How I describe connection in lindy hop

Someone on the facey asked ‘how do you describe/explain connection?’ and this is what I said.

I don’t often talk about connection in class. I usually use the word to include a whole bunch of stuff:

  • the human/social connection between partners (mutual respect and collaboration).
  • the physical contact (ie where we are actually touching each other)
  • the rhythmic connection (ie our shared relationship to the music, our shared sense of groove v two people just randomly grooving independently).

ie my three ‘rules’: take care of your partner, take care of the music, take care of yourself.

But my favourite description is: We are a team, and if partner X does something cool, it’s a win for both of us in the team. I also like the Jenny/Rikard description of lindy hop as a rally car: the lead is reading the map, and pointing out that there is a turn up ahead, but the follow decides whether to take the turn, how fast to turn, whether to stop and reverse, etc etc etc.

I don’t talk about all the technical body stuff in class if I can help it, as a one hour dance class is not the place to learn about turning on your pelvic floor – we go to pilates for that.

But if I want to improve the way two dancers are ‘connecting’, I will ask them to do a few things that have effects on their biomechanics:

– Look at each other (because the gaze actually affects the way we hold our heads on our necks, how we orient our torsos, and all the way to our feet. eg when the lead bows to the follow on the beginning of a swing out, if the lead looks at the follow, they won’t collapse their head and shoulders by looking at the ground, and they won’t create a strange off-set connection by looking to their right shoulder).

– Ask them to observe how they are touching their partner, and what messages this contact sends their partner (eg I ask the follows to observe their left hand on the lead’s shoulder – are the fingers making a claw? what message does that send their partner?) I don’t ask them to change what they’re doing, but to observe their own bodies. There’s nothing at all wrong with telling your partner you are freaking out by having your fingers clench into a claw on their shoulder; it’s important to communicate like this.* I also ask them to observe _themselves_ rather than their partner at first, because follows are often pressed to think of their bodies as a conduit for the lead’s ‘vision’ of a move, erasing their own sense of self and volition.

– Find a shared sense of groove with the music. So first we may do some grooving alone (usually with purpose in a game where groove is a side effect, not the stated goal), then we work on dancing _together_ and finding a shared sense of groove, where we don’t sacrifice our own sense of timing or rhythm, but we don’t ignore our partner’s. One of the consequences of this approach is that they really ‘listen’ to each other, using their sense of touch, and also their visual sense.

– Looking at each other, and doing lots of call and response work. I think that a lot of hardcore technical classes neglect the sense of sight. But we use our eyes for so much communication, it’s ridiculous to abandon it. And also we are social humans use rely on body cues and nonverbal visual communication all the time. Lindy hop is about visual communication with a partner too.
So I am quite against exercises where you close your eyes.

*This is why I am impatient with technical discussions of ‘connection’ that encourage us to adopt a ‘perfect’ physical connection via biomechanics. A ‘perfect’ connection prioritises ‘perfect’ leading and following, and suggests that a perfectly executed move is the end goal. I would much rather people reminded themselves that they know how to communicate with their bodies, and to trust their own physical reactions and accept them. So I want to see dancers smiling or laughing or frowning or jiggling with excitement or stopping dead or whatevs, _not_ maintaining a ‘perfect’ connection at all costs.

Gendered language in class

I’m ok with talking about gender and using gendered pronouns in class. I just like to be sure I’m not just using the same two boring pronouns all the time, and that I’m using people’s preferred pronouns.

I’m not ok with gendering leading and following, or skills related to leading and following.

This is partly why I’m not ok with some elements of the ambidance movement: I don’t want to do away with all gender.
But I do want to do away with the essentialist coupling of skills and ideas with two gender ‘norms’.

How then do I work to deconstruct gender in lindy hop when I’m teaching?

1. Use the words ‘leads’ and ‘follows’ (or the role name, and I’m with Dan when it comes to avoiding leader/follower) rather than ‘ladies and gentlemen’, ‘men and women’, ‘she/her/he/him’ etc etc.

2. Use people’s actual names rather than the role. It’s nicer generally, but it also encourages us to think of people as individuals, not roles. I try to use my teaching partner’s name.

3. Rather than talking about or around your teaching partner (eg “The follow will do this,”) speak to your teaching partner, asking them to describe what they’re doing (eg “How do you know I’m asking you to move forward, Alice?”).

Then there are trickier, less obvious things.
1. Always ask permission before you touch someone. It’s quite common for leaders to simply ‘grab’ a follow in class/their partner to demonstrate on them as though they were an object. I always try to ask them if I can touch/demonstrate. And I always apologise if I’ve just thoughtlessly grabbed them.
I started doing this after we started asking students to always introduce themselves and ask someone to dance before touching a new partner. It rubbed off on me :D
This stops us treating our partners like objects/just ‘the follower’. And this issue happens more with leaders grabbing follows than vice versa.

2. Conceptualising lindy hop as something other than ‘leader says, follow does’.
We are currently using ‘call and response’ and both partners can do it. We also use ‘leader invites follow to do X, follow decides whether to do X, how fast to do X,’ etc etc etc.

3. Don’t use words that position follows as objects.
eg never using words like ‘push’ to describe what leads do: ‘the leader pushes the follow’. No. This a) not technically accurate, and b) disrespectful.

4. Always try to talk about and think about your partner as a human with feelings and emotions.
When we get really technical, it’s easy to reduce our partner to an object force/momentum happens to, or a subject who generates force/momentum. We are real people with real feelings. So while physics is at work, our feelings and emotions are much more important. So we use language that describes what’s happening from that POV first. In nerd terms, this means using ‘external cues’ rather than ‘internal cues’.
eg. I ask Alice if she’d like to go to the snack table, then I take her hand and go with her to the snack table. vs ‘I hold her hand with my fingers in X position, then I engage my core, prepare, and then lift my left foot, swing it back 20*, place it back behind me, and then she engages her core and activates her frame…..’
The technical jargon encourages us to talk about our bodies and partners as technical objects, not as real live humans. It also slows down learning :D

5. Speak and act as though your partner and other dancers have opinions, and that these opinions may differ from yours.
We often try to hide the way we ‘make the sausages’, but it’s more useful for learners to see us discuss things, perhaps disagree, share different ideas. So ask your partner and students what they think and feel. Allow yourself to learn from your students and be surprised and delighted by this new information.

-> all this stuff is about deconstructing not just a gender binary, but a hierarchy of gendered power with straight white bro at the top.

And what of historical accuracy in all this?
I think it’s important to talk about gender in a historical context when we talk about lindy hop. So while a gender neutral pronoun is very much something white, middle class Australian teachers are experimenting with, that’s not how black dancers might have spoken of each other in the 30s.

Again, though, I like to take care about generalising. While some dancers today would have us believe that the 30s were a time of rigid gender norms, that’s not entirely true:
– There were women leads and men follows (and every gender ID ever) in the olden days,
– There were queer dancers and musicians (I’m currently reading about queer culture in NY in the 20s-40s… helllooooo genderflex ID and jazz dance!) and genderflex lindy hoppers fucking up the patriarchy then. Lester Young, anyone?
– Some of the most supportive teachers I’ve had have been black OGs, who’ve used gender neutral language and openly said they support women leads/male follows/genderflex dance IDs.

So when we talk about ‘ungendering’ lindy hop, that’s perhaps not helpful. It’s more that I want to widen my understanding of gender (and sexuality) in dance to more than just straight men leading and straight women following. The world is huge, and jazz asks us to improvise and innovate.

I have written about this many times before:

Selling dance products by promoting self-doubt

I see this ad about a bit on fb, and it makes me so sad.

“If you want to improve your dancing, you need to know where your weak points are. If you don’t take the time to evaluate your skills, then you might not be advancing as fast as you could.”

This is classic provoking anxiety to stimulate consumption advertising. Make people doubt themselves, feel bad, then offer them a solution.

This is everything I don’t want to be as a teacher.
Why not take the time to remind yourself that you enjoy dancing, that you have strength and skills and abilities? We know that happy, confident students learn faster and more thoroughly. But we also know that anxious, self-doubting consumers spend more money on luxury items to boost their self esteem.

Boo to this. Boo.

Moving away from gender essentialism in teaching talk

In a recent facebook talk about teaching and gender in lindy hop we took the next few steps past not using gendered pronouns to describe leading and following. We then went on to look at how people gender particular dance styles or movements in essentialist ways.
Here are some comments from that discussion.

I’ve had teachers ostensibly ok with non-binary/non-bro peeps leading, then unable to even look at me when we split into lead/follow groups in class.
But there are definitely teachers around who are good at dealing with their own errors and then fixing them. eg Georgia and Kieran.
I am definitely on board with the goals of uncoupling leading and following from gendered archetypes. I’m personally not interested in switching roles mid-dance, but I do lead and follow, and think of the two roles as functioning in very different ways.

I was interested at a recent weekend workshop to hear/see Kieran talking about ‘attacking’ a rhythm to make the lead/follow element work. This is often a word associated with masculine archetypes. But he was asking leads _and_ follows to try this. Which effectively asks all peeps to try on this masculinised characteristic, ‘even’ while following. Which then reconstructs following as involving stuff outside archetypal femininity.
Even more interestingly, Georgia asked us at later point while we were playing a game where you copy your partner’smovements/rhythms without touching, to ‘not hesitate’. She asked not to pause and worry about being right, but to continue through.
Same concept as with Kieran’s comments, but different language: confidence, continuing despite lacking certainty. This is particularly important for women, who are trained to self-doubt or try desperately to ‘please’ their partner.

I think this approach – describing one skill in a range of ways – helps deconstruct the gender norms at work in our ideas about leading and following.

And I think ethnicity and class are key in this. Eg white, m/c, younger women are trained to self-doubt and not ‘attack’ movements. So we might also look at the dancing of Anne whatsit from Whitey’s as an example of a woman who really attacked rhythms.

Alex asked:

Have you seen the opposite? Teachers asking all students to try on feminized characteristics? With anything like the same frequency? I’m not sure I’ve ever considered this topic in this context, but I’m aware of the phenomenon of attempting to address gender inequity simply by offering masculinity to women and girls but not doing the same with femininity and men and boys.

And I replied:

yerp, marie n’diaye talked sbout it explicitly in the chirus line stream at herrang last year: asking people try ‘masc’ and ‘fem’ styling.

Other than Marie, nope. I know lots of men/non-woman-IDing peeps who dance femme, but no teachers asking all students to try.
Ask men to dance femme? Their penises would fall off, right?

Alex then made some more really good points:

And I guess that wasn’t quite what I was asking. If I understand correctly, the teacher you referenced above didn’t ask students explicitly to try something masculine, but he asked students to attack the rhythm and you picked up on the gender association. My guess is that it’s more common for teachers to ask students to so things or adopt characteristics associated with masculinity (attack the rhythm, be assertive, take over) than it is to ask them explicitly to “do this masc.” So I’m wondering about the presence and frequency of calls for students to take on feminine characteristics or engage in feminine activities, rather than being asked to “do this femme.”

Now that I’m thinking of it (and talking with Samantha) we do this a little. Telling our students to pretend that their partner is a terrified newbie and to take care of them is an example. I’d like to think about this more and see where else we can do this. For instance, I see plenty of people attack the rhythm. I’d like to see them treat it gentle more. Nurture the rhythm.

And like… How far can we take this? Gestate the dance. We’re just out of the intro, if you try to birth it now it won’t make it. And don’t feel like it needs to be big. You’ll tear.

Then Magnus chimed in with a good comment:

Yes, Marie N’diaye showed us examples of dancing “feminine” and “masculine”, and we tried dancing the different styles. She also talked about how some famous dancers back in the day would dance feminine or masculine opposite of gender, although they wouldn’t call it that (Cab Calloway for instance).

To me, I don’t connect these styles with feminine or masculine, these words are just cultural constructs. But it feels good to dance in a style that some people may deem feminine.

I think this is what’s key for me: these characteristics are just characteristics or qualities. They only become ‘masculinised’ or ‘feminised’ in a wester cultural setting that uses gender binaries.
I keep thinking about other cultures where there are more than two gender roles, and how these variations offer us so much more creative room than a boring old gender binary.

I also agree, Alex, that we tend to see masculinised qualities prioritised/valued in an anglo-celtic western culture. That’s pretty much the definition of patriarchy right there.

Other ways of describing stuff that isn’t masculinised that I’ve heard teachers used:

  • Lennart has described having clear rhythm as ‘eating the rhythm’. With our students, we say “eat the rhythm, swallow it down, and now it is in your belly, right in your belly.” It’s a very useful image, because it also encourages groundedness, a physical vs cerebral understanding of rhythm, an idea that the core/our pelvis is the birthplace of rhythm (how’s that for gynocentrism? :D ) and is just nice.
  • Rikard and Jenny and peeps like Ramona talk about it as ‘taking care of the rhythm’, and Lennart talks about ‘taking care of the music’. I like to say ‘make friends with the music’ and ‘take care of the rhythm’. This idea of ‘taking care’ and congeniality is really nice because it’s a nice contrast to that ‘attack the rhythm’ model. _But_ the attack the rhythm image does give you an impetus and energy that ‘take care’ does not.
  • I like to talk about dancing every rhythm or every step as though I’m teaching it to my partner, or demonstrating it so well that they can pick it up and then dance/steal it too. This of course grew from my own teaching guiding my dance practice, but we found games like i-go, you-go reinforced this model. If you are dancing as clearly as you can, as though you are showing someone, you dance really clearly, _and_ you connect with a partner. This makes dancing a way of connecting with a human (reciprocity) rather than just artistic self-expression (individualism).

I’d be super curious and really excited to see how people from different cultures describe and imagine dancing clear rhythms. I mean, the whole shift from ‘doing footwork’ or ‘good technique’ or ‘clarity of movement’ TO talk about rhythm, call-and-response, etc etc, in American/Anglo/Australian/Canadian lindy hop discourse is evidence of a clear ideological shift. A shift away from a very antiseptic lindy-as-science, towards lindy-as-art, lindy-as-social-connection. I know that it’s very tempting to see this shift as proof of a shift towards positioning lindy hop as vernacular dance (again), but I’m not convinced. All this _talk_ about dancing in class is simply another way of doing what middle class, white capitalism has been doing with dance for a century or more: commodifying dance with particular words and discourse.

Clicker training and positive reinforcement

I’ve recently been pushing to teach lindy hop using only positive reinforcement.
When the students are doing an ‘experiment with these things please’ session in class (and they do a lot of this independent, self-guided learning in class), we used to watch until we saw common errors or patterns of messed up movement. Then we’d stop and correct the students, saying things like “Instead of doing this, do that.” I had been advised by a teacher friend (Shane McCarthy in Perth) never to ‘correct’ a student in class in front of the group because it’s embarrassing and trashes their morale. But it’s taken me until just this year to realise that I never need to correct a student again.

‘Correction’ is another word for ‘telling students they’re doing things wrong, that they’re wrong.’ And this is shit for morale. Both students’ and ours. Because if you’re going to tell someone they suck, you feel terrible. Unless you are a somewhat shit person. I used to go home from class worried that I’d said the wrong thing, or taught them something bullshit.
Until I noticed that when I said, “Oh, you know what I saw that I really liked? ….” and then pointed out where someone specific had done something really nice, or in general when I saw something I liked, the students felt great, and I felt wonderful.

In our teaching pairs, we used to have a rule for reducing the amount of time we spent teaching: say one thing for follows, and one thing for leads. Thing is, these things were almost always ‘tips’ or corrections. So we were effectively making a rule: ‘say one thing to trash the follows, then one thing to trash the leads.’ Boo!
But then we started encouraging each other to say “Something that I saw that I liked…” And YES. The world got really really good. Yay!

So this year I made a rule for myself, which I’ve then asked all my teaching partners to do when the teach with me: if you want to guide students towards a particular behaviour, wait until you see a student or students doing that behaviour (or on the road to that behaviour), and then say, “I saw some people doing X. It was really nice.” You be very specific about what you saw, and if you think that student can handle the attention, name them: “I saw X and Y dancing away, then get into a tangle, and you know what they did? X said, “Can we stop for a tick so I can try again?’ And they stopped and chilled for a second, grooved til they found their timing, then they started it again. That was a really cool way of dealing with a mess.” If you see a bunch of people doing a thing, say that: “I saw a bunch of people doing X and I loved it.”

Or if you see ALL of them doing something – tell them! I tend to gush on this one: “Oh! That looked so nice and _grooving_ because you all took a bit of time to make friends with the music before you got going, and then you kept that groove!” I also like to point out how people have managed their own mistakes: “I really liked the way you guys started dancing, and it was nice, but a bit square” [demonstrate timing], “And then the music started, you all heard the musicians, and you all changed your dancing so it swung” [demonstrate swinging timing].

So now my rule is: no ‘corrections’, no ‘tips’. Just positive affirmations. If you don’t see the behaviour you need or want to see, wait. Because they’ll get there. If they don’t, then you need to show them again. And that’s ok.
Key to this is that you are looking at students looking for ways in which they are wonderful, rather than ways in which they are rubbish. It just made teaching so wonderful.

But let’s look more at this idea of positive reinforcement replacing correction in teaching.

Today, I read a book called ‘Getting Started: Clicker Training for Dogs’ by Karen Pryor, because we’re trying to teach our nutty, somewhat panicky rescue dog a few tricks, but also so she feels more confident and happy when we’re out, and when we’re around the house. This book is just lovely. Mostly because clicker training rewards good behaviour rather than punishing or correcting ‘bad’ behaviour. It also encourages you – the trainer – to look for goodness in your subject, not badness or errors. And hence, brings good vibes. As the book says

Once you get used to thinking the clicker way, you are much more likely to notice good behavior and reward it, instead of giving your attention to a child only when it’s doing something wrong.

More importantly for trainers, it’s much easier to maintain preferred behaviour with this method than with “physically correcting erroneous behaviour”.

Let me just note that point: it encourages teachers to actively look for good behaviour. It changes the teacher.

How does it work?
First, you encourage learning-by-exploring.
When your doggo does a behaviour close to what you want, you click your clicker and give it a treat. So if I want Frank to sit, if she stops, she gets a click and a treat. If she starts to lower her rear haunches, I click and she gets a treat. If she actually sits – click! And treat bonanza (lots of treats)! Important: you only click once, exactly as you see the desired behaviour. They then associate the click with approval for what they are doing _at that time_. You never punish or correct or tell them off. If they deviate substantially from what you want, you put the clicker and treats away. No more treats.

So we have the second point: you encourage learning by approval and positive reinforcement, not correction and punishment/disapproval.
I’ve heard of positive reinforcement, of course, but I’d never really thought about what I was doing as a teacher as positive reinforcement.

The goal: the doggo learns that their behaviour gets you to click and give you treats. So they start thinking: what can I do that will make the human click? And they start experimenting.

You can immediately see how this works for lindy hop: what can I do that will make my partner smile, and dance really well making for a good dance and fun time for both of us? You can also see that this approach forces you to shift the learners’ focus from you, the teacher, to each partners. Ha. Yes. Your ego will need to be set aside for minute!

But this approach also works for teaching: what sort of things can I try to that will get me a good result? What interesting things can we do to make the students and us happy? How much fun can we actually have in class? And I tell you, friends: it’s addictive. If you can have a little bit of fun once, you suddenly think LET’S HAVE A LOT OF FUN ALL THE TIME.
This encourages a happy, creative pupper, but also happy, creative dancer. Ta da! Lindy hop!

This book extends this approach to teaching other animals besides dogs (it was actually developed with dolphins), and then to teaching children. Apparently this method works particularly well with humans learning physical skills, because it’s so quick. Not only are you giving positive reinforcement, but you’re also physically making a nonverbal sound (clicking the clicker) when you see the behaviour you want. And retention of these skills is permanent, with learning happening twice as fast as with verbal instructions.

The question then becomes: can we use a clicker in a lindy hop class? If not, what non-vocal substitution would work?
As a clear example, when you learn African dance with drummers in class, the drummers signal a change in the exercise or step or rhythm with a very clear rhythmic sound. And if you’re doing a nonverbal warm up like i-go, you-go, the teacher moves on from one rhythm or one shape to another when you get it right. Hmmm. Close, but not quite right.

I have noticed myself that if I use words to signal my approval or to signal ‘Yes! you are on track!’ to students, the language itself interrupts their processing of information. This is no doubt because, as we know, humans can’t/aren’t much good at processing words and physical lead/follow information at the same time.
So let’s look at another example from black culture (which is where of course lindy hop began): the call-and-response “Amen!” of a congregation responding to a preacher. It is a word, but it’s used so often that it has become more of a ‘sound’ than an actual Word. It means ‘yes!’ and ‘I hear you!’ and ‘praise that/you!’
Even within a mainstream white culture, women talking in groups use non-verbal signals of approval to encourage speakers in conversation: the raised eyebrow, the exclamation of breath, a laugh-sound.

What sort of nonlingual verbal cues can we use?

The other key element in clicker training is to do with the trainers: you learn to

respond in new ways. You become used to the idea that behavior needs to be built in small pieces, not in big chunks. You stop expecting too much, too soon, and just look for what you can reinforce – and so in fact you get more results, and better.
If you see a behavior you don’t like, …instead of rushing in to prevent it or stop it, you take it as a training opportunity: what is it this learner needs to know? What’s missing? What can I add that would replace this bad behavior?… you have a better way – reinforcing what you like, instead of attacking what you don’t.
…The experience can lead to less stress and more fun in life in general.

Ah!
This is another approach that we’ve really jumped onto in our teaching. The idea of slowly building up skills in pieces. So instead of starting a class by saying, “Today we will learn the swing out!” and then proceeding to show a move, then break it into pieces, then map it out, then have them do each bit, we start with a related foundational skill. We need a few things for swing outs: a sense of timing (ie the beat), a rhythm (ie a way of moving through space predictably), and a partner. To work with a partner, we need to know how to touch them, how to communicate with them (to know what they want/like and to tell them what we want/like), and to know how they feel the music.

So we begin with the first part: how do we move our bodies? Then we move on to the next part: how do we dance with a partner? Then we get them using all these elements (rhythm, shared beat, partnering skills, movement, etc) to do a simple task – move around the room randomly, experimenting. We ask them, “What helps? What makes this easier? What was the funnest part?”
Then we ask them to do a specific task: to dance a circle. But we literally say, “Now look here.” We show them. They watch. Then we say, “Please give your best approximation of this.” They do it. Boom circles. This has taught them not only a specific move, but it’s also taught them to experiment and try. And they get rewarded for that. But the move itself also teaches them to feel and experiment with rotational momentum… or, in human words, to feel that wonderful spinny roundy feeling.
Then we say, “Please let go half way.” And they basically recreate throwing a ball on a string. A swing out. And you give them TREAT BONANZA. Both in terms of praise, but you also point out: now you have a very fun move. And you set them loose to play with it to music.

All this plus a couple of jazz steps and warms ups and things is our first class. They have learnt a swing out. But they have learnt a million other skills as well as this one move. And the skills are more important.
For us, as teachers, we’ve learnt that a swing out isn’t a ‘thing’ that you give a student. It’s a thing that they discover through guided experimentation.

You want to keep doing positive reinforcement because it gives them the confidence to try, and to make mistakes, and then to see what happens when they do it in this way or that way. Which is, of course, how the swing out was born historically.

Clicker training in brief

– click the behaviour you want, exactly when it happens
– reward/treat after you click
– only work positively: reward what you want, or actions that get closer to what you want; never punish
– work in incremental steps towards a bigger goal

Key elements of clicker training:
– encourage the learner to experiment with all sorts of things until they figure out what behaviour will get a click (and a treat)
– you, the teacher, have to look actively for things to reward/click. This often means the learner does things you don’t expect, which gets them closer to the goal
– you, the teacher, get more flexible and learn more  
– the learner is learning experiment with doing all sorts of things with the goal of changing _your_ (the teacher’s) behaviour (ie to get you to click)

Conclusion
It is epic fun for everyone, because you focus on positive outcomes and reinforcement, rather than correcting and punishing.

Interesting thing:
The clicker is absolutely key because it is an aural, nonverbal cue. It gets twice as fast learning than a verbal cue. Because it side steps the longer word-processing-learning of verbal cues. It’s _faster_ because your brain doesn’t need to untangle the words. Your brain is faster with nonverbal cues.

It also works on doggos.

Challenge: clicking is kind of harsh, socially.

An example of a pretty structured tagteaching (which uses clicker training).

Cognitive load and lindy hop

Leah Jo linked up this interesting article, ‘Cognitive Load Theory
How the cognitive load of a learning task affects a person’s ability to memorize it’
on facebork.

It’s very interesting.

Fran then asked about the point that because processing more than one type of data increases cognitive load, we should avoid it.

I’m not entirely sure I understand the article’s point, as I haven’t read the original research. But that won’t stop me blabbering on.

I’ve just read that bit, and I reckon it means:

  • Different types of data are processed in different ways (eg auditory info – sound – and visual info – stuff we see).
  • Processing more than one type of info at a time increases cognitive load (ie it’s more work.)
  • Therefore (this article suggests) we should only present data in one form at a time.
    In our case, that’d be just scatting a rhythm, or just dancing a rhythm, not dancing and scatting.

I think I can dig this, especially for total beginners who are just learning to dance for the first time. They can be learning to process visual info (bodies in motion), auditory info (clapping), etc etc etc.
So what we’ve found (coincidentally – I’d never heard this theory before), is that we demonstrate one thing at a time. eg we dance the whole move. Then we clap a rhythm. Then we may tap the rhythm with our toes. Then we may step it out with no sound, but shapes. This way the info (ie the rhythm) comes to them as lots of different data types, but one at a time.

Having said all that, as we know, dancers are super good at processing a few different types of data at once: we can be led through a routine and see the shapes, we can listen to the music and hear the melody, we can feel the physical cues and respond with the shapes.

But these are skills we come to after practicing and learning for a while.
I think retention (memory) is under-emphasised in our skill sets. I mean, we learn complex rhythms (which are essentially like learning complex mathematical formula or series of words), retain them, and then repeat them back with or without variation. We also learn whole sequences of steps during our dancing years, and then recreate or revise them in real time.
So one thing we learn when we do a dance class is to see/hear/feel data in one way, then retain that ‘way’ and information while we’re watching and retaining a section, third, fourth set of data. Then we synthesise it all and do it with another human being surrounded by heaps of other human beings also dancing or playing music!

That’s some seriously heavy cognitive load. So one thing we need to do in classes is teach students how to cope with a) the pressure of increased cognitive load, b) how to actually carry increased cognitive load. And lindy hop is awesome because it’s so fun: it rewards increased cognitive load management with good endorphines and happy times. :D

We can also just start with simpler tasks, then increase the complexity. For example, begin with one type of data at a time, then gradually increase the combinations. I think we do this with our beginners. So we may just give them one rhythm in the baby version of i-go, you-go, but as they get more experienced, we increase the number of things they have to do during that task (eg the next step in this game is to have the pair take turns dancing a rhythm at each other, in real time, so they have to invent a rhythm while they’re watching and retaining their partner’s rhythm. The simple solution to this is to take something from your partner’s rhythm and build on it in your rhythm, so you don’t have to make something entirely different. This is what tappers do in jams. It also provides rhythmic coherency or consistency).

I’ve been interested to compare teaching in a quiet environment after teaching in a noisy environment with lots of distractions. The former is very much the marker of middle class, anglo-european teaching philosophy. The idea that we need a quiet ‘room of one’s own’ to do good solid thinking and learning. But if there’s one thing we know about lindy hop, it’s that it was born and thrived in loud environments full of information and noise and other people. One of the very first things you learn in a tap class, for example, is how to handle the cognitive load of a very loud learning environment. A lot of people simply can’t get past that first bit (I personally really struggle with this).

I also noticed that when we started welcome small babies and children (and doggos) in our teaching space, at first I found it impossible to stay focussed. Then I just learnt to ignore it (as I suppose mothers learn to ignore random kid noise, but respond to particular noises or lack of noise :D). So you learn to filter out extraneous data to decrease your cognitive load.

…following that thought on. We know that people learn best in environments where they feel happy and safe. This is probably because when we feel unsafe, we are ‘hyper vigilant’, taking in lots of information about our environment, _and_ keeping our bodies ready to fight or fly. Which is why anxiety or social phobias or trauma are so exhausting.

So while I dig this article, I think that it’d be really useful to compare it with learning in other cultural spaces. I haven’t checked the samples in this piece, but I wonder if they used predominantly white, middle class people between 18 and 25 (ie university students) in laboratory environments as their samples?

Perhaps one of the most important things about thinking of lindy hop as a black dance, is that we remember where and how people learnt to dance: in vernacular spaces. Everyday spaces. Spaces full of noise and stimuli and other people. Which is not only why we see the influence of everyday stuff in lindy hop (eg rhythmic movements borrowed from stuff like sweeping or hammering or ball games or playing hop scotch; familiar personalities like pimps and kids skipping; familiar animals like chickens and cows), but the ability to bear massive cognitive load while completing complex tasks…

Independent students and the I-go You-go game (part 4: Teaching ethos and goals)

Other posts in this series:

  1. Independent students and the I-go You-go game (part 1: a class structure)
  2. Independent students and the I-go You-go game (part 2: I-go You-go)
  3. Independent students and the I-go You-go game (part 3: graduated challenges and application)
  4. Independent students and the I-go You-go game (part 4: Teaching ethos and goals)

How does this fit with our teaching ethos and values?
I strongly believe that teachers should be guides on students’ learning journeys. People who provide a space and some structure for learning and experimentation. This means dismantling a top-down hierarchy and replacing it with a student-centred learning space. In the case of lindy hop, this literally means getting teachers out of the middle of the circle, and giving students permission to use the entire dance floor.

It also means that I think we need to give students more responsibility in class. Make them responsible for finding the beat, counting themselves in, knowing when to stop or start a sequence, having the skills to speak and work respectfully with partners and class mates. Rather than funnelling all this work and communication through the teacher.

It doesn’t mean that we leave students rudderless, or that we let our classes become a chaotic jumble. On the contrary, classes need to be thoroughly planned out and structured. That structure might change (will change, probably :D) during the hour, but it should be thoughtful change. Teachers should be responsive to students’ needs, using their repertoire of teaching tools to address students’ needs and interests and willing to change and adapt their teaching.

Most of my thinking about class planning and structure and goals I’ve learnt from talking to Sylwia Bielec and Adrian Warnock-Graham from Montreal. I’ve never met them in person, but they’ve both been endlessly generous and patient with teaching materials and advice. I’ve also learnt a lot from Rikard Ekstrand and Jenny Deurell from Sweden, who are very thoughtful, gentle teachers who combine seriously old school content with modern pedagogic practice. I did my first tap jams with Tommy Waddelton last year at Herräng, and it blew my mind. His jams were the ultimate exercise is talk-less, dance-more teaching, taking the I-Go You-Go model to incredible heights. As a student, it was exciting, stimulating, creative, inspiring and FUN. As a teacher, it was truly impressive to see this approach in action with such a disparate group of dancers. Ramona Staffeld remains one of my greatest teaching influences. She works in the real spirit of historic jazz dance, but with modern sensibilities. eWa Burek and Lennart Westerlund have also been very important to my teaching practice. Lennart in particular opened my eyes to the idea of rhythm-first dancing, and first demonstrated that students don’t need to be counted in. And Marie N’diaye and Anders Sihlberg are my ongoing teaching inspiration, again combining thorough pedagogic theory and practice with historic influence and creativity. All of these teachers put music first. Jazz music.

Tell me and I will surely forget. Show me and I might remember. But make me do it, and I will certainly understand.
— Old Chinese proverb

(Quote from a teaching resource provided by Sylwia.)

This approach is echoed in the ‘see one, do one, teach one’ model that I’ve seen used in teaching kids about the environment. I can’t remember the name of the documentary, but in this project, they had the kids learn about an issue, try it out, then teach the entire group (including adults) in a big group session. They’d found that this engagement helped kids become and feel responsible for environmental education.

I really like this model:

  1. See one (teachers demo i-go, you-go)
  2. Do one (teacher lead i-go, you-go)
  3. Teach/lead one (they take turns being the caller in partnered i-go, you-go).

I mean, lindy hop basically is i-go, you-go, right?

Independent students and the I-go You-go game (part 3: graduated challenges and application)

Other posts in this series:

  1. Independent students and the I-go You-go game (part 1: a class structure)
  2. Independent students and the I-go You-go game (part 2: I-go You-go)
  3. Independent students and the I-go You-go game (part 3: graduated challenges and application)
  4. Independent students and the I-go You-go game (part 4: Teaching ethos and goals)

How does this exercise scale up for more experienced students?

With the intermediate group after that one, we taught the same class structure:

1. the big apple was faster and harder (I led that one and fucked it up royally. PRACTICE!)

2. Then I-go, You-go with more complex rhythms.

3. Then social dancing lindy, with pauses to ask them to dance as though they’re still playing I-go, You-go.

4. Then we asked them to add on to their ‘basic’ rhythm with a stomp off on &8.

5. Then we worked on a rhythmic variation/shape thingy on 7812 of a swing out. This taught connection stuff, but also required them to stop thinking in 8 counts and start treating a dance like one long rhythm.

6. Then we taught a partnered solo jazz sequence we stole from Norma and Frankie. But they had to lead it and follow it. We looked at how close you stand to your partner, how you can lead a rhythm without touching someone (ie how to do I-go, You-go :D), how OGs used specific rhythmic sequences over and over again, so they developed a shared repertoire, etc. We were really STRICT about them all really dancing these rhythms. No mumbling their way through.

7. Then we asked them to mash all this stuff together.
This bit was wonderful: stomp off &8, clear basic rhythms (time steps), rhythmic variations that may or may not sync with your partner’s, and then these shared open position solo sequences.

Class goals (ie why we used I-go, You-go and the other exercises in this order):
This is my current bugbear: WHY do people stop dead on 3&4? On 8? For breaks? Why do they divide a dance into 8 count blocks?

We wanted to:
– Preserve historic sequences and steps;
– Get them to really partner dance in open position with jazz stuff;
– Use the call and response model to make their lindy hop more rhythmically precise;
– Really engage with the music as a long piece of rhythm, not lots of little 8 count segments.

I’m also really keen on leaders really thinking ahead and being very clear in what they’re about to lead, rhythmically. The leaders have to really LEAD. This is where I don’t really dig ambidancestrous stuff, because I think that leading and following are different roles. To really LEAD, a leader/caller needs to engage their muscles in a very specific way. It requires we engage our bodies and brains. We have to be really clear and precise. Which incidentally engages our cores and makes us easier to follow/lead. And that means making rhythmic sequences and shapes very clear and specific, and always being ready to do the next thing.

It was epic fun.

Independent students and the I-go You-go game (part 2: I-go You-go)

Other posts in this series:

  1. Independent students and the I-go You-go game (part 1: a class structure)
  2. Independent students and the I-go You-go game (part 2: I-go You-go)
  3. Independent students and the I-go You-go game (part 3: graduated challenges and application)
  4. 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.

Independent students and the I-go You-go game (part 1: a class structure)

Other posts in this series:

  1. Independent students and the I-go You-go game (part 1: a class structure)
  2. Independent students and the I-go You-go game (part 2: I-go You-go)
  3. Independent students and the I-go You-go game (part 3: graduated challenges and application)
  4. Independent students and the I-go You-go game (part 4: Teaching ethos and goals)

Last night we taught a group of complete beginners their first lindy hop class ever. And the first time they danced to music with a partner, they STARTED THEMSELVES WITH NO COUNTING IN and they were ON TIME!!!1
They also started at the beginning of the phrase.

ERMAGHERD LERNDY HERP

We did the class structure like this:
1. Big apple warm up (teacher leads, and makes sure there are a few of the elements of the steps in the warm up; emphasis on starting new moves at the beginning of phrases)

2. the I-go, you-go way of teaching the rhythm (teacher leads, students ‘respond’: 8 counts of clapping rhythm, students come in immediately after and echo that same rhythm. Begin with clapping, then move to using different parts of the foot (as in a tap exercise), then adding in direction for steps (eg a rock step), then moving bodies around floor)

3. play I-go, you-go with a partner (as above, but now they are calling and responding for a partner) without music

4. I-go you-go with a partner with music (and we ask them ‘is it easier with music? why?’ -> because the band keeps time, they know when to start and stop, etc etc)

5. learn to do closed position

6. learn to glide without rhythm or music

7. when they rotate we point out that each partner is a different size and shape, so you can’t just approach your partner with Barbie arms; you need to adjust your embrace. And we demo’d how to talk to your partner about adjusting, and they all tried that a few times.

8. glide with music, but no set rhythms (though they do tend to start adding in rhythmic elements)

9. glide with rhythm to music -> this is where they pwnd all and we didn’t need to count them in!

At about this point we paused to explain about spending a bit more time grooving before they start to move (we had demo’d this but not articulated it yet). We explained grooving as making friends with the music, making contact with a partner (do you hear the music the same way? how do you know? etc etc).

10. grooving again with music -> they are social dancing

11. questions from them: how do you change direction? how do you know which foot to start on? how do you know what your partner is ‘leading’ or ‘calling’ in terms of rhythm? etc etc. This is where I used the phrase “You listen with your skin” in closed instead of watching with your eyes in open. I will never forgive myself for this hippy-ness. I’m sorry.

12. They dance on all this stuff.

By this point they’d been dancing hardcore for 50 minutes. We didnt’ count them in once.

We would ordinarily have introduced another specific shape or two by this point – promenades, circles, whatever. But we had a rowdy group. They were actually enjoying mucking about by moving and traveling the floor, etc.

13. We introduce crazy legs/cool breeze in the knees as a new rhythm. They add it into their dancing.

So they’ve done a loooot of social dancing in this class, the rhythms are tight, and they’ve also learnt nice partnering skills (and connection), they can count themselves in on time on phrase, they have swinging timing rather than straight, etc etc etc.

It was a very fun class. They had a lot of fun, and so did we.

Songs:

  • My Baby Just Cares for Me – Nina Simone
    It’s a goody for pointing out the role of the bass, plus the piano actually sounds like step step triple step, there’s that little delay/break that makes them stumble, then learn to listen to the music more, etc.
  • Blip Blip – LCJO
    Warm up song, because it’s energetic, hi-fi, vocals and fun for the very first song.
  • Easy Does It – Big 18
  • Stepping into swing society – Ellington 1938
  • Easy Going Home – Hodges 1953
    At the end, to get them experimenting with varying crazy leg/basic rhythm stuff, and to make them laugh.
  • Keeping out of mischief now – Louis Armstrong all stars 1955