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

The Professional Round Dance Teacher - What is Involved?

Eddie and Audrey Palmquist
El Toro, California

Step by Step, Palmquist Style is an instructive manual geared to assist round dance leaders in the planning and teaching of a basic round dance course. Authors, Eddie and Audrey Palmquist, have prepared a presentation with instruction and reviews defined in a manner that has proven successful in their own classes. Round Dance Module is featuring excerpts in two parts. This month outlines portions of the introduction with the remainder following in the April issue.

Speical Training: By studying this course you have taken the first step toward professionalism. However, anyone can take a course, but one must learn and then practice to graduate. We anticipate that each of you will prove to be a professional round dance teacher by the knowledge you will gain and your ability to teach round dancing in a professional manner. Book knowledge is important but you must be able to perform the steps skillfully and accurately. Head knowledge and execution must go hand in hand.

Promote and Enhance the Art of Round Dancing and the Teaching Thereof: We must recognize that round dancing is an art and that teaching is a science! Round dancing adds to each of our lives and to the lives of the people we are privileged to work with. We must keep in mind that while we are teaching rounds we are teaching dancing, and that the student will learn the dancing by our example as we teach the routines. Some will learn by hearing what you say, others will learn by watching what you do — most students will learn by a combination of both. A student will lose confidence in the teacher if you say one thing but your performance doesn't demonstrate accurately what you are saying.

Use Standardized Terminology: It is vitally important to understand and use standardized terminology. When round dancing began it grew somewhat like Topsy, and so did the terminology used. As the activity became more national and as the dancers traveled from coast to coast, it became evident that some form of standardization with regard to basics and figures used was necessary. And so at each National Square Dance Convention since 1964, a panel has been standardizing terminology by name and definition. Many figures and terminology have become standardized through common usage. Both Roundalab and U.R.D.C. are compiling a manual, setting forth a compilation of standardized figures and terminology from basic through advanced. It is hoped eventually there will be one approved manual resulting from the work of all.

Generate Harmony, Integrity and Goodwill Among Fellow Teachers: It takes each of use to consciously foster harmony, integrity and goodwill between our fellow teachers. Each of us must take it as a personal responsibility not to be a party to bickering and pettiness. Never belittle another's efforts but rather be gracious and kindly. This applies to round dance teachers and square dance callers in our own area as well as across the country. Neither should we allow dancers to influence us in our attitude toward other teachers or callers. Dancers, by petty tales, can set one teacher against another, thereby hurting the activity and gaining nothing but hard feelings between teachers. We should strive toward a closer cooperation between round dance teachers and square dance callers.

Elevate the Standards, Ethics and Ideals of Those Engaged in Round Dancing and Instruction: How can we elevate standards, our own standards? Those who study this Manual have shown a desire for learning. However, once you have graduated you should not sit back and say, "I have arrived." One must continually be seeking ways of improving both in dancing as well as in teaching. Whenever an opportunity arises to attend a workshop or clinic on dancing, we should attend. When a visiting teacher comes into the area we should try to attend the sessions. It is by listening to and dancing with other teachers that we learn to be analytical of our own dancing, of our own teaching and seek ways of improving our dancing and teaching techniques at all times. If we sit back and say, "I have arrived," this is the first step down. It is what we learn after we know it all that counts. Learning the art of dancing and the science of teaching is an ongoing process.

Square Dancing, March, 1984