The mark of a good teacher?

[Gadget]

There have been a few threads recently rating teachers and saying that the ability to teach and/or entertain is vital, but it got me thinking: Are there any specific things that are the mark of a good teacher?

There are a few things I have noticed, but these have only picked up on by experiencing someone else teaching (or more precisely: multiple someone's teaching) and comparing them to my regular teacher.

Here's my list:

• Counting in a song/routine - I consider myself fortunate in the fact that the teacher at my local venue was a music teacher in the muggle world: The rhythm and counts through the lessons are even and in time. The 5-6-7-8 count in continues in the same tempo into the routine. When doing the routine "to music", it's always on the right count with the track. If a particular area of a move goes over more counts, its highlighted. Intermediate moves are counted out over X counts...
  
  
• Calling the moves - The timing of moves being called as the routine is being performed is done on the (eg)return before the move so that folks have a chance to recall it before actually going into it. Movements are called to the count normally one word per count and used as a check to make sure you are in the position you should be. (only difference being catching hands - normally given with enough time to work out which it is rather than cursing because it's the wrong one)
  
  
• Demo as danced as taught - Only when I started nit-picking and watching closely did I pick up any deviation in how a move was demonstrated from stage and how it was taught; even then, any difference would be in the demo, not the teacher {with the possible exception of adding in triples instead of doubles }. Even "style" points with leg sweeps, looking, wavy arms, ... are given as optional plugins.
  Another point is that the Demo is always danced as it would be danced in freestyle; ie focused on partner and not watching the class all the time.
  
  
• Keeping pace with the class - While moves are being demonstrated to follow and broken down, the teacher is always aware of where the class is in the move and may stop to go over the same fragment again if some folk are having difficulty keeping up (especially true of the first lead into the move... and in particular the correct hand to use/catch with )
  In a similar manor, if the class seems to all get something relatively quickly, it's not laboured on or repeated too often.
  
  
• Having the class keep pace - There are several dancers who rush ahead with moves because they (think they) know them. {} Keeping them in check and getting them to match the pace of the teacher I think must be one of the hardest things. One of the ways I've noticed this done is by halting at a specific point to explain something before moving on. I also think that my teacher(s) may be the only one who actually teaches the "Lower and step back" as a part of the move/return - inserting a pause (of variable length) between "return" and "lower and step back". Lots of good things about this practice.
  
  
• knowledge of the moves - OK, you need to know the moves before you teach them, but experience and practice (and sometimes class feedback) will show particular areas of a move that may be problematic. Not only identifying common areas, but having the knowledge to pin-point why and remedy the fault.
  
  
• Approachable & findable - Making a point of dancing with the new folk and beginners, staying until the DJ packs up, knowing the names of regulars and generally being there to answer questions and give feedback to.
  
  
• Seen to enjoy the dancing/music - Everyone dances to the music and enjoys dancing, but having the teacher smile and really look like they enjoy it from the stage makes a really good impact: the lighting up of the face as the DJ plays a favourite to demo to (or laughter as they get the DJ's humour ). Boogieing as the dancers move round 23 ladies.
  
  
• Not singling out anyone - If someone is not getting something, it's treated as if the whole class is not getting it; no isolation or embarrassment {"that would be the other left"} Praise given to the class as a whole rather than to a specific individual who was noticed doing something well. If a particular point is noted then it's put forward as "some of you are having difficulty with..."
  
  
• Brass neck - being able to stand on stage and criticise or offer advice on traditionally "taboo" subjects like personal hygiene or slease without getting embarrassed. (or at least letting the embarrassment show/affect their teaching)
  
  
• Silencing/focusing the class - Once folk move round, it's common to have a brief "hi, how's you doing? good week?" type of conversation - with lots of bodies this can turn into a buzz of noise that the teacher can't be heard over. Various techniques have been used to quell this and continue teaching:
  Start the count before everyone is partnered up. Describing a particular technical point or timing issue. 'Sushing'. Gesticulations. Asking nicely. Shouting. Talking softly. Threatening. Pleading. Saying "Oi- Gadget, shut it!" ...
  
  
• Moving people round - I think it must be an art form judging how much time you get with the same partner (or how long the lady's have to sit it out). I think it's very easy to forget about them and have them wait for a long time; at least I have heard more grumblings about the length of time sitting out than being moved on rapidly.
  I also like the fact that the teachers up here make sure that all the ladies have done one particular thing before moving onto the next 'phase': Much better than having a move walked through & taught, then people moved and then the move done to music where the ladies get thrown in without any practice.
  I've also seen multiple ways of handling large numbers of extra people; when to use these different formats and get the class to understand them is another act of art rather than science IMHO.
  
  
• Mix of Takling & Demoing - I've seen it both ways: too much time standing round listening and too much showing without explination.
  The balance should be enough to show clearly and not have the dancers standing round too long waiting for something to be explained. I think that talking as demoing and having multiple short "interuptions" is much better than explaining everything in one go.
  I also like it when the routine is 'broken' to allow for a mini excercise to demonstrate a point or get people to understand the move/movement/timing better.

The actual ability to teach and entertain, although used in conjunction with the above, I consider separate & more to do with communication.

[MartinHarper]

Originally Posted by Gadget

The timing of moves being called as the routine is being performed is done on the (eg)return before the move so that folks have a chance to recall it before actually going into it.

One of my local teachers has a frustrating habit of calling out another move for us to do right at the end of the last return in the routine, and of course with zero warning none of us have a hope in hell of doing it. That's just annoying.

Originally Posted by Gadget

I also think that my teacher(s) may be the only one who actually teaches the "Lower and step back" as a part of the move/return - inserting a pause (of variable length) between "return" and "lower and step back". Lots of good things about this practice.

Andy of CerocSB does this. I do find it helpful, in part because the lowering ends up acting as a lead for the girl to take a step back, because of the geometry of it all, so it's kinda like "stealth teaching" of lead/follow. I find I can only really dance like this to slower tracks, or with a partner who spins like a top, so I'm glad that there's some variety amongst local MJ teachers on this point.

Frustratingly, when this seeps into my Lindy, it becomes a bad habit, and the teachers there have to correct it. Grr.

Originally Posted by Gadget

Not singling out anyone

Meh. I know most people prefer this, but I like my teachers to be a bit more straight-forward. Yuval in particular struck me as having a refreshingly direct style, without becoming mean or unpleasant.

Originally Posted by Gadget

Silencing/focusing the class

I know a few teachers that have a very effective method of doing this - and one that you've not mentioned. They say things that are worth listening to.

Originally Posted by Gadget

Mix of Talking & Demoing

Almost invariably, MJ teachers talk too much for my liking - or perhaps they talk too much about the wrong things. But sure, some folks are worse than others.

One important skill that is common to all non-crap teachers is the ability to teach people who are slow learners without getting frustrated, patronising, insulting, etc. That's a skill I very much respect.

[Andreas]

Originally Posted by Gadget

lots and plenty

Excellent list. You clearly have too much time up your sleeve

[Feelingpink]

... and yet I'd be happy to give up all of Gadget's 'good' points for someone who can inspire and teach me things that no-one else can. You can have perfectly average teacher who covers all of the points he noted and the chances are I'd rather stay in with a bottle of wine and watch the 2005 Soap Awards than go to their class.

[Stuart M]

I would add that being able to identify and work with a good demo partner is also an important attribute for a teacher.

Of course, what constitutes a good demo would be a different thread.

[Zuhal]

I would like to have a teacher who understood the answer to their Question.

"Are you having trouble with any of that"?

ME Can you just explain the bit about tension again
(The purpose being to help my partner to follow)

Teacher delivers Vitriol at me. "I have explained that 3 times tonight" Grudgingly explains lead and follow again to me.

ME and partner test new found knowledge and partner successful reacts to each lead by collapsing the tension and performing a move of her own design and timing

Then wait for it, Teacher says "Good, That's much better"

Zuhal

[El Salsero Gringo]

Originally Posted by Stuart M

{snip}Of course, what constitutes a good demo would be a different thread.

... and one that I'd like to read.

[Petal]

Originally Posted by Zuhal

I would like to have a teacher who understood the answer to their Question.

"Are you having trouble with any of that"?

ME Can you just explain the bit about tension again
(The purpose being to help my partner to follow)

Teacher delivers Vitriol at me. "I have explained that 3 times tonight" Grudgingly explains lead and follow again to me.

The teacher at the perth class, asks during the class if there are any questions and is always happy to go over moves with anyone after the class has finished.

[MartinHarper]

Originally Posted by Petal

The teacher [is] always happy to go over moves with anyone after the class has finished.

This is fantastic in theory, but in practice good teachers are hard to get hold of after the class, as they're simply too busy. Lots of students, only one teacher.

[El Salsero Gringo]

Originally Posted by MartinHarper

This is fantastic in theory, but in practice good teachers are hard to get hold of after the class, as they're simply too busy. Lots of students, only one teacher.

Don't forget, you can always ask the demonstrator as well.

[Gadget]

Originally Posted by Andreas

Excellent list. You clearly have too much time up your sleeve

I had a week or so without posting; time to think rather than just blurt as is my usual want

[Gadget]

I posted this May '05: a few more teachers and classes, and there are a couple more things I would to add to the above list;

• Alternating the side leads are on - Or basically not returning to the same start position - if you end up where the follower was, then that's where you stay for the next bit.
  It may be slightly confusing to start with, but I think it helps when the move comes to be led in freestyle. (You can also see the same move demo'd from both sides)
  
  
• Using alternative moving on methods - Avoiding the dreaded "twenty six ladies round"; I've seen several ways of eleviating the queues, and once the class "gets it" (whatever method used) changing partners generally becomes much faster.
  eg. interspaced, smaller numbers more frequently, holding areas for each row, ...
  {I know I've mentioned this above, but that was more timeing rather than method}
  
  
• Not playing 'statues' - Holding a move on a count while something is delved into in greater depth. Moves are designed to flow from point to point - this practice seems to enforce the 'stop-start' jearky movements you get when counting through a move.
  Finish that move, demo and show what you want, then just use a breif prompt when walking through it again. Moves flow better and you don't get dancers tensing up from holding a pose for so long.
  
  
• Not afraid to get off the stage - I've only seen a couple of teachers do this, and I thought it was a good idea: ocasionally when stepping through a move already learned, they would come down and join in the class/rotation while going through a move a couple of times.
  Another 'good' related practice I've seen applied now & again is simply calling the moves while watching from stage rather than demoing during some of the step-throughs. This is used to emphisise that you should be looking at your partner, not the stage.
  
  
• Teaching floorcraft/positioning - I am positive that teaching orientation with a move and the path that the lead/follower should travel from A to B is a good thing. However I'm not convinced that teaching it by looking at lines on the floor is a good thing: this practice encourages dancers to look down and at their feet when dancing - we don't need any more encouragement to do that!
  
  
• Dual teachers - Only a few teacher/demo couples are truley 'duel' teachers: it's very nice to have the lead teacher explaing the lead part and the follower teacher giving some advice on the following part. I think the class takes more in and each can focus on their roles better than having the one teacher explain both roles.

Anyone got any more?

[mrs_warwick]

Originally Posted by Gadget

[*]Approachable & findable - Making a point of dancing with the new folk and beginners, staying until the DJ packs up, knowing the names of regulars and generally being there to answer questions and give feedback to.

I've only had two teachers who did this; Simon White (JiveBug as was) and Katy Baxter (Rebel Roc). None of the 6 Ceroc teachers in whose classes I've danced, have made a point of working the floor. The current teacher will dance if asked, but you have to be prepared to approach him when he is chatting to the DJ, or in a huddle with his friends. A lot of beginners and intermediates won't do this.