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

The Well Balanced Round Dance Program

by
Roberta and Bruce Bird

The question is often asked, "Are we pushing dancers too far, too fast?" The answer is yes, although none of us intends to. We wish to explore the reasons for this trend and the results we can expect if the trend continues, in the hope that round dance leaders will develop an awareness of the potential problems and avoid it. We, then, would like to offer some thoughts on how teachers may improve without getting out of step with the activity.

In dancing there are two purposes. We dance for enjoyment and for status. Recently the ego has dominated. As levels are established, whether you say MS, A1, C2 or easy, intermediate and advanced, it is implied that the "higher" level you dance the more important you are. This implication is not valid but we are strongly influenced by it. We laugh at high school boys who won't dance because it is implied that dancing is "sissy." The implication, although not valid, controls many boys. Because of the invalid suggestion that dancing at a "high level" establishes superiority, many are eager to move up the ladder before they are ready, in spite of the fact that they encounter hard work and frustration. Leaders tend to give dancers what they want, even when the dancers are not ready.

If the trend continues, we can look forward to very small clubs dancing very difficult routines and accepting only those who live up to rigid standards. Let's examine ways that round dancing has evolved to gratify the ego. The basic changes surround choreography, terminology, styling and repertoire.

The most evident change has been the new basics used in popular choreography. The number and complexity of basics have increased recently and this is both good and bad. Some dancers criticize "international" basics. many of these are easy and enjoyable and, as such, are a valuable addition. Others are difficult and awkward, building only your ego. It is sad that the ego is boosted by exposure to such steps even it executed poorly.

Terminology has undergone notable changes. Some dancers would rather talk about dancing than dance and for them "new" terminology is extremely important. We have listened with amusement to a round dancer describing with ecstasy the new dance with the "close change." The same dance with same step called a "forward waltz" would do nothing for his ego. We recently saw a cue sheet that read "reverse turn" and the description said, "turn, side,close." The choreographer may not have known the difference, but she appealed to the ego via incorrect terminology. Anyone who believes "a rose by any other name would smell as sweet" is not acquainted with modern round dancing.

Styling is another point where the ego has ravished enjoyment. While square dancing is moving from dancing to puzzle solving, round dancing is moving from dancing to posing. Correct styling is a critical element of round dancing. The correct position of the body for comfortable movement is essential. However, the emphasis has changed from comfort to a primary consideration of appearance. Posing has become an important part of the ego success. Changing basics reflect this. For example, the basic "lunge" described a motion. Recently the term has nearly been replaced by "chair." The importance has shifted from the action to a pose.

In recent years, cueing has been almost universally accepted, for which we are grateful. It has allowed the activity to grow. It also increases the number of dances people will attempt just to build a repertoire. This often means stumbling along, approximating what was cued, to be able to say, "I did that dance." It is sad that no ego points are gained by dancing precisely with the music. Strangely enough it does not detract from the ego if you dance off the beat or if you turn the wrong direction.

In an effort to help dancers maintain a balance of enjoyment and esteem we have developed a plan that embodies such aspects of round dancing as the selection of new dances, teaching methods, attitude, adjustment and the setting of goals. With care and compassion, you may have your cake and eat it too!

Roundalab Journal, December, 1981