You pay good money for a lesson, and you want to get out of it as
much as you can. There are often many workshops to choose from and you want to
spend your money wisely. A “known” name (nationally or internationally) teacher
is an option, up and coming (inter)nationally known dancers are an option, and
local and regional teachers also offer workshops. Word of mouth is helpful, but
also subjective. Having watched their videos or performances may also assist
you in deciding who you want to study with. Some teachers are great
teachers and not as strong a dancer, and some dancers are fabulous dancers but
lack in teaching skills and abilities. You want someone who understands the
culture, posture and the nature of the dance, shares ways to avoid injuries,
and makes sure you are “getting it.” You want someone who knows what
they’re talking about and clearly breaks down technique and keeps a reasonable
pace for the class. A teacher must recognize when she/he has different levels
of dancers, especially if it’s advertised as being open to all levels, and
accommodate the class accordingly. Additionally, it may be subject matter
or scheduling (perhaps it’s a festival and you’re set up to dance during a
particular workshop) that drives what you decide to take or is at least part of
the equation.
Once you choose, you should take out of it whatever you can. It may
be the workshop lives up to it’s billing, or could end up being something
completely different than described. It could be exactly as you described
and fulfill all your expectations or it could leave you wondering if it was
worth it. You are there, so there surely is something you can get out of it.
Maybe it’s a few really cool combinations you can use elsewhere, which is
always good. Perhaps it’s the nuance of the instructor, they light a fire in
you, add a touch that further enhances or authenticates the movement or helps
you remember why you love the dance. Maybe it’s a variation on foundational
moves you already know that now gives you more to work with. Sometimes it’s an
entire choreography you walk away with.
Other times it might be something completely different. Maybe they
say something that sheds a light on how you present yourself or wise advice on
how to interact with the audience or prepare for a performance. It could be you
learn a new costuming tip or learn something cultural or historical. Or
it could be, if you are an instructor, you learn what else to do or not to do
in your own classes and workshops. Was there a drill or something you could
incorporate into your instruction? Did you feel like the instructor cared if
you were getting it or they were just trying to complete their agenda? How did
you feel about the workshop and instructor as a student? What would you have
done differently and what did you not feel comfortable with? What did you
like about their instruction, delivery and format?
If you liked the class, let the instructor know if you can. Practice
what you learned again as soon as you can so it stays fresh. Many instructors
don’t provide handouts, so take notes as soon as possible after class (some
prefer to take notes during class.) Even if they do provide handouts, add your
own notes for clarification for future use. When you find someone you really
learn a lot from and enjoy their teaching skills and ability, take classes from
them again when the opportunity arises and give positive reviews to others who
may be looking at workshop offerings. There’s always something to be gained
from a workshop, and those who dance should constantly remain in a stage of
learning as well, even if you’ve been dancing for a long time.
