Other posts in this series:
- Independent students and the I-go You-go game (part 1: a class structure)
- Independent students and the I-go You-go game (part 2: I-go You-go)
- Independent students and the I-go You-go game (part 3: graduated challenges and application)
- Independent students and the I-go You-go game (part 4: Teaching ethos and goals)
The I-go, You-go game is a tap exercise we’ve appropriated for our lindy hop classes and use in lots of different ways. The game involves a caller/leader who claps or dances a step or rhythm, and is then followed by the rest of the group/a partner, who repeats back that same sequence in the same timing.
The game is fun because the follower repeats back the rhythm immediately after the leader, without pause, and the leader then begins a new rhythm immediately afterwards. So you’re dancing back to back, in time, with no gaps or time to stop and fuss.
The sequences can be a bar long, two bars, a phrase. Whatever works for you and your group. Obviously the shorter the easier (though a tap bar is a lot more complex than a lindy hop bar :D ). If we keep the tap roots of the exercise in mind, the little sequence should be repeated – so two bards (8 counts), where the sequence is repeated is the best option. For tap.
But the game is wonderful because its simplicity allows you to vary it to meet your students’ needs. Or your partner’s and your needs.
For tappers, this is a good intro to tap jams. For lindy hoppers, it’s a good intro to lindy hop – partnered jazz dancing.
We have been using this game as a core part of our beginner (and now higher level) lindy hop classes for about two months. It’s successful not only for students’ learning, but also for our own learning, as teachers and dancers. I like it because it embodies the call and response of lindy hop, and in fact, we now present lindy hop as ‘a long call and response game’ to our beginners. This is a nice way to get around the political issues of using ‘lead’ and ‘follow’ as titles. Though we still use those terms too :D
From a musical perspective, you can listen to a pair playing I-go, You-go, and hear it as an AABB phrase structure. And when you begin to think of the game like this, you can imagine a million other variations for teaching other lead/follow and musical skills. It’s also a MASSIVE amount of fun. Students enjoy it because it feels like fun, and the quick pace means you don’t dwell on mistakes or errors, you just move on immediately to the next challenge.
What rhythms do you use when you’re the teacher leading the whole group?
Depends on the point of the exercise. With the total beginners in this class, we wanted them to just use one rhythm (step step triple step). Why?
– To really make them feel comfortable with this as a time step (so comfortable they get bored and long for improvisation or something different).
– They learn to hear the difference between a rhythm clapped straight or swung.
– We wanted them to feel confident in the rhythm so they’d then experiment with shapes, direction, other parts of their body.
– The main point is that they really focus on their partner: a ‘win’ is where the person responding gets it ‘right’. So the caller understands that being very clear and deliberate is the point (ie you don’t try to trick your partner or be unnecessarily complex).
– I was fascinated to see that after starting this way, they incline their body towards their partner, then keep this orientation in closed/open. They really focus on their partner. So you don’t need to say things like ‘look at your partner’ or ‘check in with your partner to see how they’re going’. They’re already doing it.
– I learnt this from Rikard and Jenny in the Herräng teachers’ track, but I-go, You-go is a tap exercise. Except in tap you have to reproduce rhythm, pitch, specific part of the foot, AND shape.
– This game is also an exercise in mindfulness. So we begin with a big apple warm up (a fun, simpler I-go, You-go game, then consolidate and concentrate the same skills in the teacher led and then partnered versions. By the time they get to actual partner dancing, they are really using these skills intently. That gives them the ‘take care of your partner’ and ‘take care of the music’ elements of lindy hop. When you shift to closed position for gliding, you can say ‘we’re still playing the game. But now you can’t seethe whole of your partner. Use your sense of touch, and the shared sense of timing from the music’. It’s better not to actually articulate that stuff, but to just get them to learn by doing.
– This game also teaches you to learn-by-watching (eg “I’ll do it three times then you do it,”) so you don’t need to break stuff down or talk a lot when tackling specific moves.
The I-go, You-go game can also be played with the teacher using different rhythms (and you match complexity to skills). But you need to be constantly assessing their progress. Repeat something slower if they don’t get it. Do a straight version then a swing version if they’re flattening out the rhythm. Get more complex as they get better. Push them until it gets too hard for them to do successfully (so they recognise challenge), etc etc.
A lot of tap teachers teach whole classes like this. It is FANTASTIC fun. No talking, just call and response.
When they glide with rhythm, we do ask them to do their ‘basic’ rhythm (the one we worked on), but we don’t really mind if they do other stuff too. We basically want them to learn how it feels to move with deliberate rhythm across the floor attached to another person. Maintaining perfect rhythm is just a lovely extra.
