Originally posted by Teejei on tribe.net.Hey there!br/br/Would anyone like to share updates on their classes? br/br/Myself-- were about to swing into my set of sessions (did TT in SF in April), and Im very excited about the agenda. I just spent a bit of time with Megha in South Carolina, getting refreshed on how to introduce beginners to the concept of formations. She had everyone get into trios and built from stationary movement to pivoting to lead pivoting to lead changing...pretty excellent!br/br/I feel refreshed and ready to take my level 2 class into some great improv. They really are settling into the technique and are enthusiastic to get into thinking outside of their own space. br/br/How about yall? br/br/-Teejei
Originally posted by Sandi on tribe.net.Well, I just taught L3/L4 this afternoon and had nice full classes.br/br/L3, which is the Drills class where we break a L3 move down and drill it, we worked on the Sahra turn. I broke it down and we drilled it, then I let them do it on their own while I went around to make corrections. And drilled it again to Sahra by Khaled. We also worked on the Reverse Shimmy. Broke it down and drilled it. Whew, what a workout for the hips! Then I went over the Cafe Style performance format, which consists of audience on both sides and the performers dancing in diagonals the whole time with the leads switching from one end to the other. This is great for narrow lengthwise performance spaces. Broke that down and drilled.br/br/L4, which is our Improv (performance prep) class where the focus is on creating a set, breaking it out amongst the dancers and performing it, we worked with a folkloric set of songs performed in Cafe Style. We went over in more depth how to set up the chorus, enter, exit. With all that info, they only had time for one go and their performance was deep in thought about all the new ways of changing leads, picking up people to join, staying in formation. But it really spurred their interest in continuing more on that concept.br/br/Cafe Style has been around for as long as ATS has been around. Starting with Cafe Istanbul. Youll see it in use in the old performance videos where there are seated on either side of the dancers. It is a great solution for long tight spaces like in a restaurant such as that. We also used to use it for our student salons at our studio where wed have one long panel of the marley floor available for dancing and the rest of the studio was for audience. This is where the Dueling Duets concept came from - a way to have a quartet in Cafe Style - which I believe Marsha is responsible for creating this solution while in Second Skin (our old advanced student troupe).br/br/Its an old concept, but doesnt get used very often and its great to see the students learn something "new" to them. The wheels were still turning after class was over. :}
Originally posted by Melanie on tribe.net.I teach Level One and Level Two and run a troupe. br/br/I am curious how you teach reverse shimmy. My troupe has been working on it for two weeks now. I was sad to see it was not included on the new Volume Four video.
Originally posted by Melanie on tribe.net.Oh! I just found this:br/a href=http://ats.tribe.net/thread/861aee11-7b8e-4859-81ba-f77007a96246 title=ats.tribe.net/thread/861a...f77007a96246ats.tribe.net/thread/861a...f77007a96246/abr/br/Thank you!
Originally posted by Sandi on tribe.net.There wasnt much to the breakdown. It is the same concept as the regular Shimmy, only it is a down-up-down rather than up-down-up. The obliques are working overtime as the hips move further out than a regular walking Shimmy. It is unnatural in feel also because the stepping leg has the down hip. Arms are at horizontal. It isnt one we use too much as it is subtle and sometimes hard to catch, so going into it needs to be from a clear arm change, like from an Arabic. And there are less variations since it isnt a good traveling or layering move (maybe pivoting or moving forward a little bit).
Originally posted by JoY Hellaballoo on tribe.net.Wow Sandi! That sounds like a phenomenal class, I wish so much I was closer, naturally. Thanks for detailing so much... Gives me idears for our new session when I return from baby makin! Xoxo
Originally posted by Teejei on tribe.net.Thanks for that Sandi! Ill have to brush up on my reverse shimmy, one tends to get rusty if the muscles arent primed for it!br/br/Im so glad to see where the Dueling Duets came from; Im really fascinated with that level of interchangeability. I see that the dancers go in and out of following one of the center positions, so sometimes the group is doing the same movement, and sometimes the duets are doing their own thing. I love it. br/br/I also try to briefly go over the history of formations. As a beginning student, the first time I really saw the big picture was when the origins of formations was explained with the Istanbul story. It was a smack-the-forehead thing 😉 br/br/Anyone else? Id love to hear what youre working on, how youre addressing problems or issues, how many of your students seem to be grasping the info quickly and why...br/br/-Teejeibr/
Originally posted by Valizan on tribe.net.And just as a warning to folks, since this was recently an issue for me...br/br/When doing the reverse shimmy, try not to twist your hips backwards while dropping. This move used to cause me some SERIOUS agonizing pain until I recently had both Sandi and Wendy (and Anita for that matter) show me it is flat to the front, no twisting. And I do not think there is any glute action in this either.
Originally posted by Teejei on tribe.net.I am also trying out something for this next session. br/br/Tomorrow are the first classes of the new session. Level 1 is pretty strict from session to session- the format is FCBD by rote. I feel like this format progresses logically and works well. For Level 2, I have parallel class plans. One is two new moves, followed by class drills and introduction to formations. the other anticipates attendance by all my regular int/adv girls who were with me all last session as we developed many L2 combos. They are much more ready to dive into improv, so well do slow & fast class drills to review, then hop into formation work with gusto. br/br/I eventually will be able to do a L3 class, but for now I have to continually try different things to maximize my unique group of ladies. Ive also been toying with temporarily extending my L2 into 90 minutes, with the last 30 being intensive improv. That way those who want to pay and attend for Combos and light improv can, while some can stay on and pay a bit extra, and do more dancing. br/br/Thoughts?
Originally posted by Jennifer on tribe.net.I have 90-minute classes, and this allows for some time spent in improv every class - at least 2 songs (I always stop after each one and ask for questions/comments/feedback/weird things/good things/fun things) and up to 4, depending on what the new moves are for the night and how much time we spend on them due to questions, etc. I dont have any students who cant keep up for 90 mins, and I think that dancing together is their favourite part of class. I honestly dont know how I could fit everything I want to do in 60 mins!
Originally posted by JoY Hellaballoo on tribe.net.Teejei-br/br/That sounds great! Maybe just have the level 2 be 60 mins, and the level 3 or drill session be something different? Like a drop in for exp dancers? Might be an easier flow that way... I think thats what you mean regardless- and I am sure that any students who stay will likely be from the level 2 class preceding anyway... br/br/i always struggle with how to do three classes... i was working full time prior to taking my dance teaching hiatus due to pregnancy, and it was tough to see what worked best-- all3 levels on one night, vs 2 classes on one and one on the other... and which to pair. i think what I will do after i deliver is have level 1 on one night then 2 and 3 on a 2nd night.... or maybe to do level 2s.... its tough when you have students who travel from afar and have been with you for years-- you want to cater to them as much as possible, yet make it possible to foster new long term student relationships!
Originally posted by Teejei on tribe.net.So Sandi (or Carolena, or anyone who saw the development of FC classes) I know you now have everything separate, but what did you do in the beginning, when your classes were developing? Was it the same kind of thing, where you adapted your progression based on what mix of Int/Adv student you had at the time? I know nowadays you have specific L3 and L4 classes for improv and advanced combos...How did you handle it starting out?
Originally posted by Sandi on tribe.net.It is fairly similar to what it was when I was taking classes in the late 90s, though I think now the content has been better mapped out. I sorta remember Carolena teaching (now) L2 movements in L1 classes. I dont know if there was a schedule for each week back then because I think it was different in each class even within the same week. It was based on what we hadnt learned yet or what we needed to work on or what Carolena wanted to go over. And I think L2 was more about learning to dance with each other in groups. Then L3 was about chorus and improv. L4 was all about performance and the troupe would attend those classes. Yikes!br/br/Back then, Carolena was teaching the bulk of the classes. Now with all of us being teachers and offering 3 L1/L2 classes in one week, theres a need to keep the material structured so we all know where everyone is at in their learning process.
Originally posted by Sandi on tribe.net.But I dont know how Carolena structured it when she first started teaching. My guess, it was pretty freeform based on what everyone wanted to learn.
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