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Author Topic: Qualifications of your pro  (Read 1658 times)
Dora-Satya Veda
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« Reply #15 on: May 24, 2009, 03:47:38 PM »

My teacher was a British Open professional finalist. He taught most of the big names from the 1960’s until he left us in 1997. I have heard that he trained all finalists and semifinalist from the mid 1960’s until he left us, except for about 8 couples. He was examined to the level of fellowship in both latin and standard. He was a true master teacher. He clearly had a system that he used for teaching his students. He didn’t share that system with many students, but some of his students are sharing his knowledge both of his principles and his teaching system to the dancers of today.
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"As we understand more things, everthing is becoming simpler"

Edward Teller
Ginger
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I see what you did there.


« Reply #16 on: June 04, 2009, 04:17:05 PM »

I don't look so much at things 'on paper' as I do what's obvious- can they teach what they know?

I'm not saying I want to be mollycoddled- but there are some instances where an abrasive personality doesn't convey the message the way a level-headed, even-toned approach can.

When we work with our 'kids', I always try to make sure they get something out of the lesson accomplished and feel positive about it. I don't want anyone leaving their lessons feeling beat-down and stupid the way I have some of mine.
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QPO
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Adelaide South Australia


« Reply #17 on: June 16, 2009, 09:10:45 AM »

I don't know if my coaches have certificates , I just know what their achievements are locally and nationally...people can see the growth in our dancing..if we were not growing and staying the same I would have to question myself and if I need to have another learning style
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elisedance
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ee


« Reply #18 on: June 23, 2009, 01:54:47 AM »

we need a check list for coaches... to score them on different aspects.  Lets start a new topic....
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Ginger
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I see what you did there.


« Reply #19 on: June 23, 2009, 02:01:54 AM »

A question for those of you who've been to "no-grow" studios/coaches. While you were in that rut- or someone you knew, maybe- what KEEPS a person in that rut and from looking up and around and going "Wow.. we're not going anywhere at ALL..." and they just keep thinking that they're really the cat's pajamas?

A local studio makes sure their students (this got covered up and done away with on DF), when they compete pro-am, are, if at all possible, in heats all by themselves. This way, they think they've won something, when in fact... not so much.

How do you even rig a competition- like VolState, or HotLanta's Newcomer's Ball, or Cherry Hill, even, to where you're the only person on the floor?

Like, if we wanted to BE in a certain heat (against certain people)... could we just call up and say "Hey, could you make sure we're in this one if it's okay?"... How does this work? I've asked this question, and it ALWAYS gets on a tangent- I don't want the tangent (although they're fun)... I just want to know how they manage to do that.
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elisedance
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« Reply #20 on: June 23, 2009, 02:24:59 AM »

I think the answer is that if you enter single dances it happens by itself.  Its math!  Here we will only consider the counts for women (I am going to use the Emerald Ball entry form for some details):

Lets say there are 19 dance styles in a typical competition - 10 international and 9 american
There is newcommer, beginner, pre-bronze, intermediate bronze, bronze, intermediate silver, silver, intermediate gold, gold, gold star - thats 10
add open and you get 13 levels.
Each can be done at different age groups - for adults there are 7 catagories (ladies a b c d etc)

Thats 19X13X7, or 1729 different events!

The amazing thing isn't really that you end up competing against yourself - the amazing thing is that you ever see another competitor. 

Contrast that with the multidance events - a total of 34 different heats (at Emerald Ball).  You are almost guaranteed competition at a big event such as this.
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If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
Medira
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« Reply #21 on: August 04, 2009, 05:21:45 PM »

A question for those of you who've been to "no-grow" studios/coaches. While you were in that rut- or someone you knew, maybe- what KEEPS a person in that rut and from looking up and around and going "Wow.. we're not going anywhere at ALL..." and they just keep thinking that they're really the cat's pajamas?

I started in a studio with a similar feel to what you're describing.  I didn't last long there because it drove me absolutely nuts.  I would like to compare it to something though...  It's like the person who stays for years and years, burning out in a job they hate.  Why do they do it?  It's comfortable, it's stable, it's familiar, it's routine.  Humans are naturally wary of change and try to avoid it.  Also, it takes effort to go out and search for something new.  Why do it if you don't have to?  And that's just considering the people who know that there's something else out there.  What about the ones who aren't aware that there's something else - something potentially better - out there?

Just my two cents... Smiley
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People can be divided into three classes: the few who make things happen, the many who watch things happen and the overwhelming majority who have no idea what has happened - Warren Miller's "Off The Grid"
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