Callers, While I was looking for some information on "teaching techniques" that might be applied in dance calling I was struck by how some trends in education parallel my own approach to calling contras at open, public contra dances. As a result I was moved to write the following article.
The implications of this could change how we, as callers, "frame" the regular, public contra dance events that form the core of this dance tradition. I would love to hear your comments and reactions to these ideas. (I can also post this article on-line if anyone would fine that more useful.) Enjoy. Greg McKenzie ********** ** *Contra Dance as Active Group Learning: **It’s a “Walk-Through” not a “Talk-Through”* *By Greg McKenzie* * * Dance callers—particularly when calling at open, public, contra dances—might benefit from an overview of one of the major trends in education over the last 30 years. In the field of education there has been a steady and growing movement away from the classic model of a “teacher”, “professor”, or “instructor” who presents material to an assembled “class” of students who watch and listen passively while taking notes. In this classic model the only activity asked of “students” was asking questions of the instructor. This model is now more often described as “passive instruction.” It has its place, to be sure, but in all forms of education from graduate work down to first grade it has been largely supplanted by “active” forms of instruction including individual research (either in the library, in the “real world” or on the internet), group and individual presentations, group exercises, and other forms of structured group learning activities. It has been demonstrated that when students are actively engaged in the learning process they take responsibility, they learn more, and the learning process is more enjoyable and empowering. In the field of education this movement has required a shifting of the basic vocabulary of education. Instead of speaking about the process of “teaching” the focus is now on “learning” and this has been a pivotal shift. Our goal, after all, is to achieve learning for the student. “Teaching” is really only one means to that end. The role of the “instructor” has shifted to become more of a learning facilitator or learning manager. Learning becomes a collaborative process where the “students” become active leaders and learn from each other. The movement to active forms of learning is one of the major changes in education during our lifetime. It has changed the field of education and improved the outcomes significantly. Moreover it has raised the confidence of young people who have learned that they are active participants in, not only their own education, but also the education of their peers, their families, and the larger society. This has not been a painless process. Many “instructors,” who have honed their presentation skills, have had to re-think their role and learn to turn control of the learning process over to the students. The accomplished lecturer or presenter must learn to be quiet, observe carefully, and facilitate a process in which they take a much less prominent role. But educators have learned that, when students are given control over their own learning process, they tend to take responsibility for their education and are much more invested in the outcomes. This movement has permeated the field of education—and that includes dance instruction. To some degree, the use of group learning is common in most dance instruction. Because it involves many psychomotor skills, dance is a perfect candidate for structured, active group learning. In most social dance we can see this principle in effect whenever the instructor stops the music and says “Gents please move forward to the next lady. Let’s try it again.” This is a form of facilitated group learning. Consider the “walk-through” at contra dances in this context. In the modern contra dance tradition the walk-through is an ideal structure for putting regular contra dancers into a leadership position which empowers them to act as “hosts” at open, public contra dances. Viewed from this frame, the caller’s role is to facilitate a process where the knowledge of the more experienced contra dancers is transferred to the first-time contra dancers in a facilitated group learning process. This is a different way of framing the entire process wherein the tradition of contra dance is transferred from a community of contra dance enthusiasts to newcomers at open public dances. For callers there are a few points that need to be made: - This process of active group learning takes place in all dance traditions to a certain degree, but it is most prevalent at open, public events where passive learning is likely to act as a distraction from the social purpose of the event. It is at public social events where this kind of group dance learning is most appropriate, and most effective. The “walk-through” at contra dances incorporates this kind of active learning into a predictable ritual that the regular attendees are both familiar and comfortable with. - The active group learning process is most effective when newcomers are well integrated into the community of regular attendees. This is best accomplished with a very brief orientation in which newcomers are made aware of the tradition of dancing with more experienced dancers on their first night. This orientation process should have both an explicit, formal introduction and an implicit component making it absolutely clear to first-timers that this is the normal and preferred process. - Active and passive learning cannot occur simultaneously. It is the caller’s job to facilitate learning with clear transitions between brief periods of passive learning and periods of active group learning, as well as with transitions to verbal socializing and other activities. The caller facilitates these transitions and must be able to “step back” and allow the regulars to play their roles of leaders and hosts. This involves a high level of trust, by the caller, in the regular dancers and the ceding of responsibility to the regulars, allowing them to proceed without distraction or intervention. Consequently, this form of learning is most effective if, during the walk-through, the caller limits their verbal information to precise and timely prompts using as few words as possible. My own experience is that contra dance enthusiasts almost universally accept the role of “host” or “leader” with avidity and gratitude. The walk-through is the key learning activity at open, public contra dances and it puts the regulars into a position of authority and responsibility that makes them feel more engaged in the process of welcoming first-timers and sharing the excitement of contra dance with them as they are “swept into” the fun. The process of active group learning continues after the walk-through and during the rest of the dance, and that includes after the caller stops prompting the dance. Active group learning is not only fun for regulars it is also, by far, the most effective way to learn the psychomotor skills involved in social dance. A wise caller recognizes that the most important learning takes place when the caller is NOT speaking. Recognition of the value of active learning on the dance floor has many implications for how contra dance callers may want to alter their teaching and calling style. When the walk-through is framed as a group learning activity some common caller practices may need revision. - Precision in how the calls are structured becomes even more important. When calls are structured using only a few, clear words it allows learning dancers to focus on the lead of their more experienced partner and attend to the physical connection and the variety of leads from different dancers. - Using the most effective word order also becomes much more critical. The regulars need to know what is happening *next* so that they can anticipate and lead their partner in a timely manner. Poorly structured calls using less effective word order have the same effect as “late” calls because the leader is often not told what direction to face until the end of the call. This is frustrating for your “hosts” because they may not have memorized the dance and that moment of hesitation—while waiting for the critical information—lowers their confidence level. (It is this kind of casual, un-structured calling, that perpetuates the myth that dancing with first-timers is *not* fun.) It is the job of the caller to make sure that dancing with first-timers is fun. The recognition of the value of active learning could influence your entire approach to calling. Some of the calling styles and techniques, such as patter calling and singing squares, for example may not be as adaptable to this more active group learning process. When calling at open, public social dances, all callers should consider how their techniques impact the active group learning process. Some may be best avoided, particularly early in the evening, or adapted to fit the needs of active learners. Some styles might not be appropriate for open, public dances and would be best reserved for dances intended for dance enthusiasts only, where newcomers are not likely to attend. Changing the structure of your calls to be more precise, and to use effective word order will require some effort. Writing your calls on your dance cards in the most effective word order with the timing indicated for each call is highly recommended. For callers who have relied on memorization of all of their dances this may be a good time to take the plunge and learn how to use dance cards effectively on stage when calling. Designing and using dance cards effectively is a skill and a technique that must be learned and practiced like any other skill. Dance cards, however, can give you improved flexibility over having to re-memorize all of your dances whenever your calling style evolves, or changes to meet the needs of different groups. The traditional “barn-raising” in rural America is a good metaphor for how our dance traditions are passed on through generations. At a barn-raising the community comes together in a traditional gathering where the seasoned “experts” in building mentor and teach young helpers in the arts of carpentry, joinery, planning, and group organizing. There are many “leaders” at a barn-raising and decisions are often made by groups in a collaborative process. This encourages ownership of the tradition itself. And as new materials, new tools, new environmental conditions, and even new purposes for the barn come into being the barn-raising tradition evolves to adapt. This is a model we can follow for how our dance traditions develop and evolve over time. Many people are drawn to the art of dance calling precisely because they love to teach others. We should all remember that this joy of teaching is felt by most of us, and callers need to be willing to allow others to share in the fun of passing along a tradition they are passionate about to others. This is one area where contras can stand out; as a place where dance enthusiasts can gather to share their passion for social dance with newcomers. Callers who recognize that joy of sharing the tradition will work to make sure that the experience of partnering with newcomers is fun. Creating space in the evening for the regular dancers to lead their novice partners through the dance is one of the greatest strengths of contra dance. Callers need to remember that social learning is a part of the process and the caller who is skilled at “stepping back” and allowing the regulars to instructively, but silently, lead newcomers will be recognized for that skill. The walk-through, done with a minimum of precise, clear, and timely prompts, is one of the most effective mechanisms for allowing this form of community learning to occur—surpassed only by contras danced to music after the caller has stopped prompting. The caller’s silence is a statement of confidence in this process that empowers all of the dancers. We should remember that the most effective dance instructor in the hall, is the hall itself. The best callers will use the knowledge and skill of the hall to sweep-in first-timers with an exciting and joyful process of collaborative, active learning. That process requires that the caller learns how to “step back” and allow the hall to do what it does best. In summary: Techniques of active, group learning are extremely effective and are particularly well-suited to social dance instruction. Active learning builds the confidence of learners, produces a positive impression of other dancers as being more friendly and helpful, and gives the dancers in the tradition as sense of “ownership” of the tradition. It is also more fun for everyone. The “walk-through” at an open, public contra dance is one form of active learning that has been tried and developed over generations. As the contra dance tradition evolves, however, we need to be mindful of how the principles of active learning can be incorporated even more effectively into this tradition. “Does Active Learning Work? A Review of the Research” by Michael Prince, http://www4.ncsu.edu/unity/lockers/users/f/felder/public/Papers/Prince_AL.pdf
