Ballroom teachers needed - no experience required

Discussion in 'Ballroom Dance' started by pygmalion, Aug 6, 2004.

  1. tangotime

    tangotime Well-Known Member

    They have multi purposes, for e.g. ; They reflect, somewhat, the 3 levels of Prof. exams, they "standardise " comp. categories, they are a proficiency level, they are /were, universal in acceptance by all Prof. Soc.
  2. tangotime

    tangotime Well-Known Member


    We ( Pros ), can not always pick and choose our clientele, no matter the location from which we operate .
  3. tanya_the_dancer

    tanya_the_dancer Well-Known Member

    The model that seems to work best in our town is a small place, which rents space to independents. The downside for trainee-wannabes is that they provide no training whatsoever - every teacher for himself. The pricing obviously varies per teacher, the more experienced ones charge more.
  4. nottomention

    nottomention New Member

    While the studio model being discussed is dominant in ballroom business volume, it is not dominant in either social or competitive dancing. Competitive dancing is dominated be teachers who share their personal training efforts with similarly inclined students. Social partner dance is dominated by those (primarily in non-ballroom styles which have never had this business model) who share their love of dancing with others.

    Somewhere in the collective effort to productize ballroom, the actual dancing got lost - you have to follow the competitive track more seriously than a typical studio teacher is trained to enable to find it via that route, or else pursue social dancing more simply and interactively than a package program prompts to find it the other way. The studio system does create some dancers - but at nowhere near the rate of return on the dollar of alternatives that are either structured enough for structure to work, or fundamentally "just do" enough for "just do" to work. There is a natural market for facilitated dancing in between those, but it's not that big - simply compare the turnout of ballroom events enabled by the studio syllabus model to that of non-ballroom partner dance events.
  5. nottomention

    nottomention New Member

    Because its easier to write a book giving the directions and amounts of turns for complicated figures, than one which specifies a workably comprehensive set of criterea for doing essential ones easily.

    The real problem comes in when what is taught reflects the information available in the book, more than the skills which could enable students to dance together.
  6. Terpsichorean Clod

    Terpsichorean Clod Moderator

    Over my few years of dancing, I seem to keep bouncing back and forth between "social and competitive dancing are different" vs. "they are alike". We recently had a lesson with Andrew Sinkinson.

    :checks notes: He said it should feel soft and comfortable, just like social dancing.

    I got to watch first. He took a relaxed hold, leader's left hand/follower's right hand a lot lower but still toned, overall hold a lot more compact while still retaining posture. A little bit of social slow rhythm before seguing into a feather/reverse/three/natural. And it looked so free, so easy, so effortless. La-Z-Boy recliner...on the dancefloor. Then it was my turn to dance with him and darn me if it didn't feel as nice and comfy as it had looked. Then it was his turn to watch us...well, it's a work in progress. :razz:
  7. Terpsichorean Clod

    Terpsichorean Clod Moderator

    Even the top pros keep working on the natural turn for the rest of their dancing careers. But is there a point at which one can perform a totally correct demonstration? Maybe not the biggest, most radically shaped, most creatively timed, but with zero mistakes? And if so, might this point be within the reach of someone with, oh, say, less than ten years of experience?
  8. Joe

    Joe Well-Known Member

    No, because "correct" means different things to different people.
  9. Or how about (going back to the OP) within reach of someone with, oh, say, 6 weeks of experience? Because that's the claim at a lot of these supposed schools.
  10. nottomention

    nottomention New Member

    "Acceptable", "correct", and "competitive" are three different criteria, though there can of course be a lot of overlap. Neither acceptable nor competitive should take very long to achieve with good instruction and determined physical effort. And for that matter, correct but not competitively dynamic probably requires only a few years.
  11. Terpsichorean Clod

    Terpsichorean Clod Moderator

    We were focusing on a very early part of the backward action, so we ignored keeping the front foot in contact with the floor. Initially we tried having her keep the back foot (toe) in contact with the floor, but found that it was encouraging her to start committing her weight to the back foot, even before her front toe had started to release. So to ensure she kept her weight on the front foot long enough to drive back through the heel, we had her keep the back foot a few inches off the floor (yes, after she'd gotten past the heel, she did get to put the foot back down :razz:). Hope I'm not misunderstanding you. :)
    Hmmm, I'm not sure I like the idea of tying competition categories to syllabus figures. I like MIT's allowing the entire syllabus to each of its syllabus events (Beginner, Intermediate, Advanced). I guess that's kind of like pro/am's open bronze, open silver.
  12. Terpsichorean Clod

    Terpsichorean Clod Moderator

    That makes sense. :)

    I wonder which came first. The book or the test?
  13. ireniecat

    ireniecat New Member

    This reminds me of something an old coach used to say:

    "What came first, the book or good dancing? Of course good dancing! The book does not describe good dancing, but good dancing describes the book."
  14. tangotime

    tangotime Well-Known Member


    Weve(UK) used that system for multi yrs, as you put it.. BR/Silv/Gold .

    In the class system here ( or most places, I suggest ) a bronze level student would not be introduced to the higher level figures at that early stage . As a judge, it sure makes things easier .

    And, how does one really define the 3 categories you mentioned ?. I have judged numerous ones like that, and the efficiency levels displayed, very often dont match the entry level .
  15. tangotime

    tangotime Well-Known Member


    Neither.. the " Annotation " came first ( after the dancing ).
  16. Terpsichorean Clod

    Terpsichorean Clod Moderator

    By prior competitive placements? :)
  17. Terpsichorean Clod

    Terpsichorean Clod Moderator

    Food for thought. But still theoretical for me, as I'm a long way from getting past the learning-things-that-are-generally-accepted stage. :grin:
    Interesting...that's less time than I would have guessed. I'd be curious whether you consider correct a subset of competitive.
  18. Terpsichorean Clod

    Terpsichorean Clod Moderator

    Like! :grin:
  19. tangotime

    tangotime Well-Known Member

    In most cases, I did not know ( or care ), can only judge what I see on the day .
  20. Another Elizabeth

    Another Elizabeth Active Member

    It is not the responsibility of the judges on the floor to determine what category people should be dancing in - just to judge what they see in front of them. The competition registrar is the one in charge of making sure that people follow whatever rules have been established for choosing a category. I used to go to a lot of trouble to vet the MIT entry lists to be sure that no one was sandbagging according to the rules then in effect, and I believe that they still do more checking than most other competitions.

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