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

As presented by Ray and Anne Brown at the 24th National Square Dance Convention, ROUND DANCE TEACHING METHODS PANEL.

Teaching Outline

  1. Recruiting New Dancers
  2. Lesson Plans
  3. Cueing
  1. Recruiting New Dancers
    We do not use any revolutionary ways of recruiting new dancers. Have tried several approaches as have other instructors and with varying degrees of success. Generally, here are the usual ones we try:
    1. Assistance at S/D basics lessons. Usually try to work closely with the local S/D callers to introduce round dancing to his beginner students during their lessons. Start off by giving them mixers (one step types) and then some mixers with simple two steps in them. Always make sure they are fun, lively, and peppy. This is always free to the S/D callers. At these same beginner lessons we demo round dances again making sure they are smooth and interesting and not so intricate that they would scare the potential dancers away. We get several students directly from these S/D classes, but we always tell them not to join out R/D basics class until they have finished the S/D basics and have danced a little. Always make sure we work with the S/D callers and that they fully understand we are not attempting to take their students away. That's another reason why we won't accept them until after their S/D graduation.
    2. We both belong to other social and fraternal clubs and organizations. Whenever we get an opportunity we will demo a round or two for them and sometimes get them up to share an easy "one nighter" type of dance. This always evokes interest and occasionally some new students. We continue these demos since we use the "shotgun" approach wherein saturation will result in some students.
    3. Whenever local S/D clubs give demos for various purposes, we always make sure we help in the demo and also do a R/D demo or, if we are too busy, that one of our graceful dancer couples provide a R/D demo.
    4. We advertise in two ways. Flyers judiciously distributed, and our presence at as many functions as possible.
    5. We use R/D "Open Houses" particularly to start new dance sessions. We shall obtain some dancers who demand more than ballroom individually and who will be more satisfied with pattern dances.
    6. In the future, we shall also have ballroom classes. From these we shall obtain some dancers who dancers who demand more than ballroom individually and who will be more satisfied with pattern dances.
    7. We have additional problems because we are constantly on the move (about every 2 years) as we are still in the military. Generally have to start from scratch everywhere we go. Have to proceed very carefully when we get to an area where a R/D leader is already entrenched. Have to carefully assess the situation and then start some actions that will complement the other leader and not detract from his operation. We try to always work with him and never to create unrest among dancers.
    8. The last item for consideration in this abbreviated list is by far the most important single item in getting new students - the R/D Instructors. Are they real pros with a love and interest in the dancing and the students? Happy, contented students being taught by a dedicated professional who teaches smoothness, gracefulness, joy, fun — they are the advertisements needed — they are the catalysts for getting new dancers. But the degree of help from them is largely dependent upon your ability and capacity because you are the pro — the teacher.
  2. Lesson Plans
    1. Yes, we use lesson plans for every class. They are essential. We don't use the same exact one for every class — only the general outline and the general goals we define. We need to create a different one for each class because each class is unique. We think it is a mistake to try to make a class adapt to a hard firm lesson plan or outline rather than adapting a lesson plan to the peculiarities of the class. Of course we start a class with the lesson plans identified and prepared so that in X number of lessons we will have taught them X steps, X position, etc... but this routine is not so inflexible that on any certain night they have to do specific items regardless of whether they are ready for them. We must identify the length of the course and stick with that because of several external factors, i.e. availability of the hall; interaction with subsequent classes, dates, etc.; but most important because we originally told the students X number of weeks. To exceed this creates in their minds a serious question of their ability. Much better to stop when planned to graduate and to arrange a couple of special workshops during the weeks immediately preceding the graduation or subsequent to it.
    2. What do we include in the lesson plan? First and most important is to start each page with the objective or goal for that session. Just what do we want to accomplish. Redefining it on every page keeps it foremost in our minds and also enables us to insure that all items selected for that session are applicable to what we intend to accomplish.
      1. After the objective statement, then individual items are listed. We do not put a time limit against each one, because each class is different. Lesson plans must be flexible enough to accommodate the differences in learning abilities between classes. However, we always make sure that we have sufficient material to fully utilize the scheduled class time.
      2. We try to arrange the lesson plans to allow or a logical sequential progression. There is no standard sequence for presenting round dance basics. We think there are logical sequences that give the students the easiest opportunity to learn movements. For example, how much easier for him to learn the box step after doing the side two step, and then to follow this with a scissors. Also, to learn to do a vine three after the side two step. When it is time for the four count steps to be brought in, then we do a number of them to help the students in the timing, i.e. Limp 4, Vine 4, Hitch 4, 2 side closes. This helps familiarize them with four counts. Do them all the same night. Learning the pivot follows after learning a turning two step, etc. What we are trying to say is we don't present the basics in a sequence that is taken from a dance or pattern. Instead, we present them in a progressive fashion to help the student learn, not the instructor teach. You can create your own progressive order of presentation.
      3. We also include in the lesson plans reminders to change records frequently - again for the benefit of the student. The greater the number of different arrangements of rhythms and tempos he can experience, the greater his ability to extract the rhythm whenever appropriate music is played.
      4. At the end of each lesson, the question in large block letters appears DID WE DO IT?? Meaning of course, did we reach our goal? Did we get everything across we had planned?
    3. Use of records. We identify in our lesson plans the records we are going to use for presentation of basic movements. This does several things. Gives us an opportunity for a greater variety of tempos, insures that we have given thought to different music, and enables us to select certain music for learning certain basics. For example, learning the turning box to music like "It's So Good" is easier than music like "Five Foot Two." Learning the pivot to a quicker tempo is easier than to a slower tempo. We make sure that we vary the records also to help keep the dancers' interest high. The same music continuously used will kill their enjoyment.
      1. What records to use? Experience show that old round dance records make excellent class music, if judiciously selected. We make sure to use ones that are not current or classics or potential classics, and insure that the tempo is what we need for that session. Additionally, we go through second hand stores occasionally. They usually have stacks of 45 RPM records that can be purchased for a nickel or dime apiece. They are somewhat used, but still lots of life to them. Have picked up a number of very useable records this way, including some good Cha-Cha, Rhumba, Waltzes, and two steps. One we use to start every class (Road House) cost five cents a couple of years ago and is excellent because it is good lively music with the strongest beat possible to help the new dancer pick up the two step rhythm. Another one is a quicker two step tempo and is a version of "Engine, Engine Number Nine" - great music and cost only five cents.
    4. A lesson plan is our plan of attack (we're military you see) for accomplishing our goal of teaching new students how to Round Dance. Perhaps you could consider the following items we use when preparing for your classes:
      1. HASH We firmly believe in hash cueing for our new dancers. We start this the first class night and continue it through the class. We think it is important for the students to be able to react to cues to become good round dancers. They must have a good solid grounding in reacting to hash cueing where there is no set routine - no set sequence for them to memorize. Makes them consciously associate what we mean when we Scissors Thru, or Box, etc. Their minds react to the cue words. They learn more quickly. They quickly become more comfortable with movements. Memorization of routines becomes easier for them after they are confident dancers.
        1. Hash cueing makes it harder on the instructor. He must be able to think new sequences that enable a dancer to accomplish smooth transitions from one movement to another. He must be able to think on his feet. He must become more of a pro. He must quit using crutches of memorizing sequences and dances and then merely repeating them. Using hash cueing enables the instructor to present all movements in a practice sequence that provides the student with far greater practice time than if used only in a pattern. He is able to repeat, repeat steps for greater practice and yet maintain the student's interest. But all of this extra work on the instructor's part is worth it when the students obtain dancing maturity sooner than others who have not had the benefit of hash cueing. The real importance of hash cueing is to enable the dancer to perform more movements by utilizing more natural body movements to get into them and not have to rely on steps only as they get so used to. We want them to be pliable instead of stiff and hard (like new clay vs old clay). Want them to be able to dance with the body and not just head and feet. They will learn reaction to music and body leads instead of steps & sequences. We try to train them so that when the music says slow, or turn, or forward, or quick, they be able to do it instead of asking where to put their feet.
        2. Additional reasons for hash cueing in basics class to us is the fact that all dances (except for classics) are so transitory. We must keep giving dancers new ones. How many they can absorb and memorize and yet continue to be taught new ones is directly related to their dancing frequency. With the majority of dancers it is much better to cue them through dances rather than not cue. They can only learn so many. Cueing will generally increase the dancers ability.
        3. Only on the very first night do we repeat movements on the beat of the music, i.e. side, close, cross. This is done only to help the student adapt to the rhythm. After this we never put a cue or word on the beat. Makes it habit with the students to know the cue is coming ahead of the beat and to do the movement. If they get used to the instructor saying the actions words in addition to the cues, then they expect it also at dances and without it they flounder.
      2. Routines; We teach dances during basics class but only as a regard for the dances, to keep their interest as high as possible, and never merely to utilize the steps that we have practiced. We don't want them to get used to any idea that a certain step always follows another certain step. Don't like them learning steps in routines when they are learning basics. It makes it so much harder later then we use this step differently in subsequent dances. Always present it so that they can understand that many different steps could occur in the next measure - drill them on steps (hash) and make sure they all get switched around so that they do not marry sequences together to the detriment of subsequent steps. Routines make it easier on the instructor, possible a crutch for him. Try to teach steps and body movements instead of routines — until the students have matured enough to accept routines and changes. When presenting routines in the class we hash cue them through all the routine (except for any unusual or awkward part) to different music, and then follow this up by putting on the regular music to that routine: When necessary, we teach the routine, usually only having the emphasize the unusual parts.
      3. Teaching Hints. Just a few we use to give you some thought:
        1. When first starting to teach waltzes, we make sure to teach it the first part of the evening. Do not teach it following the two step. It is proven hard for the new dancers to transition from the two step to the waltz the same evening for some reason. In fact, when we start teaching the waltzes (usually the third session) we do nothing but waltzes for the first two hours - then review the two step basics hash for the last ½ hour. 3/4 time music is easier for dancers to pick up and adapt to when learning if it is not immediately proceeded by 4/4 time music. After they have learned the basics, we then combine waltzes and two steps all evening.
        2. We teach hitches emphasizing a free foot lead always and not just the standard hitch six or double hitch. Start off and teach hitch three forward with left foot lead, then hitch three backward with left foot lead. Then repeat this exercise with the right foot lead forward and backward. After all this then we give them the hitch six and do it starting with either left or right foot leads and either forward or backwards starts. Hash cueing enables us to teach this way. Of course the purpose of this exercise is to enable them to do a hitch any way that a choreographer might write it in a dance. We do the same thing with the scissors — teach it with a foot lead and not a sequence lead. The same principle is used in teaching other movements.
        3. We do not use the single circle method of presenting basics where the woman usually has to learn and practice it one way and then reverse her position and do it the opposite when students return to the normal double circle. We insure that by this time the students have sufficient rhythm established as a result of all previous activities. We think it is easier for the lady to practice it always the same way she is going to perform it.
        4. We emphasize the balls of their feet at all times. While cueing dances and during hash basics, I am constantly reminding them of this factor in some of my chatter to put them at ease.
        5. We also emphasize dancing with the head and shoulders held high at all time. Relaxed. This always makes them feel much better and to dance so much more gracefully. It also helps them dance on the balls of their feet and to get off the heels.
        6. We use a positive approach for the students. Always make them think they can do it - do anything we give them. Psych them up. Do this when talking to them, when cueing them, when teaching steps, or dances. Attempt to never give them a moment's doubt as to their ability. Firmly believe in positive thinking and its usefulness. For example, we do not tell them the name of a movement (fishtail, hesitation, hitch, etc.) until they learn it - then they do not get afraid of the name.
        7. We try to emphasize smoothness above all else - on all movements, turns, pivots, etc. We emphasize that if it feels awkward it is probably being done wrong.
        8. We try to emphasize some portions of ballroom basics, i.e. the lead given by the man to effect the movement — especially on turns, waltzing, fox-trot, etc.
        9. Why do we lose so many dancers? Because we hurry to get them through basics slam, bam — We miss teaching them body movements. We concentrate on feet movement and steps — try body movement emphasis and leads for good dancers who will enjoy the activity for years.
  3. Cueing
    1. To cue or not to cue is not really a question. Instead, how much and at what times? The decision has to be tempered entirely by the desired goal. What do we want to get out of the session? More dancers doing more dances? Fewer dancers doing more intricate routines? Let's define our goals. Our round dance activity is constantly changing, and, resulting, so are our goals. We must constantly reaffirm our goals and judge our degree of attainment. It we have to reduce all our round dance activity to any one single goal, then ours would be to provide a wholesome enjoyable social/physical activity to the largest number of participants. I do not mean mass numbers that would cause a detriment to the fine points of the activity. I mean providing good solid round dancing to the largest number possible within existing parameters of facilities, time, etc. In order to facilitate the larger number of dancers, we must provide the activity for them. There are factors we must consider. They do not have as much time available to practice or dance as do our "die hards" in the permanent clubs. Without sufficient time it is not possible to have them memorize dances. If they don't memorize, then we must cue them to let them have dances they can enjoy. Or, the alternative is to severely limit the number of dances they can do.
    2. When I cue dances all the way through, the dancers are more relaxed and very responsive. We insure that the basics classes are taught in such a manner that the people learn to be responsive to cues, i.e., not having prearranged memorized sequences. (When they are like this, they are not cueable to unknown dances.) Then the real test comes — the dancers have been completely trained in reaction and response. Can the cuer to the job correctly? Can he direct the dancers? Can he use correct common terminology that all dancers understand? Can he lead the dancers sufficiently? Can he minimize the number of words necessary? If he can, and the dancers know their basics well, then we will have more dancers enjoying more dances.
    3. There are various things you can do while cueing to help the dancers. Be sure to cut out all the unnecessary chatter and words possible. Prepare yourself properly and completely for every word in every dance so that you can condense to the minimum possible. Give the dancers the advantage of position cueing in addition to movement cueing, i.e., open, semi, butterfly, etc. Plan your cues by always practicing until you are good — REALLY GOOD. The dancers always deserve the very best you can provide.

BUT ABOVE ALL ELSE, BE HAPPY AND INTERESTED WHILE ON THE MIKE AND PROJECT THIS TO THE DANCERS.