The following information is published with ROUNDALAB's permission from the ROUNDALAB Reference Manual compiled by Richard & Jo Ann Lawson, 1987.

Presenting the Basics

by Jim & Bonnie Bahr (Denver, Colorado)

When asked to write this article, I must admit we had a few reservations, simply because in all the classes we have taught, we have yet to do it exactly the same twice. After much thought in the matter, however, we decided to share with you what we would consider an average class and ask you to keep in mind that the exact order and manner may vary slightly according to the personality of the particular class. At the end of the 20 weeks, however, it would all have been accomplished.

On the first night of beginners class, after explaining all the vital necessities (i.e.; where the bathrooms are, when we get a break, etc.), we start from the very bottom assuming that no one has ever round danced before. We begin with - this is the girl and this is the boy - will you please join hands and make a circle. We explain line of dance and reverse line of dance by having them circle to the right and then to the left. There are only four basic steps in dancing: a walk, a run, a touch and a close step, as well as four directions: forward, back, right and left. All dancing is made up of different combinations of these. Usually they will begin to shake their heads that maybe they can handle that. We then further explain that dancing is like numerals 0 thru 9. There are very few numerals but they can be place in millions of different combinations meaning the same amount of different things. However, if you learn the fundamentals from the very beginning, they are fascinating as you unlock the many secrets they have. Dancing also can be just as fascinating if you think of it in this manner and we promise them that we will always have another secret waiting around the bend just like numbers and they will never become bored.

We usually show positions all through the night at intervals when they are tired of listening to us talk, as you must have their attention if you expect them to grasp what you are saying. The positions will supply something for them to do and think about but not too difficult to do. We then explain a measure of music; i.e.: four beats or counts to a measure and relate them to a walking step or two slows. After having them walk toward LOD in open position, showing how this will be executed when doing it to music, we then put the music on and listen while Jim counts what we have just walked before actually doing it. We have a few favorite records we use when it comes to drilling all of the basics in all levels, and for easy or beginning level we like to use Heavenly Night (Grenn #14078), The Moon is Making Eyes (Decca #31812) and Baby Talk (Hi Hat #946). I'm sure some of these records are out of print by now, but any music with a good solid steady beat will do. When we listen to the music, we explain exactly where the beats are by counting the quarter beats or quick counts first using two measure or 8 quick counts then move on to the slow 4 putting them in the slow walking steps. When this is mastered we go back to the quick counts and introduce the running step showing how it will be shorter than a walk because of the speed and up on the ball of the foot. We then work them in a series of walks and runs changing the order so that they don't anticipate and until they understand what they really are.

We only break once during the night as we have to go downstairs for coffee. We dance for an hour and then all have a 15-minute break and they usually are back upstairs ready for more long before their time is up. If we have anything that takes more concentration to work on, we try to put it in the first hour and let them do the easier things in the last hour as it seems to give them more of a feeling of accomplishment before going home and they are more likely to return the following week. In the second hour, we will more than likely review what we did before break and possibly add one easy thing - usually a side close explaining closes.

The second week will be very similar to the first, but never exactly the same - just adding one new thing for the ones who have been there last week. This will usually be a box or a left and right two step. We only hold our classes open for two weeks as we need all our time to really concentrate on the basics. After the first two weeks, we run a 1/2 hour review session before the rest of the class to help anyone who has to miss for one reason or another and usually find ¾ of the class attending this session also.

In the third week, we begin the theory of the two step, i.e.: step close and anything. Explaining the QQS rhythm and the feet being together on count two. We stress how the basics are built, what they accomplish and why. We also like to put them in families so that they really understand their purpose. Although we go into great detail about where the turns happen, we explain that most of the turn or change comes with the last step, i.e.: in the box side close, it's the forward step that makes the first half move and the back step will move to finish it. We usually teach and stress a back box also because it is so useful in teaching the turning two step. After giving them each new step, it is placed to music done always in a different order until they become familiar with what it does and why.

When it is time to teach the turning two step (usually about the 4th night), we go to it almost right away explaining the theory and relating to everything else in its family. After showing this, we let them try it a few times and show how it will fit the music, etc. Then we divide the room in half and send one side downstairs for coffee while we individually take the students (Jim the girls and me the boys) and walk them through the figure. As one finishes, they go down for coffee and another comes up until we have walked it for everyone. Then we try to do it together again to music. We relax them this night by returning the hash drill to earlier things they have accomplished and reminding them how much trouble they had with them when they first started and point out how smoothly they are doing them now.

The scissors family is usually next on our agenda and we teach the scissors through first as we have found it easier for them to get the crossing step this way. When teaching the progressive scissors we have found it helps to teach a progressive box first then when teaching the scissors they just substitute a crossing step for the forward one. A hitch comes in here someplace with the basic first and variations after they do the basic automatically on command. We found they really need to be sure of any basic before they can see how it has been changed for a variation.

Along about the 7th week we give them their first routine. Mind you, they have been dancing basics in many combinations until now and are usually proficient in what they have learned. They can do these upon command from many different angles and we will generally give them the routine to their drill record and they will have no problem with it. Then we show them that this particular series of basics is a written routine to a particular piece of music and dance it for them. BY now they are so excited that - you guessed it - they can't do a thing the first time. But when you tell them they have already done it, they settle down and all the work and drill pays off with smiles happening all over the room.

The pivot will most likely be the next barrier. We'll handle teaching this just like the turning two step, individually. We usually get their attention by putting on a record and just pivoting until we feel like stopping (out record is 63 continuous pivots). By now everyone is giggling and ready to listen to you explain how this is done. After all: if you can still stand up after that, how hard can it be? We teach a pivot four. We have found that if we teach a pivot two, they never feel comfortable doing a pivot four or more. I must admit, we feel a great sense of pride as we see them sail through as many as six pivots in a row.

Once the class has progressed this far, routines are a piece of cake and we teach the ones that are currently popular in the area and around the country so they can get on the floor and enjoy what we are all here for in the first place. They are looking and feeling pretty good with what they're doing but that's alright; next week we'll start the waltz and it'll all begin all over again.

In closing, I would like to way one thing and that is that as a teacher, we have very few advantages but one we have found is that at least once a year we are more or less forced to go back to beginners class and as a dancer we probably would not. It's a great experience! Not only does it close your closes and sharpen up all the things we all tend to get a little lax about, it also is good to be reminded that even though we have mastered these things long ago, it's still just as difficult for anyone who is learning them for the first time and teaches us all how far round dancing has really come. I think as long as Jim and I teach, beginners will always be our favorite!

Roundalab Journal, May, 1982