Among many interesting topics and points of view, we talked about the problem of allowing for practice time. Of course, solo time is available, but generally, you may not have a floor that is good for it, or a partner to dance with, or a music system sufficient to bring across all the intricacy in the music.
Thus, a practica.
However, at least in seattle, practica's are treated as social dances instead of practice time. There is some shading of practice: people will stop and work on steps together, there may be no cortinas between tandas, and people are a little dressed down. Mostly, though, people will dance with a person, in the round, for 4 or 5 songs, thank each other, and then go look for the next social dance.
So how to run a practica that allows for and encourages a teaching atmosphere?
- Set it up with that expectation (the goal of this practica is for experienced dancers to work with newer dancers)
- Adjust incentives to encourage this: free for experienced dancers, not-free for new ones (or any other incentive scheme one could dream up. Perhaps sign-ups for the 'experienced dancers' list? With some sort of reward/ranking scheme to determine if/when they get to sign up again?)
- Make dancing the room impossible -- break it up into 2 or more small spaces, with plenty of room for dancing in place, working out a movement, thinking about the music, but not to be swept into a dance around the room when you hear your favorite Canaro song. (2 spaces will turn into one dance, and one practice, possibly)
- The music can't be too good. The songs chosen can all be good, of course, but the flow of music can not encourage runs of dancing
hmmm. I get that you want more experienced dancers to work with the newer ones, but the proposed changes you listed makes it more of a disincentive.
ReplyDelete#1 is fair; excellent policy to clearly set expectations.
2. I go to practicas to work on something and so will either bring someone or find one there who is capable of working it with me--of course exchanging things to work on with my partner. Why go if I can't work on the things I want to focus on?
3. Shouldn't floorcraft be worked on as well, for all the complaints about it. Having to deal with people who stop suddenly to scratch or dodge a flying stiletto from the wild blue sounds like great practice!
4. A practica also has to be pleasurable. If it's unpleasant, I'd rather stay home and get the (substantial) satisfaction from bleaching my bathroom.
Why do I dance with "newbies" at practicas? Maybe because I like them personally, I'm waiting for my partner(s), the music is so good I'll dance with anyone who can walk or maybe it's because they've almost got something and I think I can help achieve that. Whatev. But it won't be because I'm made to feel like a taxi dancer.
2, 3 and 4 really support 1. So, if a practica is advertised as 1, everyone who goes can't complain. But of course, you would not find me there.
I do like the focus on specific orchestras. That adds to the educational aspect of the practica. I think Max has a good structure: "Practica Class" followed by a free for all. If the classes were interesting to a wider tango audience--say music of a particular era or how to pick out the piccolo and dance to it--more experienced dancers might show up.
We had pretty good success with 2 song tandas (with cortinas) at practicas. Not so long as to "get into" the music, but long enough to work. It also trains the newbies about tandas/cortinas. Rotation is encouraged, but not an absolute.
ReplyDeleteDance with the beginners, they'll be the good dancers later, but only if they stick around. As a mentor, not a taxi-dancer.
Focus on floorcraft always. I wouldn't split the floor. Point those that are working on stationary figures to the middle of the floor, just like in real life.
Practicas, I give feedback. "relax your arm" kind of stuff. Keeps the spirt as "practice" rather than "lets relax into the music". It *is* the time work out the clunky parts. Or as Tango-Beat Blogger said:
"In her first faltering steps with me, she apologized and said she was going to make many mistakes because she was new.
I told her she wouldn't make any because "we were just dancing and there are no mistakes at a milonga, only two people holding each other and moving to music."
I assured her that at prácticas and classes there are mistakes, but at a milonga there are none. "
@Anon: This came up in the context of encouraging new dancers to remain involved in tango, so these thoughts were somewhat focused on how to create practicas that would help with that. Thus, for instance, point 2 is only assuming point one.
ReplyDeleteYour points are well made, though. Given the focus on a 'beginner's practica', what would encourage you to attend? Not necessarily only as a mentor, but at least, oh, 50% of the time/energy.
@Kristi:
2 song tandas does seem interesting. Do you still follow a Milonga type procession (T,T,W,T,T,M or so?)
Nice quote!