What to look for ?

bordertangoman

Well-Known Member
#21
There is another issue; money. As someone who has a regular day job as long as I cover the cost of hall hire I needn't worry but to get consistent numbers of students in order to pay say an Argentine teacher who needs to make a living is another matter. So the size of the place has a bearing; ie cities with a larger population have more potential dancers; but some towns and cities have struggled to get a tango community going and often there's a lack of mutual support between places ( ie people wont travel to a milonga thats say a couple of hours drive away)

I think I'm a bit OT here but since attendance in classes has ranged from six to fifty I can weather the ups and downs.
 
#22
Dance is non-life-threatening (mostly!),..The surest measure of their quality is the rapidity with which their students learn, and the depth of understanding the students acquire. How on earth do you test that?!
Quite. And the rush to the certificated will be very much like that that ole onion: they're from Argentina so they MUST be good".

Perhaps you need a martial arts style grading system, where teaching competence is awarded by more skilled peers
My brother's a psychotherapist and also runs courses for secondary school teachers on how (not what) to teach. If a tango certification would incorporate my brother's theories on how to put your point across and still achieve the best out of your student then yes. My first ruling would be "crowd control" and how to get everybody dancing and everybody changing partners. Oh, and yes, lose the bigging myself up attitude as well as that VIP barrier of detachment and make your students feel as if they count :)
 

bordertangoman

Well-Known Member
#23
Quite.

My brother's a psychotherapist and also runs courses for secondary school teachers on how (not what) to teach. If a tango certification would incorporate my brother's theories on how to put your point across and still achieve the best out of your student then yes. My first ruling would be "crowd control" and how to get everybody dancing and everybody changing partners. Oh, and yes, lose the bigging myself up attitude as well as that VIP barrier of detachment and make your students feel as if they count :)

I think approaches to teaching an academic subject in a classroom and dance teaching are very different but I don't know if there are authoritative texts on how to teach dance, though I have one good book on using visual images.
 
#24
I think approaches to teaching an academic subject in a classroom and dance teaching are very different but I don't know if there are authoritative texts on how to teach dance, though I have one good book on using visual images.
I've taught in a school classroom and I've taught in dance studio/gymnasium, rugga field and athletics track. The HOW is the same but yes, you're right, the WHAT is quite different. And yes, I would promote the visualisation technique everytime. What's the name of your book?
 

bordertangoman

Well-Known Member
#25
I've taught in a school classroom and I've taught in dance studio/gymnasium, rugga field and athletics track. The HOW is the same but yes, you're right, the WHAT is quite different. And yes, I would promote the visualisation technique everytime. What's the name of your book?
"Dynamic Alignment Through Imagery" (Paperback) by Eric Franklin;
I'm also experimenting with Contact Improvisation techniques
 

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