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CALLING Interview with caller Beth Molaro (12 mins)
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https://www.youtube.com/watch?v=X3xprjO_waA |
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PLAYING FOR CONTRA Interview with band Atlantic Crossing |
https://www.youtube.com/watch?v=DbGYWr3Znic |
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Atlantic Crossing in action (12mins) |
https://www.youtube.com/watch?v=lq1tKJb7z-Q |
MAUREEN MORRIS’S NOTES FOR A DANCE CALLER / TEACHER WORKSHOP 2016
SO YOU WANT TO BE A CALLER / TEACHER – WHY?
To gain another aspect of dancing.
Teaching a dance is similar to the experience of being a driver rather than a passenger in a car. You stand before a group of people and give instructions for a dance you may have danced many times before, but like the new driver you see ‘obstacles’ you hadn’t been aware of before.
In some ways you are an entertainer, and calling enables you to see people’s enjoyment through your instruction.
You may wish to gain the skills and confidence to teach a local group – e.g. a school, church or social group.
WHY DO PEOPLE GO TO CLASSES OR DANCES?
For entertainment – in today’s busy lifestyle dancing is a great way to let go of everyday concerns.
Having experienced the enjoyment of a social dance the next step is often to join a class to learn more and become confident and proficient.
For social interaction – dancing is a great way to meet new people. In particular, the style of country /bush /folk dance ensures that new people are readily met in the course of the dance.
PERSONAL QUALITIES REQUIRED IN A DANCE CALLER / TEACHER
Patience – it is important that people remain relaxed but alert in a learning environment. Stress reduces the amount of information that can be absorbed and slows the learning process.
If dancers are having difficulty it is the responsibility of the caller, not the dancer’s fault. Other methods of explaining need to be explored.
Firmness with tact is an essential tool – be able to manage difficult situations with a pleasant manner.
Never lose your temper – if you do so momentarily be prepared to eat humble pie!
STYLE
Develop your own style but be aware of any personal habits which may need to be tempered. Be prepared to consider contructive criticism as a tool to improvement.
Study other teachers/callers and determine what it is about their style that you do or don’t like.
VOCAL CLARITY
Speak clearly and not too quickly. Make sure everyone can hear you.
Vary the pitch and tone of your voice. A monotone may make it hard for people to concentrate.
Use the voice to emphasize important points in the dance. Slow down your instruction when necessary.
Use simple easily understood language. Think of other ways to describe movements if possible. Name the movement. Then, using short easily understood sentences, explain how it is to be done.
Don’t give too much information in one bite. Allow time for the information to be absorbed.
ACTIVE TEACHING
This is where the demonstration of a movement – showing how it is done – is so helpful. Seeing and hearing how the formation is danced and phrased can lead to an ‘Ah, hah!’ moment and increase confidence and enjoyment.
PERSONAL APPEARANCE
Dress neatly and appropriately.
Bright clothing may be useful to make you more visible to dancers or when calling from the floor to the band leader.
Dress so that your feet can be seen.
PUNCTUALITY
Always be on time. Arriving late will mean you will feel under pressure from the start and most dancers don’t appreciate being kept waiting.
Allow time for the band (if using one) to set-up. Check how much time and what equipment (if any) they need. If using recorded music, check what equipment is available and if it is working.
No matter how few dancers are present, start the class/dance on time.
Don’t assume that dancers or musicians will carry on past the allotted time.
OBSERVATION
Watch the class and develop an all-seeing eye. Experience will enable a new caller to be quickly aware of problems.
Don’t focus on one set or group of dancers. While they are getting the dance right mayhem may be occurring elsewhere.
Know the dance. By knowing the dance you will be free to observe the dancers and their response to your instruction.
BE PREPARED
Preparation is all important. It will give you confidence, and thus you will enjoy the experience and the dancers will respond well.
Dance notes and music should be ready before beginning to teach.
Be prepared for unexpected new dancers. Your programme should be adaptable – i.e. have simple but interesting dances for new and experienced people that include basic formations.
Have circles, longways sets, set dances, couples and squares prepared taking into consideration the previous point. Avoid too many 4 couple dances as that can lead to people being forced to sit out due to lack of dancers to complete a set.
CONFIDENCE
Being confident allows the caller to be more relaxed and makes dancers feel more at ease – they are in safe hands and will be more able and willing to learn. Beware of over-confidence!
HUMOUR
Always be good humoured. People come to dance for relaxation and to forget any worries; they should never be expected to take on board your problems.
Light-hearted banter can relax people and is very useful. As previously stated, we all learn better when relaxed, but it should not be overdone. Anything done with pleasure is seldom forgotten.
ORGANISING A DANCE
What sort of event is it? If it is a social occasion then you will be attending as a Caller and at this point it is important to look at the difference between a Caller and a Teacher.
In a class situation a Teacher has the opportunity to explain formations in depth while keeping the class moving along. It is acceptable to choose more complex dances, but if the dance is new to the Teacher they will need to have mastered any unusual moves beforehand.
A Caller at a social dance has to engage a mixed group of dancers who range from experienced to complete novices. In this situation, choose dances that require short explanations, so that people get dancing quickly and gain confidence through success. Lengthy explanations put people off. Remember, we can only absorb so much at any one time and people will lose attention.
The movements of one dance should, where possible, be followed up in the next dance. This gives people something they are now familiar with to build on. For example, the Galopede followed by the Waves of Tory. The first part of the second dance is already known and it is only the cast, lead-up and waves that have to be taught. Likewise after the back to back (do-si-do) in the Black Wattle Reel has been taught, Childgrove or Ram Meadow would be a good follow up, bringing in a different tempo.
Avoid telling dancers the next dance is ‘easy’. You may know it well having studied it, but it may confuse dancers leading them to doubt their own ability – or yours – and get frustrated. Also, stating that a dance may be difficult may cause dancers to go wrong because they half expect to. It is of course helpful to remind dancers of a part in the dance that requires careful thought.
The old rule ‘Keep it Simple’ when starting out as a Caller/Teacher and choosing dances is a tried and true one. This helps build up experience and enables the Caller to move on to more complex dances.
PREPARING THE DANCE
Instructions should be a memory aid only, as the dance should already be known by the Teacher/Caller. If you are constantly reading from a book or card you can’t fully observe what dancers are doing.
Consider writing your own notes so that you fully understand what any shorthand means. If you have found a dance you would like to teach find out if the correct music is available. If not, check how many bars and repeats are required and what the tempo is to find a suitable piece.
TEACHING THE DANCE
Understand the shape of the dance and how it fits the music; 2 beats per bar, waltz time, triple time (3 beats per bar) reel, jig polka, march, etc. Understand the phrasing and where dancers need to speed up or slow down and any points that need emphasizing.
Know the formations and be able to demonstrate them.
Make sure sets are complete. In duple minor – 2 couple – longways sets ask dancers to take hands four from the top. Make sure lines are straight.
Maureen Morris
Australian & Traditional Bush Dance Society of South Australia
February 2016
