Teaching Techniques

[Black Sheep]

Nuevo Maestros,
Let me give you the two primary pre-requisites for Teaching Techniques:
1) The student must have the rhythm down pat, especially being able to pick out the down beat.
2) The student must have the step pattern down pat, whether it be the Swingout or the Savoy Whip.
Remember each technique is a unique factor of itself that has to be coordinated with transitions for universal application; whether the move be a Savoy Lindy or WCS pattern, the technique must fit rhythmically in and out of any combination of patterns! But so as to not take the fun out of this thread, and list my own 15 + Savoy Techniques, let us all contribute our ideas on Teaching Techniques as a collaboration effort, and see what we get!

Black Sheep, your friendly instructer

[Black Sheep]

Nuevo Maestros,
Teaching dancing is one of the most gratifying experiences you will ever have, and you don't even need a high school diploma to qualify. All you need is the desire to serve others and some basic teaching guides, which I will start you off with:
1) Do not show off your advanced dancing abilities. It is often more intimidating and discouraging;
2) Proceed at a rate determined by your students application of your instructions;
3) Never use the word 'Don't', it has a demeaning affect; instead say something like, 'OK that's not bad, now let's see if we can get the footwork a little more precise' or 'let's hit that down beat a little softer;
4) If you have more than one student, acknowledge them all if only by eye contact and mentioning their name so they do not feel that they are being ignored;
5) Before and after lesson smooze with the students, instead of ending the lessen on the dot and running away to dance with your 'friends'. Remember who pays your teaching fee and give them a feeling of your caring and they will be more apt to return for the next lesson.
6) You don't have to be a stand up comedian, but use your smiles copiously, and the students will feel just as happy, and that smile will last longer then the euphoria of a comical word or antic.
NOTE: There are more than Six teaching techniques, and some of the best suggestions come from the students themselves. What is the teaching technique that you feel is most effective and encouraging? I'd like to know!
Black Sheep, your friendly dance instructer.

[Black Sheep]

Nuevo Maestros,
There is a teaching procedure that better enables a student to understand and apply your instructions. The Magic Pill has a six step procedural Method that gives a student a jump start in learning how to dance the Savoy Lindy. However, after you get your student dancing these half dozen + Lindy Steps, you need to have a more conventional system for teaching the more advanced Lindy moves. The following teaching procedural steps are applicable for teaching any body moves whether in dance or in any sport:
The primary Rule: KISS! (Keep it simple 4 student)
1) Demonstration: Keep it simple and very slow;
2) Breakdown: Most moves can be taught in sections, just as the side steps (1 &2, 3 &4) in the Magic Pill Method you were taught separate from the Rock Step (5-6-);
3) Walk Through: have student go through movement slowly with leads and following pointers;
4) Make Necessary Corrections: Do not get too technical and do not go into long dissertations with student standing in place being bored. There are many body movements that a student will adjust to naturally without your taking up teaching time. Avoid being too technical. Respond to any questions student may have, but again do not get too technical.
5) Dance on Rhythm: Have student move rhythmically in sync with music at appropriate tempo.
6) Transitions: Show student how movements are gotten into and out of. Fortunately, in the Magic Pill, Lanza Lindy Six Count Teaching Method, almost all Lindy moves start and end with the '5-6' count, the Rock Step.
NOTE: Step #4 is where your teaching ability is challenged. Remember, the student who asks questions is usually the most interested and in the end will learn faster and help make you a more proficient Dance teacher.
Review:
1) Demonstrations: KISS;
2) Breakdown: Separate units;
3) Walk Through Move;
4) Make Corrections: Respond to pertinent Questions;
5) Dance on Rhythm: Use appropriate tempo;
6) Transition Steps: Getting in and out of moves.
NOTE: Your instructions should be clear, laconic and understood by student. I have a saying, "If you don't understand my question, then I wont understand your answer!" Lanza 2003 a.d.
Black Sheep, your friendly instructor.

[Black Sheep]

Nuevo Maestros,
Besides teaching techniques, a teacher needs to use a little salesmanship to be successful. Let's see if I can list six of my most effective sales techniques:
1) Never criticize another teacher, dancer or studio. You don't have to compliment, but if asked, just say you are not that familiar with or something as neutral.
2) Do not forget to compliment your student, but make sure it is appropriate and sincere. It could be about clothes or personal appearance, but do not call attention to a body of facial feature that may be embarrassing to the student.
3) Introduce students to each other. Make them feel at home by greeting them cheerfully, and your good bys are always with a smile.
4) Use student's name during lesson several times; it generates a feeling of familiarizing;
5) Spend at least the last 5 minutes of lesson reviewing the Lesson. If the student forgets what the lesson was about when they reach home, they might feel they wasted their money and time;
6) Before student leaves, explain what phase of their dancing your next lesson will be on. Make sure it is a phase that they will look forward to.
Of course you are also selling yourself with your own appearance and pleasant demeanor. Be as 'natural' as if you were teaching a member of your family or a good friend.
Black Sheep, your friendly instructor.

Really great tips, Joe, I especially enjoy you bringing up number one - being a professional instructor means acting professionally. Some people forget, as it's easy to do.


1) Never criticize another teacher, dancer or studio. You don't have to compliment, but if asked, just say you are not that familiar with or something as neutral.
-FF

[pygmalion]

Hey Black Sheep.


What made you decide to go into teaching dance?
What made you leave the dance world for so long?
What made you go back?

I hope these questions are not too personal, but I'm at a crossroads right now, trying to figure out what I want to do next dance-wise, and I would really appreciate the input from somebody who's been there.

Thanks for the help.

Oh, and by the way, if you have any funny,poignant,sad and/or touching dance teacher stories, I'd love to hear them, too.

Jenn

[Black Sheep]

PYGMALIAN,
I'll try to answer your questions and hopefully not cause any controversies.
Question: Why did I get into dancing?
1) I got into dancing because I had a very low self-esteem and was super shy. To illustrate my low self esteem: 'I was a job working in the oil fields. During the hitching while standing on the side of the road, Bob asked me, "Joe, why do you always stand behind me when a car comes down the road?" I told Bob that 'no onhitch-hiking from Virginia to Texas with my best friend Bob Cage to get e would stop if they saw me.'
When I got the opportunity to get free Ballroom teacher's training, I knew if I was forced to get in front of the public by dancing, I would get over my Shyness. It fortunately also gave me a feeling of accomplishment and helped my self-esteem. I had been in the Army Air Force during WW II, worked in a security Psycho Word as a Neuropsychiatric Aid, supervision 32 WW II psychotic patients with only one partner, Bob Cage. Many of the patients were killers, with daily physical challenges, and with that background, I still had social personality problems at 26 years old.
Question: Why did I leave dancing?
2) After 12 years of teaching Ballroom dancing seven days a week (I held teacher training classes on Sundays), I began to have Burnout nightmares, and I knew it was time to move on.
Fortunately in 1963, a 26 week choreography job for a TV series, 'Country A-Go-Go' in Las Vegas came along and after that I returned to New York City where I taught at Lafayette and Madison High Schools for a few years.
Question: How did I get back into dancing?
3) In 1998, my grandchild, Chenoa asked me to write to her and tell her about my life in Hollywood when I was a dancer. I wrote four page letters twice a week to Chenoa describing that past life. The letters turned into a book, 'The Dancer'. A few Swing dancers came across the book, and eventually Hilary Alexander invited me to be a Guest Speaker at her Second Annual Event, 'Camp Hollywood' in 1999 which was held at the Hollywood Palladium. And I was back once more in my favorite spport, The World of Lindy/Swing.
Thanks for the Questions, Pygmalion; it brought back a fleeting remembrance of some very exciting years, the memory of which sweetens old age.
Black Sheep.

[pygmalion]

Black Sheep,

Thanks for sharing some of your personal story. I really appreciate it.

Although I'm not particularly shy now, I can relate to why you got into dancing. Sometimes the only way to overcome a challenge is to face it head-on. Must've been hard, though, because dance teachers are face-to-face with strangers all day long, much of the time.

And the burnout thing. Yes, I think that may be why I'm at this crossroads now. I've danced, thought about dancing, eaten, breathed, wakened and slept to dancing for a couple years straight. Not as a teacher, though. Just a crazy student.

I checked Barnes and Noble and Amazon for your book, and couldn't find it. Did it have a wide distribution? How did the swing dancers you mentioned find it? In a library? I'd love to peruse.

And your coming back into the dance world after all that time. I'm glad you did, because it brings so much joy. I could see myself doing the same thing. That's why, instead of quitting, I've decided to regroup and redirect.

Thanks again for sharing your personal experiences.

Jenn

[Black Sheep]

Pygmalion,
My two dance books sold close to 500 copies, mostly to the Swing crowd in L.A. but I did get orders from Japan, Germany, England, Sweden and Australia. 500 copies doesn't sound like much, but Publishing books is a non profit business unless you can sell in the many thousands. I'm happy if I break even on the money part, but the thousands of hours spent writing the books are very self gratifying; it is a tough business but I'm addicted.
But every teacher that I know of in Southern California has copies of my last two dance books so it should not be difficult to find one. In the meantime there is a web site with many vintage photos and excerpts from the books, 'The Dancer' and 'Lindy by Lanza', plus a breakdown of the 'Six count Lindy' and behind the scenes stories of films I danced in. Check it out. You arer free to down load, but otherwise respect my copyrights.: <WWW.LINDYBYLANZA.COM>
Pygmalion,
I tell all my students, "You learn by teaching". Lanza 2003 a.d.
Black Sheep

[Black Sheep]

Magic Pill Addicts,
There are many advantages in using Lanza Six Count Lindy Teaching method, besides conformity, consistency and simplicity in the learning process. The following Six Techniques are the most often used on the counts of '5-6', the Rock Steps.
1) Transition Steps: The 5-6 count or variation Kick ball change (5 &6)
count is used to get into and out of all Lindy combinations.
2) the Rock Back (5-6) for the lady is a natural preparation for all aerials, with the following (1 &2) three steps being used for the hitch step used in all sports from diving off a swimming pool board to serving in Volley ball.
3) The 5-6 is an ideal place for footwork variations since they are taken in place and do not interfere with the man's leads which take place on the 1 &2.
4) The 5-6 is where the resistance is established like the stretching of a rubber band to give the lady a running start for the more energetic movers on the springing back of that stretched rubber band.
5) The 5-6 Rock Step is the easiest and most efficient way to get partner back in step if she or he loses the beat.
6) The Whip Rhythm Step changes the 5-6 Rock Step into a throughout, so the Lady falls into a '1,2,3 - 1,2 rhythm count pattern which is the authentic Savoy Lindy Whip or Turn or Secondary Lindy Rhythm.

These six techniques are some of the facets what makes the Magic Pill teaching method so effective and easy to teach and learn. The method is consistent, simple to remember, logical to teach, and gets rid of all the excess confusing fancy terminology that's flying around the World of Swing like a locust invasion.
Black Sheep, your friendly instructor.

[pygmalion]

Pygmalion,
Check it out: <WWW.LINDYBYLANZA.COM>
Pygmalion,
My 'Magic Pill' will give you a jump start as a legitimate Lindy dance teacher. I tell all my students, "You learn by teaching". Lanza 2003 a.d.
Black Sheep

Thanks, Black Sheep. I will take a look at the website, and read through your "Magic Pill" posts. I'm sute they will give me something to "chew on".

Jenn

[Black Sheep]

Allyssa,
Since my mistake in attributing you to an friendly act was made publicly , then my apology should appear publicly.
I have a Saying, " An Hidden Apology is no Apology at All".
Black Sheep.

[Swing Kitten]

But you do know that you're actually quoting Spitfire... your near identical post over in the ballroom forum cites him as the source. And since that was posted ten minutes after this one I assume that this post merely contains an accidental misquote... no big deal.

Just checking to see if I'm missing something...

[MissAlyssa]

COOL!

[MissAlyssa]

since you admitted that you were wrong I am woman enough to say thank you and I appreciate it.

[Swing Kitten]

So I see I didn't miss something

[Black Sheep]

MissAlyssa,
I realizred my mistake too late, but I did Send Dance-Forums' moderator a request to delet the post adressed to you, MissAllysa. I was sincere about my comment, I just adressed it to the wrong person. I'm quilty of a mistake, but one could hardly call that 'rude and insincere'. Don't you agree?
Black Sheep

[Swing Kitten]

You have the ability to edit your own posts.

There's a little edit icon (complete with little sissors) in the upper right corner of all of your own posts.

The power is in your hands :wink:

[Black Sheep]

SwingKitten'
It works. You have empowered me no end! Whoever said the age of miracles is over, never met SwingKitten!
Black Sheep, the empowered.

[Swing Kitten]

Thanks, and you are welcome!

Whoever said the age of miracles is over, never met SwingKitten!

I like that!

[Black Sheep]

Teacher Trainees,
Although we have various approaches and methods to teaching dancing, there is an important determining factors that dictates the actual lesson structure. I will try to recall the salient finer points in teaching private lessons which may need different approachs in a future post. At this point here is a simple structural sequence to follow when introducing a new dance move.
The first simple steps for teaching in sequence are:
1) Demonstrate with partner to slow music with the intention to give the move a simple and easy to learn appearance;.
2) Demonstrate the move without partner;
3) Breakdown the move into 2 or 3 logical segments;
4) Hand lead student through moves slowly at their pace of learning. If you rush this stage, you will confuse and prolonged the learning process;
5) Once the move is understood, show them the lead of follow technique;
6) Have student execute the move with a partner on Rhythm. At this point allow the student to enjoy dancing the move to music for at least a couple of three numbers to get comfortable with the new move.
To be continued!
Black Sheep, your benevolent instructor.[/quote]

[pygmalion]

Thanks, Black Sheep. This is good stuff.

The part where I get hung up is if the instructor skips step 2
Demonstrate the move without partner
If the instructor skips this, I'm lost forever. I need to go over the syllabus figure, at least a couple times, so I get a mental picture of how it's shaped. Does it travel or stay on a spot? Is it linear or circular or some other shape? Is it big or small? Once I get all those things down, the pattern clicks into my mind and stays there permanently. Otherwise, I never get it.

[d nice]

This is where having the benefit of a teaching partner comes in. When you can visually see the relation of the two partners throughout the move you get a much better visualization of what needs to occur than if it is demonstrated alone.

You may be able to tell that the move is traveling and has two turns... but where is the leader or follower and what is their orientation during the move. Where is the main point of compression in the lead? How close do you need to be to your partner for it to work?

Ballroom studios love to have single instructor classes, but there is no substitute for a pair of instructors.

[pygmalion]

d nice

Truthfully, my mind is boggled by the idea of teaching partners. What a concept! And it makes so much sense. I don't know of anyone around who does this. My coach used to, until he and his partner split. But it's probably worth asking around to see what's up at other studios around town. Don't get me wrong. I love my coach and plan to stay with him a long time. But if I can find another studio that uses the teaching partner concept for group lessons, I'm there!

Thanks for the food for thought.

Jenn

[d nice]

A lot of ballroom studios concentrate on profit. It is more profitable to have one teacher who is instructing the student(s). Even those who are not concentrated on profit tend to follow the chain studio method of instruction, simply because it hasn't occured to them to question it.

In the Lindy Hop community teaching couples reign. Only the most phenomenal/respected instructors are able to travel and teach solo, and even they generally prefer to have a partner to teach with when possible.

Weekly group classes tend to be the same, two teachers, twice as many eyes, and with differeing perspectives which give students a different approach/description of the same thing. Good teaching is often about imagery. What is the right combination of words that will sink into the students brain, body and soul and achieve the desired result?

Think different.

[Black Sheep]

Pygmalion,
Thanks for the feed back. Sometimes I feel no one is listening.
One impportant learning tip that has always helped my students: After your lesson, find a friend; man, woman or child and teach them what you just learned that day.
I have a saying, "You Learn by Teaching!" Joe Lanza 2003 a.d.
to be continued...
Black Sheep

[Black Sheep]

SolarPlexus,
There is a reason why teaching is very gratifying, for the simple reason
when you teach you are in essence 'Serving' others. In the Bible when a
group of Rabbis approached Jesus with the Question, "Which of us rabbis is the greatest?" Jesus replied with a parable which stated, 'He who serves is the greatest'.
Having said that, there was a great educator by the name John Dewey whose principle theory of learning was based on 'you learn by doing'. I sort of understood what Dewey meant, but it was years after I became a school teacher myself that I fully understood what Dewey meant.
I have come across enough proficient professionals in several fields in my
life, and the time table for becoming proficient I have estimated for
almost any profession is about two years. And I subscriber to that time
table, but you do not have to be 'proficient to begin serving/teaching. As a matter of training, you should be teaching the same day you take your first dance lesson, because as I have often stated 'you learn by teaching' and Dewey's words support this idea.
Furthermore, you are your best teacher for several reasons, 1) You are the most concerned person about your progress; 2) you have more discretionary time to work on your training; 3) you learn to become more confident as you experiment with various ways of moving; 4) you will not be inhibited by some dogmatic instructor telling what you can and what you can't do or influencing you in a way you otherwise would not prefer, and you will be surprised how many innovative moves you will stumble on. The one main tool for teaching yourself how to move gracefully on balance is a full length mirror and a 5X5 square dance floor will do.
But do not wait for tomorrow to start teaching. Do it today, and use my
Magic Pill for a started and teach your friends. This world needs good
teachers. However, do not expect to get rich financially by teaching
dancing. You will, however, have an enriched life because you are doing the ultimate life's calling, 'you are serving!
Black Sheep, I love to teach!

[pygmalion]

One impportant learning tip that has always helped my students: After your lesson, find a friend; man, woman or child and teach them what you just learned that day.
I have a saying, "You Learn by Teaching!" Joe Lanza 2003 a.d.
to be continued...
Black Sheep
Thanks. This is also a good tip. I've always tried to take good notes, and practice what I've learned ASAP after my lessons. Now I'm going to start trying to apply this tip, as well. I bet it'll help me retain the material better.

Thanks. :)

Jenn

[Black Sheep]

Pygmalion,
When I decided to leave L.A. and the dancing business, I recorded most of my teaching procedures, techniques and Ballroom dance structures in two volumes which I had the prescience to preserve. One book is called 'The Art of Ballroom Dancing' Although these are NOT for sale, I will be taking excerpts from them and posting them under this thread for anyone aspiring to become a dance teacher. And if you are the only one that benefits by these 50 year old notes accumulated after 12 years of running the most successful dance studio in Hollywood, then I am duly compensated.
Let me know how your career progresses.
I have a saying, "They who Share, Reap". LANZA 2003 a.d.
Teaching Techniques to be continued...
Black Sheep, whose old age is sweet!

[pygmalion]

Why do I feel like I just received a cross-country hug? :D

I had a feeling you were trying to talk me into teaching, and I am actually considering -- not as something to make a living. Just as something to help me share what I know as I learn more.

Thanks so much for all the words of wisdom.

OOO (hugs)

Jenn

[Black Sheep]

Magic Pill believers,
A few weeks ago I was asked to give reasons why the Six Count Lindy is a superior, less confusing way of learning the Lindy, and I did promise to give these reasons. I like to dole out my instructions in series of SIX STEPS at a time as a reminder that we are talking about the 'Lanza Six Count Lindy (LSCL)' teaching method. I apologize for the delay in responding. Most of you know why the delay, so I'll dispense with the explanation and just get into these Proofs of superiority of the LSCL as a Lindy teaching method:
Besides conformity, consistency and simplicity in the learning process, the following Six Techniques are the most often used in the LSCL on the counts of '5-6'. (of the 1 &2, 3 &4, 5-6)
1) TRANSITION Steps: The 5-6 count or ANY variations such as the Kick ball change (5 &6) count is used to get into and out of ALL Lindy combinations.
2) the Rock Back (5-6) for the lady is a natural preparation for ALL aerials, with the following (1 &2) three steps being used for the 'Hitch Step' a technic used in acrobatics;
3) The 5-6 is an ideal place for footwork variations since they are taken in place and do not interfere with the man's leads which takes place on the 1 &2;
4) The 5-6 is where the resistance is established like the stretching of a rubber band to give the lady a running start for the more energetic moves;
5) The 5-6 Rock Step is the easiest and most efficient way to get partner back in step if she or he loses the beat: If she has the proper resistance, just push her backwards on the 5-6 count;
6) In the Whip Variations, the Rhythmic pattern changes and the 5-6 (Rock Step) becomes the throw out, so the Lady ends in the open position with her left foot free to go into a 3 &4 count. The authentic Savoy Lindy Whip Rhythm is, '1,2,3 - 1-2 (5-6) repeat; 1,2,3 - 1-2'. It only takes 4 Quarter beats (5 steps) to complete, NOT the EIGHT steps which slows the Whip down to a Wimp!

These six techniques are only a few of the reasons that make the Magic Pill teaching method so effective and easy to teach and learn.
The method is consistent, simple to remember, logical to teach, and gets rid of all the excess confusing fancy terminology that's flying around the World of Swing like a locust invasion.
There are additional reasons why the Six Count Lindy is a Superior Teaching Method, which I will follow this post up with if anyone is interested in knowing!

Add these Six Magic Pill Techniques to your Magic Pill (Thread) for a clear continuity of instructions!

Black Sheep, 'Go teach all nations! Joe Lanza 2003 a.d.'

The Lindy Hop is America's Cultural
Contribution to the World.

Joe Lanza - Copyright 2003 - Do not duplicate

[dancedevine]

Thanks, Black Sheep. This is good stuff.

The part where I get hung up is if the instructor skips step 2

If the instructor skips this, I'm lost forever. I need to go over the syllabus figure, at least a couple times, so I get a mental picture of how it's shaped. Does it travel or stay on a spot? Is it linear or circular or some other shape? Is it big or small? Once I get all those things down, the pattern clicks into my mind and stays there permanently. Otherwise, I never get it.
me too!! :) I hate it when a teacher speeds through some new figure at breakneck speed and says...it's simple see...?