--- On Mon, 11/10/08, Mario <[EMAIL PROTECTED]> wrote:
> I was wondering if anyone in this forum could comment on
> similar experiences and maybe tell us something about the proceedures used at
> their's. ..all comments welcome
For the past 6 years we've had a real practica, not a "practilonga", on a day
separate from class day. It's become a model for the other 2 practicas in
town. We make the point that it is a working practica to encourage the
separation between work and play. We want milongas to be all play, so we've
set a completely different tone for practicas. Anyone at our practica comes
prepared for constructive feedback.
We are fortunate to use a spacious, professional dance studio with walls of
mirrors, barres, beautiful wooden floors, and a built-in sound system. As you
enter, you will commonly find people simply walking around the room, sometimes
in socks. Along the short wall of mirrors is where people can do their ochos
or molinete exercises. There is a ronda, but those who are working on
something specific usually find a spot in the middle. When they are ready to
actually dance, they join in the ronda.
Only good music is played and may or may not be in tandas. I try to use
different music at the practica than I do for a milonga. Because it is a
practica, I tend to use a little more Rodriguez or Canaro and less Troilo so
participants can concentrate more on body mechanics. Music is adjusted as
needed. If a workshop on milonga was just held, for example, I'll announce a
straight half-hour of milonga music, so people can practice the material fully.
As for as teaching goes, Sean and I approach people, as do two other teachers.
Beginning students get their turn first. I may not work with them personally,
but I watch to make sure that they get attention from one of us teachers.
Novices also come a lot and we'll teach them the basic walk and embrace. For
intermediates and above, I usually let them do their own thing, unless I see
something glaring or if they've asked me something. I only have time to check
on them once every few weeks.
When I do work with someone, I try to spend at least 15 minutes of quality time
with them. Sometimes it takes half-an-hour. I trust my more experienced
students to help with the new students. And eventually, those new students
will become the experienced students, and so forth. On occasion I'll stop the
music and address everyone about a particular problem or issue. When the music
ends, I'll make any announcements of up coming events.
For me practicas are important in knowing what's happening in the community,
moreso than the milongas. Because it's at the practicas where people are freer
to talk, make mistakes, and ask questions. No excuses necessary.
Trini de Pittsburgh
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