Another summer, another round of dance exchanges. Holes worn in all my socks, far too much coffee and trailing dusty footprints behind me home at night. But also another summer of “leads over here, follows over there,” having my arm yanked around and “Wow, you’re great! Have you done this before?!” We all know that’s it’s hard to look young and female on the dance floor.
But this isn’t, actually a post complaining about that, although it is a post about gender in the dance class. This is a practical solution to a problem I’ve heard a couple of instructors talk about: how do we handle role switching in the social dance classroom. Or rather, how can we maintain the optimum balance of friendly and welcoming, opportunity to learn, and amount of material covered when there are two roles in the room?
There are, obviously, multiple schools of thought on the matter. There are those who believe, for whatever reason, that people should pick a role at the beginning of class and stick to it all the way through. Which has the plus side of allowing people to really concentrate on what they’re doing, making sense to new arrivals, and avoiding left/right confusion (which is a real thing that happens even when you switch all the time – it might even happen more, or maybe that’s just me). There are also those out there who, again for whatever reason, ask every couple to switch roles during every rotation, making sure that everyone becomes fluent in the experience and technique of both leading and following, and allowing beginners who would usually wind up leading to relax and follow when they run out of moves – actually, that’s not just beginners either, I absolutely follow when I’ve run out of inspiration.
But what about the experienced dancer who knows that they just don’t feel in the mood for following this class? Or who’s in a class with a snazzy new trick move and wants to learn both sides? What about the lead who wants to try following in the early part of class, but doesn’t feel confident switching as the material gets more complicated? How do we advocate for switching IF PEOPLE WANT IT, while letting people make choices about what they need from their own dance experience? How do we make the most out of classes while letting people try more than one part, whatever their experience level?
Well folks, I have the answer… or an answer… a method of rotation that’s working very well for me in my home scene that I though I would share with you all. It’s very simple. It goes like this: “We will do this thing twice. Put your hand up if this time you want to try it as a lead. Ok. People who want to follow please go and find a new friend to dance with.”
- People can decide whether they want to lead, follow, or switch, and they can change their mind for whenever they want, for however long they want.
- It becomes as valid to stay in a role as it does to switch, and people learn to make good decisions about what they want from dancing and how they feel about it in the moment.
- People can dip a toe in a new and scary role without having to commit to a whole class.
- You get more of what you want out of your dance class, while being exposed to the choice of other things.
- Classes can go at different paces and people can respond to that as they need to.
- …. have I convinced you yet?
- People milling about the room in chaos, rather than traveling in neat circles.
- …. I’m not sure of more.
There is a factor that is neither pro nor con that I’d like to consider: the milling about the room method of finding a new partner means that people may not dance with everyone, and if you have an odd number, there is no guarantee that sitting out time will be evenly shared. Ideally I would LIKE everyone to dance with everyone when they come to class, and I can use words to encourage that: “find a stranger,” “find someone you haven’t danced with yet,” etc. But my class is full of adults and if they want to ignore the hint they will ignore it. Waiting out is something I keep a better track of and I will shift pairs if someone looks like they’re going to miss a consecutive rotation.
As I said, this method is working really well for me in my home scene, and I believe that a number of other instructors have tried it. I’m not particularly interested (in THIS post) in the ethics of switching or not switching, but I would be interested in how it works for you practically. How does it work in partner dance forms that aren’t blues and swing? If you try it out, or if you can think of a strong reason NOT to try it out, either send me a message in the comments or through the Contact page, and let’s keep making social dancing better for everybody.