Part 4 of a multi-part series about the book "Black and White Styles in Conflict" by Thomas Kochman. This episode covers the third part of describing classroom modalities of participation in Black American culture - specifically how turn taking rules differ in black culture and how that relates to both self expression and self control.
Part 3 of a multi-part series about the book "Black and White Styles in Conflict" by Thomas Kochman. This episode covers the second part of describing classroom modalities of participation in Black American culture - specifically how struggle is an important component in a good discussion and carries expectations of how to be a responsible discussion participant.
Part 2 of a multi-part series about the book "Black and White Styles in Conflict" by Thomas Kochman. This episode covers the first part of describing classroom modalities of participation in Black American culture - specifically how argument for persuasion and argument for venting of hostility are considered different by Black people but not recognised by White people.
Part 1 of a multi-part series about the book "Black and White Styles in Conflict" by Thomas Kochman. This episode covers the introduction and the recognition of Black american culture as a African-derived culture in its own right, not merely an inferior version of White culture.
I borrow the idea of psychographic profiles from Magic The Gathering design, where Tammy/Timmy, Jenny/Johnny and Spike describe the player who likes to win big, the player who likes to win quirky and the player who likes to win often. MTG card designers often checklist that they have cards that appeal to each profile, and I think dance classes could be checklisted in a similar way (assuming we could come up with a good set of psycographics for dancer learners)
Leading is moving our body. Following is tracking our lead's body and moving our body in a way that matches somehow. This breaks down into weight/axis shifts, steps and pivots, and shaping (and giving resilience to a shape)
Postural issues are often diagnosed as "x muscle chain is too weak/loose and y muscle chain is too strong/tight". But this is typically the symptom, not the root cause. We also shouldn't try to fix postural issues by "holding" a given posture as it's not feasible and will hinder breathing, balance and movement.
... they are interested in having dances where they are seen as awesome! This explains why followers get less popular as they improve whereas leaders get more popular. (It's also both clickbait, and the ego shadow of who we fear to be)
Although dance roles don't have to be related to gender, in mainstream culture they are. Seeing how men (those who are also primary leads) perform "following" may tell us what they think it means to be feminine (and vice versa).
1) Because black people tell us it is! 2) Because there are reasons these dances are no longer popular with black people. 3) Because without understanding black values and their ties to oppression, these dances don't make sense.
My approach to fusion is that intrinsic musicality and cultural musicality define a range of appropriate movement to a given music. This is the approach I take with fusion music/dance, but it's also the same approach I take with all dances.
BE-BLUESED is an annual blues workshop weekend held in Bern (Switzerland). The past three years, the organisers have hired teachers to teach in an immersion based style: all 4 teachers dance at the same time, with minimal verbal instruction, so that students can take from everybody's movement.
This one time, in dance class... Narrative Equity is a term borrowed from game design. It's the capacity of a game to generate stories that you can later tell. In this episode I discuss it's applicability to social dance and dance class
Learning is not just about knowledge and skills, but also about values and identity. Together they make up an "epistemological frame". (Towards the end of this episode I mention going to Berlin for training "next week" - I usually record a week ahead of publishing - this time I'm two weeks ahead)
African-American dance is often described as "unlike European dance, which is upright and with a strong downbeat...". This is description that is othering and plays into poorly understood stereotypes of European dance
In which I talk about learning (including "what does it mean to have learned something"), the importance of prior knowledge, both to avoid cognitive load and to create the cognitive conflict that allows knowledge to stick
I talk about a formation common in West African dance classes that many people are not familiar with. Although my "swiss" interpretation of it is a bit too rigid, it makes class very hard for me when people don't use the supportive elements it provides.