3942 Question: How to approach a private lesson?
Date: Tue, 1 Nov 2005 11:10:12 -0600
From: "Christopher L. Everett" <ceverett@CEVERETT.COM>
Subject: Question: How to approach a private lesson?
Hi,
I'm at the point where a lot of workshop classes don't present new
material so much as let me fine tune what I already have. Also, I
still need more work on fundamentals than the workshop classes
I can get to offer.
Soooo ... it's time to start taking private lessons. Those of you that
have taken a lot of private lessons, how do you go about getting the
most out of them?
--
Christopher L. Everett
Date: Tue, 1 Nov 2005 10:39:08 -0800
From: Marisa Holmes <mariholmes@YAHOO.COM>
Subject: Re: Question: How to approach a private lesson?
--- "Christopher L. Everett" <ceverett@CEVERETT.COM>
wrote:
> Those of you that have taken a lot of private
> lessons, how do you go about getting the most out
> of them?
I wouldn't say that I have taken a lot of private
lessons, but I've had some - and I've watched others.
The most important thing is to take responsibility for
your own learning (not that that differs from group
classes - there's just more economic incentive to do
it with privates).
You should have an idea of what you want to work on,
and you should express that idea clearly to the
instructor. If you want to dance with the instructor
and let them tell you what they think will help you
most, you should tell them that - then take their
advice after actually dancing a song or two. I would
not recommend just walking in and saying you wanted to
work on "whatever"; you may well get an hour of
instruction during which the teacher will refine their
approach to a group class they will give the next day
- or the lesson that was designed for the person
before you. Teachers are human (and some are very
good dancers who teach because it lets them have a
career in dance, not because they really want to
teach); if you don't care what they teach you, why
should they?
If it helps you to take notes or to have video taken
of your lesson, make it clear to the instructor that
you want to do that, ideally when you first make the
appointment. At the end of the lesson, you should
thoughtfully consider whether your goal for the lesson
has been met - if so, schedule another class with the
same instructor. If not, think about what to do
differently next time that will address the problem -
different plan, different instructor, etc.
And practice whatever you worked on before you take
another lesson; the rule of thumb is three hours of
practice for every contact hour.
And - enjoy it!
Marisa
Date: Tue, 1 Nov 2005 15:29:50 -0600
From: Ron Weigel <tango.society@GMAIL.COM>
Subject: Re: Question: How to approach a private lesson?
On 11/1/05, Marisa Holmes <mariholmes@yahoo.com> wrote:
> --- "Christopher L. Everett" <ceverett@CEVERETT.COM>
> wrote:
> > Those of you that have taken a lot of private
> > lessons, how do you go about getting the most out
> > of them?
> > The most important thing is to take responsibility for
> your own learning
...
> You should have an idea of what you want to work on,
> and you should express that idea clearly to the
> instructor. If you want to dance with the instructor
> and let them tell you what they think will help you
> most, you should tell them that - then take their
> advice after actually dancing a song or two. I would
> not recommend just walking in and saying you wanted to
> work on "whatever"; you may well get an hour of
> instruction during which the teacher will refine their
> approach to a group class they will give the next day
> - or the lesson that was designed for the person
> before you.
I used to think that way, but I think a good instructor does you a
disservice giving you exactly what you ask for. You take a private
lesson because you are seeking advice from someone who can give you
insight about something that you do not see in yourself.
It is typical for a student to approach a private lesson with a
shopping list of things they want to accomplish (been there, done
that). The student may want to do Figure X that was taught in a
workshop. However, unless the student has the prerequisite fundamental
skills (posture, balance, partner connection, clarity of lead,
attentiveness of follow, musicality, etc.) they will not be able to
dance well regardless of what they try to learn. These fundamentals
are difficult to teach in workshops and are best addressed one-on-one
in private lessons. When a student recognizes that the best benefits
from private lessons are acquired when attention is paid to
fundamental skills, the student will show the greatest improvement in
dancing.
With respect to instructors just giving you workshop material in a
private lesson: I have taken private lessons with about 30 tango
instructors, many of them well-known worldwide and only once did I
encounter an instructor giving me workshop material in a private
lesson. Unfortunately my Spanish skills were inadequate to complain
(or perhaps this is why the instructor followed a routine), although I
have also had some other non-English speaking instructors be very
patient with my somewhat limited Spanish skills and engage in a very
good dialogue about technique in a private lesson.
When you want to learn from a master, respect that the master knows
what's best for you. Why else would you study with that instructor? If
you don't agree, you're free not to go back. Think of it as an
investment with some risk, but some grest potential for benefit.
Ron
Date: Wed, 2 Nov 2005 08:15:37 +0900
From: astrid <astrid@RUBY.PLALA.OR.JP>
Subject: Re: Question: How to approach a private lesson?
> Soooo ... it's time to start taking private lessons. Those of you that
> have taken a lot of private lessons, how do you go about getting the
> most out of them?
>
> --
> Christopher L. Everett
Usually, teachers have their own way of giving private lessons, so there is
not that much you can do to "get the most out of them". They will design the
lesson. The main point is finding the right teacher ! But one thing you can
do: tell the teacher what exactly you want to work on. And make a request
that the teacher should be honest with you in his feedback, maybe even to
the point of brutality, because many teachers will praise you, so as to
satisfy you and make you feel good, so that you will take more lessons. But
being told "Muy bien", when you are actually not great at all, is not very
helpful, IMO. A wonderful person for improving your way to move and give you
lots of encouragement is Nito Garcia (with Elba).
Astrid
Date: Tue, 1 Nov 2005 21:57:44 -0500
From: Michael Ditkoff <tangomaniac@CAVTEL.NET>
Subject: Re: Question: How to approach a private lesson?
"Christopher L. Everett" <ceverett@CEVERETT.COM>
> wrote:
Those of you that have taken a lot of private lessons, how do you go about
getting the most out of them?
I've been taking privates weekly for 7 years. Excluding my vacation, my
instructor's vacation and other things that come up, it comes to about 40
lessons a year.
The first 30 minutes is walking and ochos.
The next 30 minutes is reviewing figures that still causes problems or
trying a figure I learned at a workshop or saw on a video. (It's taken a
year and half before I could do back sacadas. Why is it called a back
sacada? I can fill my back going out when I make the agonizing 180 degree
pivot.)
The next 30 minutes is combining what I learned with what I already know.
Example: A back sacada followed by sweeping the woman's foot, into a
molinete.
I take exhaustive notes. After the lesson, I update my notes in a computer
file. I'm only up to 13 pages, single spaced pages.
If I can't do a figure, we figure out why. Many times, it was because I
didn't have the flexibility. When it's just impossible, I leave the figure
on a shelf for 6 months and then come back to it to see if I can do it.
My teacher is like a sculptor. A sculptor chips away what (s)he doesn't want
so what's left is desired. My teacher chips away with a sledge hammer what
holds me back, mostly lack of flexibility in the waist. Thanks to yoga and
stretching I now have the elusive flexibility. However, if the woman is
stiff, I still can't do the figure. Was it a waste of time learning back
sacadas? Not really. I need the flexibility anyway.
For other teachers, I tell them in advance exactly what I want to learn. I
remember one teacher who wouldn't teach me volcados until she was convinced
I could lead a calesita and support the woman's weight.
Michael
Washington, DC
Going to NY next week for a conference. Hope to squeeze in dancing.
Date: Tue, 2 May 2006 15:43:01 -0700
From: "Igor Polk" <ipolk@VIRTUAR.COM>
Subject: [Tango-L] private
To: <TANGO-L@MITVMA.MIT.EDU>
Michael,
"we're discussing the term "social tango" as it relates to dance styles."
I have noticed that, and that what triggered my message.
I believe absolutely any style can be danced as a "social tango". Mixing the
styles, that what makes them not convenient, but that was already discussed
here recently.
And I want to defend what people see as a show tango figures. All the same
figures can be danced on stage, for personal pleasure, and in social
environment. There are people who can bring their legs up and experience a
great personal pleasure of doing it, and they do not hinder anybody around
them in any way, since they are aware of the situation. (Again, it was
discussed recently: "A greatest obstacle on the dance floor is a beginner")
There is bad tango and good tango. And this is not the same as show,
personal, and social tango.
To be polite is not a goal of any dancing. It is the requirement. A couple
can be impolite even dancing a solo show tango number on stage. I am afraid
what you mean is the "talent bashing". "If they can do all this flashy staff
and I don't, they dance impolitely!". Yes. To you, if you take it
personally. And they might be going against the community spirit as well. It
is not the same what I am talking about.
"Flashy staff" does not mean "Flying legs" only. It is everything unusual.
Many do not like the unusual.
Here: "Someone dance show tango, but in fact it is a Personal one", I mean
that when poor show dancers dance, in reality they dance for their own
pleasure. And they fail to make impact on the audience, which just applauds
them politely because they are friends or something. And all that is not
bad. It is social.
