have someone who believes that we can be better or be the best.

IMO only btw. :)

[love2swing]

Welcome to the forums Svet T. I agree-- it is good to have someone who will push you.

[balletblueyes]

I would have to say that this is a GREAT question...because I have had some instrustors who have been wonderful and some that have been really bad!!
I'll start off with the bad ones and leave the best for last :D ...some of the worst dance teachers that I have had always seemed to me that they were either teaching just because it was their job and that is the only reason, like there was no excitment or passion in how they taught. Also, some have seemed like they choose favorite dancers and that is VERY disscouraging to all of the dancers who are not the "favorites"!
Now, for the great ones!! My greatest ballet teacher was from Russia and was wonderful!! She had such a passion and true love for ballet it was amazing!! She was strong and an amazing dancer! She was SO strict and pushed me and the other students to do our best and then some! She is a woman that I have admired for a very long time and even though I had to move and do not see her anymore I don't think I will ever forget her!!
That is how much of an impact a really good instructor can have on someone!

[Another Elizabeth]

I think the best teachers push you very hard, but also express confidence that you will be able to do what they are asking you to do. They appreciate and reward hard work, but don't let you "rest on your laurels," even when you've been working really hard.

Sometimes two pretty good teachers add up to one great teacher, too. Whenever Alan & Donna Shingler are in town, I try to get lessons with both of them, with Alan first. He's wonderful at explaining technique in a way that gives you something to think about for months after the lesson, and Donna is wonderful at being a "cheerleader" for your dancing, so you believe that it's worth all the hard work that Alan prescribed. Not that Alan isn't encouraging or that Donna doesn't give you technique to work on, but each one has a real strength, and the combination always lifts my dancing for a long time after I see them.

[Chris Stratton]

I think the best teachers push you very hard, but also express confidence that you will be able to do what they are asking you to do.

I honestly think that hardest work dancers have to do is to make sure that the habits we reinforce with practice are good ones, rather than ones that will soon become limiting. Certainly, excellence in dancing requires hard work - but dancing "smart" is as important as dancing "hard". When I dance a competition I may be working hard, but if I've been carefull in practice then I should be able to trust my basic dancing around the floor reflexes just as I trust my walking down the street reflexes.

With this concern in mind, since there are a variety of sometimes conflicting ideas out there, and many shades of variation within the major camps, I'm also one who wants a coach who can back up their method with as explanation of why it is prefereable to the others, or at the very least provide enough information to satisfy concerns I may have about potential problems or challenges involved in doing something a certain way. Sometimes though, the supporting information has to come from a teacher other than the one who first raised the idea. Also, I've found that even if I reject an idea, there's a lot to be learned from later thinking it through to figure out exactly why it wouldn't work... also, it's good to keep the alternatives in the back of the mind in case one of the basic assumptions later proves mistaken ;-)

[motardmom]

5) Teaching at just the right speed. Not too fast so they don't get confused or forget what they learned and not too slow so that they get bored.

Kind of along these same lines:

- Being able to walk the fine line between pushing/encouraging a student to learn and stepping back and letting the student absorb the new information.

I also think it is notable that there isn't going to be one teacher/technique for everyone. I think it is good when both the teacher and student can recognize when a teacher/student partnership isn't going to work and they can be adults and progress apart from that.

[chachachacat]

Aside from the ones previously posted qualities, i like a coach who is not afraid to push their dancers to reach their maximum potentials. There are alot out there whoa are contended with being "ok". For people like me who likes challenges, it is nice to have someone who believes that we can be better or be the best.

IMO only btw. :)

If I stopped my sight
at point that is as far my students could see,
we'd never start.
I always see them as better dancers,
and carve it out like clay,
pushing, shaping and forming
to create the best dancer I can
help to make.

[LaLoona]

For me it is a teacher that makes me understand why a move/step it is done this way and not another.

I had teachers that would show a move and say: this is the way it is, that's what we do. Learning based on imitation primarily. However, what you see and what you do is not always the same thing.

I met a new teacher and her lessons totally worth 7hr of driving. With her I am learning that dancing is very logical, structural and can be explained in terms of physics and anatomy. She brings both aspects in - Art and Science. This approach totally bought my scientifically trained mind. I never doubt her word since she always bases her explanation on physical laws and understanding of human body. I am learning to use muscles I did not know I had. And oh God I can see the improvements!
It is amazing to understand and feel how you prepare a move, get necessary muscles in proper alignments; how energy goes from one muscle to another during the move and where the energy goes afterwards...I had no clue for years!

[cl5814]

I have had success with an instructor as well. I was worried that we didn't cover enough material in every lesson so as to make it through 4 or 5 routines in given time. Her answer was just "when you understand how i think and do, you will learn faster cause you will think the way i think". We go into some stuff in excruciating details. Yet, i find it amazing too, there is explanations for all the "weird" stuff we do. I am already seeing benefits from it. I remember details a lot easier cause i understand why i am doing it or why it works that way. Like a DFer said, it isn't just "let me show you and then you do it" instruction.

[cl5814]

I met a new teacher and her lessons totally worth 7hr of driving.

Wow, quite a commitment to make.

[saludas]

I met a new teacher and her lessons totally worth 7hr of driving. With her I am learning that dancing is very logical, structural and can be explained in terms of physics and anatomy. She brings both aspects in - Art and Science. This approach totally bought my scientifically trained mind. I never doubt her word since she always bases her explanation on physical laws and understanding of human body. I am learning to use muscles I did not know I had. And oh God I can see the improvements!
It is amazing to understand and feel how you prepare a move, get necessary muscles in proper alignments; how energy goes from one muscle to another during the move and where the energy goes afterwards...I had no clue for years!

Good for you, and good to see that 'driving time' is not an issue with your search for quality. Chain studios prey on the neophyte's need for 'convenience'. Just like ebay and online dating have shown, the best is usually not 'at your doorstep', but can be hours (or days) away.

Our coaches have us commuting daily for hours; the advances and quality are SO worth it we never at all entertained the idea of searching for instruction based upon locale. Believe me, it's worth it...

[mamboqueen]

For me it is a teacher that makes me understand why a move/step it is done this way and not another.

I had teachers that would show a move and say: this is the way it is, that's what we do. Learning based on imitation primarily. However, what you see and what you do is not always the same thing.

I met a new teacher and her lessons totally worth 7hr of driving. With her I am learning that dancing is very logical, structural and can be explained in terms of physics and anatomy. She brings both aspects in - Art and Science. This approach totally bought my scientifically trained mind. I never doubt her word since she always bases her explanation on physical laws and understanding of human body. I am learning to use muscles I did not know I had. And oh God I can see the improvements!
It is amazing to understand and feel how you prepare a move, get necessary muscles in proper alignments; how energy goes from one muscle to another during the move and where the energy goes afterwards...I had no clue for years!


This sounds great. I am not really a science minded person (well, I should say I wasn't as I was growing up). I really want to understand the body mechanics and physics that create the movement. In the beginning, it didn't really sound like it made sense to me because of my preconceived notion that dance is just "art"....not to mention that these are concepts really not taught at beginning levels...at least where I was getting my training. I am hoping my teacher gets in a particular coach who is really good with body mechanics -- and I have taken a few lessons (for which I traveled 4 hours!) with someone who is adept with body movement and the muscles that control the movements. I really wish there were group classes that dealt with just this (and exercises to practice the movements).

What part of the country are you in?

[fascination]

I agree .... my pro is leaving our studio and it is going to be a major pain to travel to dance (2 hours each way, @ 4 days a week)...and I dance @8 hours a week not even counting practice and groups and all, but there is just no way I'm going to trade in quality for convenience....

[cl5814]

I agree .... my pro is leaving our studio and it is going to be a major pain to travel to dance (2 hours each way, @ 4 days a week)...and I dance @8 hours a week not even counting practice and groups and all, but there is just no way I'm going to trade in quality for convenience....

equally big commitment to make. Wow, impressive.

[LaLoona]

Commitment? I call it craziness :) Obsession, addiction. Sometimes I wish I was not that "committed", but can you help it? I can't...My mom is still waiting when I "get over the disease", but I think it is chronical - like a virus, you got it once you will carry it forever in your DNA...dance virus, ha. Way of transmitting: vision and hearing :)

[cl5814]

Commitment? I call it craziness :) Obsession, addiction. Sometimes I wish I was not that "committed", but can you help it? I can't...My mom is still waiting when I "get over the disease", but I think it is chronical - like a virus, you got it once you will carry it forever in your DNA...dance virus, ha. Way of transmitting: vision and hearing :)

ok, i rest my case. I thought it, you said it.

[LaLoona]

To cl5814: I thought it, you said it.

Yea, calling people crazy is not always appreciated (I've checked :)

[fascination]

patience....excellence...nice buns...

[chandra]

nice buns

That one is imperitive.

[angie]

I just realized exactly how lucky my children have been for the last 4 years!! We have been privy to one of the best teachers. She is passionate, she grows fond of her students--as in she wants them to excel in the areas that they want to and have the aptitude to do. She tells it like it is from the get go she still takes classes and makes sure the students know it!!! She does as good a job as I have ever seen in giving the quickstudy type things to work on and those who struggle get more hands on time. She also incorporates the quick study students to partner up with those that struggle cause once your body gets the move and you keep practicing, it's yours. She also dances with the students either as the lead or the follow. So, if you can find these attributes STAY.

[Gypsy Wishing]

If you want the first time student to come back, the instructor has two jobs, one is contagious enthusiasm. The other is to give the student some feeling of dancing on that night.

[Love2Dance]

One time, I asked a coach of mine, what does it take to become a great dancer. Do you know what he said? He told me it only takes one thing.

Love.

If you love it, everything else will follow. If you just like it, it will come and go like a high-school crush. But, if you love it, you will do it. You will find someway to drive yourself and find those opportunities to do it and you will appreciate it. Over time, you just can't help but get better, no matter how slowly you progress, it's just like anything else. You can't just talk about it to get better, you kinda have to do it. But, again, love it and you will do it.

[SPratt74]

One time, I asked a coach of mine, what does it take to become a great dancer. Do you know what he said? He told me it only takes one thing.

Love.

If you love it, everything else will follow. If you just like it, it will come and go like a high-school crush. But, if you love it, you will do it. You will find someway to drive yourself and find those opportunities to do it and you will appreciate it. Over time, you just can't help but get better, no matter how slowly you progress, it's just like anything else. You can't just talk about it to get better, you kinda have to do it. But, again, love it and you will do it.

I sort of don't agree with that. There are some people that just like to dance and will do so socially while there are others that love to dance and may one day maybe compete. You don't have to love something to enjoy its benefits. For example, I like to walk, but I don't love it. I will walk two miles a day sometimes out in the track behind my house, but that doesn't mean that I love it. I do it for other reasons, and those are enough reasons to get me to drive myself to do so.

[rebounder]

Please don't quit. Talk to the teacher first. She may not realize what she's doing, or other things may come into play here.

For example, she may be trying to be sensitive to the newcomers who are struggling, therefore not drawing attention to them. A totally different spin, but also possible. Or she may know the other students well, and use them as examples, because she knows that they will demonstrate the moves effectively.

There could be any number of explanations for her misbehavior, so before you quit, have a conversation with her. That will give her a chance to clean up her act, and may salvage these classes for you.
This is where I would say someone isn't a good teacher. If she uses other students to demonstrate a move it should not b a move new to the demonstrators. if the teacher has more than one level of students in a class she should use the lowest level as a benchmark and until lower level is capable of what she wants to teach the upper level don't teache something she knows is a strech for the lower level. if she wants to teach stuff the upper level is capable of, she should have another class or time for it. Othewise it feels more like shes giving half the class a private lesson. those having the most trouble should get the most help. favoring upper level students in a class that has beginners is just bad ethics. if she uses upper level students as example or to demonstrate, thats what it should come across as or appear to be to the lower level students or beginners.

[Easy]

lol that was definitely a rebound or at least a double post :)

If it's a regular class, you don't want to lose your faithfuls, but you'd also like to encourage new people to join. Before I teach a class for say a USA dance party, I'll teach for the mean of the group. If there are beginners, I'll start with something simple that all can do, but I'll interject technique for the more advanced dancers. I'll move to a more advanced pattern...something within the grasp of a beginner, but suited for a medium dancer. All the while, I will address technique as well as take questions.

A teacher really has to get a feel for the group. I've started with something like foxtrot using just basic and box time for a turning combination, but EVERYONE hadn't a clue. While it should be a wakeup call to the dancers who think they are good, I quickly changed the pattern as everyone's learning and enjoyment was more important than my sticking to my guns. Funny thing is it was really simple, but they are a step crazy bunch, and very few of them even know about lod or inside/outside of turn.

IMO teaching just to the beginners of a group without regard for the advanced dancers is just as bad as the reverse scenario.

[chocolatchica]

(Don’t even get me started on how they justified why I should be learning foxtrot too!)
Are you serious? Lol I can't even begin to imagine what creative bs they came up for needing a salsa dancer to learn foxtrot. I wonder hoe many peple in the salsa clubs can foxtrot......

[chocolatchica]

Again, not necessarily true. A competitive Latin couple, for instance, probably have little if any interest or concern if their teacher a competitive coach knows any foxtrot whatsoever. Similarly, someone who really wants to learn WCS, or Argentine Tango, can be very well served by an instructor who is not very well versed outside of the dance in question. Again, as relates to newer students Phil makes a good point since exposure to more, rather then less, helps students find what they want and like. To me, however, the underlying issue here is misrepresentation. A good teacher knows their own limitations and doesn’t try to teach beyond their capabilities just because the student, who doesn’t know any better, is willing to pay them for such “instruction.”


I take what she meant in the context of variety in teaching styles. I have dance many different forms from ballet to danceport and find that the instructors that I got the most form were those that were well rounded in teaching styles (not so much actual dancing styles). When I don';t get something, my pro can always tailor it more to my level of understanding or use examples that he was shown through other super pros (which are pros who coach pros lol). A good example of this is when I first started dancing and went to a chain studio. My instructor only knew the chain studios form of what they taught him and nothing else. He as very limited in his understanding and depth of the technique. My new pro who is also in a mini chain is a well rounded dancer who ha been coached by many well known coaches both here (in the US) and Europe. He also competes in comps such as Blackpool and whatnot. My past teacher was not allowed by the studio to compete in outside comps or take training from anyone else but them or someone they bring in and approve. That in turn hurt me as a student.

[chocolatchica]

One time, I asked a coach of mine, what does it take to become a great dancer. Do you know what he said? He told me it only takes one thing.

Love.

If you love it, everything else will follow. If you just like it, it will come and go like a high-school crush. But, if you love it, you will do it. You will find someway to drive yourself and find those opportunities to do it and you will appreciate it. Over time, you just can't help but get better, no matter how slowly you progress, it's just like anything else. You can't just talk about it to get better, you kinda have to do it. But, again, love it and you will do it.
Awww...what an inspiring moment. That's such a great thing to say (though I somewhat disagree).

[chocolatchica]

If you want the first time student to come back, the instructor has two jobs, one is contagious enthusiasm. The other is to give the student some feeling of dancing on that night.
I agree. Many people walk in and think.....well how much can I learn in one class. Surprisingly enough you learn a lot more than you anticipated. And I think that gives the students lot of enthusiasm about the whole thing. It did for me.

[rebounder]

lol that was definitely a rebound or at least a double post :)

If it's a regular class, you don't want to lose your faithfuls, but you'd also like to encourage new people to join. Before I teach a class for say a USA dance party, I'll teach for the mean of the group. If there are beginners, I'll start with something simple that all can do, but I'll interject technique for the more advanced dancers. I'll move to a more advanced pattern...something within the grasp of a beginner, but suited for a medium dancer. All the while, I will address technique as well as take questions.

A teacher really has to get a feel for the group. I've started with something like foxtrot using just basic and box time for a turning combination, but EVERYONE hadn't a clue. While it should be a wakeup call to the dancers who think they are good, I quickly changed the pattern as everyone's learning and enjoyment was more important than my sticking to my guns. Funny thing is it was really simple, but they are a step crazy bunch, and very few of them even know about lod or inside/outside of turn.

IMO teaching just to the beginners of a group without regard for the advanced dancers is just as bad as the reverse scenario.
If possible it you shouldn't b letting beginners join a advanced class several times in. this would b if anything a chance to start a seperate beginners class. if u want to keep both progressing at their level during the same time split into beginning and advanced and give both groups different material suited to their level and just keep checking in on both to help when they need it.

[Easy]

I'm open to change that works, but if I only have the one time for this group, I think I'd prefer my way. It's at a USA monthly, and there is no option of allowing this level or that level --they all come for fun and knowledge.

Unless there is a larger room or two rooms, I only have one voice, splitting them would most likely cause confusion and delay. It could be done, but for over all satisfaction and smoothness, I like one big class. I've been doing this awhile, and I know how to keep a large crowd happy. How do you think the 2 men who want to do just beginning level would feel on one side of the room by themselves with 50 or more other people on the other side of the room doing medium or advanced learning?

[tangotime]

Unless there is a larger room or two rooms, I only have one voice, splitting them would most likely cause confusion and delay.




Unless, as most on this site have not , taught for a number of yrs, you would find the practicality of " splitting " a one time group,if you had no assistance , is a recipe for disaster .

I currently "run" a split level class, BUT-- they are on courses ,and I have an assistant .
What Easy does, is the norm. in the profession, teaching a beginners class on a weekly basis with rotating public attendance ,still should retain the same format .

Keep it short---- keep it easy-- and make it fun.

[rebounder]

How do you think the 2 men who want to do just beginning level would feel on one side of the room by themselves with 50 or more other people on the other side of the room doing medium or advanced learning?[/quote]
Thats where u would have a minimum number of people required for a class to run.

[Easy]

favoring upper level students in a class that has beginners is just bad ethics. if she uses upper level students as example or to demonstrate, thats what it should come across as or appear to be to the lower level students or beginners.

Favoring any one group or level in a class is bad ethics. Using an accomplished student to demonstrate something when a teacher has no assistant is acceptable to most people provided they have a decent self image. It's not favoritism --it's called being practical!

You obviously are on the receiving end of the instruction. There are many types of classes. Most of them are suited for specific levels, but as Tango and I stated above, the class I'm teaching has a rotating public. You never know who's going to be there next. It's their choice, not mine, but I'm really good at what I do, and everyone enjoys the class.

I use beginner to advanced students to demonstrate, and anyone who thinks I'm playing favorites need not attend my class. They are also free to open their own studio and run their classes any way they like.

[WaltzElf]

Just had a brutal lesson from our teacher, who is very much in drill sergeant mode.

Which is excellent. A teacher who pushes you to the utter limits is a good teacher.

[Easy]

Good for you. It seems that you have one that cares about your dancing as much as you :)

[WaltzElf]

The really good thing about my teacher is she does have a softer touch for her other students – by that I mean she knows within a few lessons how hard she can push each of her students.

She knows how badly I want to get to the very top of the sport, so she pushes me accordingly. It’s like the old ballet teacher stories from Russia sometimes ;-) It’s hard but at the same time I’m so very lucky to have a teacher that cares so much.

[rebounder]

Favoring any one group or level in a class is bad ethics. Using an accomplished student to demonstrate something when a teacher has no assistant is acceptable to most people provided they have a decent self image. It's not favoritism --it's called being practical!

You obviously are on the receiving end of the instruction. There are many types of classes. Most of them are suited for specific levels, but as Tango and I stated above, the class I'm teaching has a rotating public. You never know who's going to be there next. It's their choice, not mine, but I'm really good at what I do, and everyone enjoys the class.

I use beginner to advanced students to demonstrate, and anyone who thinks I'm playing favorites need not attend my class. They are also free to open their own studio and run their classes any way they like.
"My friend is one of the better students but it frustrates her to see when the teacher wants the class to try a move, she selects the first group of students by name (meaning those she preceives as the better students.) and have them do it as the rest of the class watches on. And then she snowballs everybody in which means those who are better gets a half dozen cracks at it while those who are struggling get one or two at best. And that's not right."
If the "better" students need half a dozen cracks to get it, having a selected "group" of them demonstrate doesn't sound like it would b a very clear "demonstration". using any beginning through advenced student to demonstrate works perfect, as long as you can lead or backlead your demonstrator through it if they don't know it. An "accomplished student" should not need 6 times. a rotating public is a different story, but this sounds like a seris.

[Easy]

I see your point rebounder. The teacher obviously doesn't since she's snowballing.

I will often use a beginning dancer to demonstrate something so that the people who think they are the more advanced dancers will see that the the beginner can do it if led/followed properly. They had better be able to lead/follow the beginner as well...a little light pressure for the advanced dancers keeps them on their toes ;)

btw The class for the USAdancers is every month, but as they are growing and trying to procure new members, it will always have a mixed level feel. Splitting them up would entail an assistant which would also increase their price. Until they grow large enough to afford 2 instructors, things will remain as they are.

Usually quite a few single ladies there. I'm paid a fee for the class and to play music for them. I'm not paid to dance with them at the party, but I try not to be cheap, and I like to see them leave happy :)

[rebounder]

I see your point rebounder. The teacher obviously doesn't since she's snowballing.

I will often use a beginning dancer to demonstrate something so that the people who think they are the more advanced dancers will see that the the beginner can do it if led/followed properly. They had better be able to lead/follow the beginner as well...a little light pressure for the advanced dancers keeps them on their toes ;)

btw The class for the USAdancers is every month, but as they are growing and trying to procure new members, it will always have a mixed level feel. Splitting them up would entail an assistant which would also increase their price. Until they grow large enough to afford 2 instructors, things will remain as they are.

Usually quite a few single ladies there. I'm paid a fee for the class and to play music for them. I'm not paid to dance with them at the party, but I try not to be cheap, and I like to see them leave happy :)
same setup around here. theres a local that does a beginner lesson and party every friday and they do a different dance each week so i've seen rotating public in pretty muc all the dances. they don't do international there yet though.

[jjs914]

The really good thing about my teacher is she does have a softer touch for her other students – by that I mean she knows within a few lessons how hard she can push each of her students.

She knows how badly I want to get to the very top of the sport, so she pushes me accordingly. It’s like the old ballet teacher stories from Russia sometimes ;-) It’s hard but at the same time I’m so very lucky to have a teacher that cares so much.

I agree that this is one of the qualities of a good teacher. DP and I really appreciate one teacher in particular because he seems invested enough in our dancing to know when to push and when to take a step back and approach certain aspects differently.

[Me]

Re: What Makes a Good Teacher?
I think one of the most challenging parts of being a good instructor of group classes is maintaining a degree of control and fairness while providing a service that is useful to all. I've watched many teachers in action and I can appreciate how difficult it is to work with a group of adults of diverse motivation, talent, and need. I think it is exceptionally rare to have a group class where everybody is happy. There will always be a complaint, and handling the complaint is also part of the challenge of being a good instructor.

This is something I've found lacking in the ballroom certification programs I have expressed an interest in. (Haven't gone down the road yet.) From what I have seen, all that is required is a mastery of skill and knowledge pertaining only to dance. I come from a college background where people received degrees in, for example, English BA (Bachelor of Arts) or English with certification to teach (Bachelor of Sciences, BS). Classroom management is a HUGE part of the BS degree. You take a typical English graduate and throw them in a high school to teach and by lunchtime the kiddies will have their head on a platter! I hate to say it but from what I've witnessed from some group classes, full grown adults can be equally ruthless.

[fascination]

I think a good teacher loves the hard work more than making it pleasant everyday...and knows how to convey that to his/her students so that they are able to respect the process..(again, anyone who shows this post to my pro is subject to the severest consequences)

[jlcdance]

Remembering what it was like to be a beginner is not a bad place to start

[jlcdance]

I agree with the comments but some teacher suit some people and not others we have all meet the teacher who we don't like or don't rate highly but who's classes are full.

Also though of course you do have to be able to dance (the fat quote) to teach the best teacher I ever had (and some won't agree) was Eric Lashbrooke I learn more from him after he had his heart bypass (he could't hardly walk for the last 11 years he taught) than I did before. He just had away of explaining a movement which for me worked I studied for my fellow in both Latin and Ballroom with him and never dance with him once.

[NoDayButToday]

Definately patience! ...with a little bit of humor too.

[QPO]

I think good Teachers have to be like parents. The overall message is the same but you have to adjust it to the individual so they understand the message. Of course this is the way you do it in private lessons. In a group lesson, you have to keep the message consistent and to the middle,as you cannot please all the people all the time. You then end up with people (generally) in the group that is like minded and those that don't like the style of teaching will move on to something else that suits them.

We have moved to another school but still attend socials of our previous school, they understood why we moved because we wanted to learn more and better things about dancing, those that stay at our original school have not necessarily improved but they are happy with that. They just want to dance.

And of course as previously remarked Patience and Humour

[gclarke]

I think a good teacher, on any subject, can adapt to the needs of the students as individuals.

Even in a group class there are times when each student is shown something they are struggling with and what works for one doesn't work for another.

To me a good teacher can see when something isn't getting through and try a different approach, and in a stable class, will instinctvely adjust their style of teaching to incorporate what they recall does or doesn't work for that student.

For example, I always like to know what went wrong before I learn how to put it right. Telling me 'No you went back left and it's a side step', will work instantly for me whereas 'it's done like this' often doesn't. At the same time that approach may make a more sensitive student feel criticised.

[sambanada]

So who would you consider good teachers? I am looking to take lessons again in the NJ area. Any suggestions?

[latingal]

So who would you consider good teachers? I am looking to take lessons again in the NJ area. Any suggestions?

sambanada, I would start a new thread in the Ballroom forum with your particulars as to what you're looking for and where. This thread should stay centered on it's original subject. Thanks!

[rebounder]

sambanada, I would start a new thread in the Ballroom forum with your particulars as to what you're looking for and where. This thread should stay centered on it's original subject. Thanks!
hows it off topic?

[fascination]

we are talking about attributes of a good teacher not about specific people...

[fascination]

a specific inquiry abut good teachers within a specific region is a highjack of the subject at hand in this thread...the inquiry is welcome as a new thread...thanks

[Easy]

Besides...a new topic with the correct title will get better viewing. Too many people have already been here and gone without the slightest intention of returning ;)