Criteria for the Evaluation of Round Dance Leadership

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

Joe & Es Turner

Industry and government long ago adopted the use of "standards-of-performance" as a practical means of evaluating the performance of an employee in his job (or profession). This is the technique whereby management analyzes and evaluates skills, efficiency, output and value to the organization, by measuring the employee's performance against recognized criteria (standards) which in turn identify, define and describe the areas of work involved, the required levels of competence, responsibility and productivity and related qualification requirements.

Of late it has become "fashionable" as well as effective to apply standards-of-performance to nearly every walk of life - (business, sports, hobbies, etc.).

A number of years ago Dr. Lloyd Shaw set forth informal and succinct "standards" for square dance callers to help them become more skilled in their hobby or profession. More recently Lloyd Litman and Rickey Holden enlarged upon this idea in their fine book "The Square Dance Caller".

The foregoing engendered the thought that an application in the field of R/D Leadership was perhaps feasible and desirable. Further exploration of the subject led to the conclusion that appropriate "standards-of-performance" could indeed serve a useful purpose if they (1) enabled R/D Leaders to make effective self-analysis and evaluation of their skills and capabilities (2) made it possible to identify areas of strength and weakness and (3) provided motivation (pointed the way) for a program of self-improvement.

As a first step in applying these techniques it was necessary to design a set of guideline standards defining and describing the capabilities and qualifications which collectively constitute effective R/D Leadership. To this end the following were evolved and are here offered as an initial approach in the standards formulation process, not as ultimate standards. It is hoped that these will stimulate other R/D Leaders to refine, augment, originate or otherwise contribute to the field, eventually resulting in standards that are universally accepted. In the meantime these are available for leaders currently in need of "benchmarks" for evaluation.

They can be applied by rating oneself, by husband rating wife and vice-versa (a perfectly wonderful way to generate family arguments) or by having a fellow instructor or experienced dancer make the rating; but however made, it should be borne in mind that even a modest "score" is a creditable achievement. Indeed few national teams would expect to rate 100% under this system.

If fact, it is possible to be mediocre or even deficient in several standards and still be a successful leader. To illustrate, attributes such as a warm and engaging personality, fine showmanship, exhibition dancing, etc., may alone be enough to establish a team as "tops" with dancers; conversely a team might be equally well regarded because of unusual proficiency in just a few of the technical aspects; i.e., teaching techniques; knowledge and application of rhythm, choreography, programming, cueing, etc.

The standards below are not arranged in order of importance since this varies with the needs of the group being instructed. For example: "Ability to Teach" (fundamentals) would surely be more important with new dancers than with experienced groups. Similarly, "Showmanship and Personality" would have a very high value at a festival but be less important in the home club.

R/D Leaders are here invited to test the validity and usefulness of these standards, or if one just round dances (does not teach) it might prove interesting and informative to try them on your home leaders, or on visiting teams, but kindly please!

In general it would suffice to use adjectival ratings, e.g., Poor, Fair, Good and Excellent. If a numerical value is desired apply values (5-poor, 10-fair, 15-good, 20-excellent) to standards one through five and omit number six, as that standard (Technical Background) deals primarily with qualifications and is collectively reflected in the first five.

Ability to Teach: This is the capability to impart a specific area of ones personal knowledge and skills, (e.g. of basics, advanced routines, etc.) to the group being instructed. It involved the demonstration of effective floor command; ability to identify in advance the difficult places in a sequence or routine so that instruction can be intensified at these points; diagnostic perception in observing and understanding the problems experienced by dancers in step-execution, body mechanics, etc., so that they can be helped to overcome such faults; mastery of the techniques of dance demonstration and vocal instruction; and ability to accomplish all necessary instruction within a frame-work-of-time compatible with the planned program.
Ability to Cue: This is the ability to effectively transmit a short vocal instruction or "lead" to the dancers at a "critical" point in time to alert (ready) them for the steps and sequences that follow in the next musical phrase. Correct timing if essential as a cue given directly on the rhythm beat, or conversely too far in advance may be worse than none at all. Sound judgment is also required in determining when and how much to cue; it is also very desirable to develop the technique of "blending" the cue into the music in a way which will reach those who need it with minimum distraction to those who are already familiar with the routine (would prefer to dance just to music).

This skill is especially important with larger groups whenever dancers are from several areas and have different repertoires (such as festivals or institutes); whenever programming requires use of a number of older partly forgotten routines; or when a large amount of new material is being presented.
Ability to Dance: This involved making full use of ones dancing skills, grace and floor appearance as a bulwark in the teaching process. It differs from the dancing described (later) under "Showmanship and Personality" which is slanted more toward entertaining. It requires a knowledge and consistent application of sound dancing techniques irrespective of whether the instructor-team is teaching, demonstrating or just dancing for their own pleasure. It embodies sound and precise fundamentals in step-execution, styling, posture, body mechanics, etc. The dancing should generate in onlookers a feeling of confidence that the R/D team thoroughly understands the field and has ability to teach others; and should also inspire non-dancing couples with some appreciation of the enjoyment in round dancing; of its potential for fun and fellowship, and make them want to learn and become a part of the movement.
Showmanship and Personality: This involves ability to capture and hold a (R/D) group's attention, interest and affection, and entertain them in the process. This talent can manifest itself in many forms, e.g., flashy exhibition or demonstration dancing., clever antics on the floor, ability to make appropriately humorous remarks. A "fun" microphone technique (such as kidding the dancers when cueing without "throwing" them off stride); ability to generate good fellowship, and in short any action or work that embodies "color" flair, timing and humor is a way that endears the instructor to those around him. In some people this is a poignant force, in others quiet and subtle, but present just as surely as a pleasant and refreshing breeze.
Programming: This involves the selection, organization and presentation of round dance material. There are two major aspects, namely the selection of new material for introduction to clubs, workshops, institutes and festivals; and the integration of the new and the older dances (routines) into a balanced program designed to provide maximum dancing pleasure for the greatest number of people present at a given event.

The former is perhaps a shade more important as it is abusively wasteful of the dancers time and energies to teach routines that lack flow, sound choreography or interesting movements; or those set to inadequate music. Accordingly the leader must carefully screen and evaluate myriads of routines; compare notes with fellow instructors, peruse and study selections in trade magazines (proceeding with caution here for all that is published is not meritorious) correspond with other areas, attend institutes and workshops to avail themselves of selections chosen by more experienced R/D teams, etc. Finally the R/D Leader must weigh this information against the needs and capability levels of clubs, festival engagements, etc., and select dances which best serve the purpose. The second aspect, selecting, arranging and blending the dance routines used into a truly danceable program also requires keen judgments, and sometimes much research when the R/D team is working in a new and unfamiliar area. Succinctly stated, the instructor should select dances of quality that are known or are reasonably familiar to those present; determine how much cueing help is needed and be prepared to give it; ascertain that the dances programmed for a given tip compliment rather than detract from each other (for example are not too similar in choreography, have substantial differences - variety - in rhythms and music, and provide balance in levels of complexity, etc.); diplomatically but firmly resist undue pressure from "eager beavers" who want too frequent use of highly difficult routines; or from the overly conservative who want all easy dances. The judgments here described can well mean the difference between a very enjoyable evening and a disappointing and confusing one!
Technical Background and Knowledge: This is the body of technical training and/or empirical experience on which the instructor-team draws in discharging the duties and responsibilities of R/D Leadership. It involves a knowledge of the state-of-the-art of round dancing and one may also draw from a number of other related fields of training or experience. For example, prior teaching experience of any kind is helpful, and the role of either student or teacher would provide excellent experience-background if in related forms of dance (ballroom, tap, ballet, fold, etc.); similar benefits can be derived from voice training (dramatics, singing, etc.) or from experience in the field of music, public relations, etc.

As a minimum, one should possess or acquire an experience background which enables sound teaching in the most popular rhythms employed in round dancing, especially waltz and two step; ability to perceive, diagnose and correct faults observed; sufficient knowledge of R/D nomenclature and choreography to select and use material properly; and some knowledge of voice projection and control as related to cueing and vocal instruction, etc. It is obviously impractical to list all type of backgrounds that would be helpful to a R/D Leader. However, it would seem amiss not to point out that there are good books available from which a leader can draw knowledge in a program of self improvement, practice and education (e.g. Round Dance Manual - Hamilton).

The writers also gave consideration to including a standard entitled "Professional Attitude and Decorum". The idea was discarded; however, because in the final analysis this seemed to involve nothing more than living the Golden Rule: "Do unto others as you would have them do unto you"; and conducting oneself both on and off the dance floor in a manner calculated to bring credit to oneself and to the wonderful activity we call square and round dancing (automatically incumbent upon each of us).

In conclusion, it is again pointed out that the foregoing are not considered ultimate standards. Rather they are regarded as a starting point intended to generate interest in the technique; and to serve as an interim system pending refinements and improvements by others.

We sincerely hope they prove of interest and value.

As your Editors and Publishers most sincerely thank Joe & Es Turner for sending in this very fine article! They've spent a great deal of time and effort in producing this thought-provoking analysis for your benefit! This is a starting point - we have many fine leaders in the Round Dance field whose interest we hope will be piqued, we will also hope to have word from some of them concerning the above!