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Studying
for Professional Examinations
An
indispensible guide to professional exam preparation
This
is the first in an occasional series of articles highlighting
some of the approaches and methods that you could use
in studying for a professional examination in the Modern
Ballroom Faculty.
The
major difference between preparing a pupil, or yourself,
for a professional examination as opposed to an amateur
dancing test is that the candidate must undertake a
lot of the study themselves. Their trainer can point
them in the right direction and help them assess their
progress. They can help develop good examination presentation
and sound study methods but at the end of the day it
is the candidate who must undertake to study and put
into practice correct techniques both in the Demonstration
and Theory sections of the examinations.
Whether
you already hold a qualification in another faculty
or whether this is your first teaching examination it
is important to make sure that your dancing is up to
standard or at least spring cleaned before moving on
to the technical part of the study. Candidates are required
to dance, with a partner, the syllabus figures relevant
to the level of examination being taken. Many dancers
are experienced dancing choreography with a partner
but it is important at this stage to be able to negotiate
the examination room with a pleasing and correct demonstration
of the syllabus figures. In the Student Teacher examination
the list of figures is rather short and therefore it
is a good idea to include some of the Associate figures
as well. This is good preparation for the next level
but always remember there are no marks given for attempting
a more challenging group such as: Natural Spin Turn,
Reverse Pivot and Double Reverse Spin. Unless you dance
it well don’t include it. Candidates have the
choice of dancing either or both roles with a partner.
If you are able to it is a good idea to do both roles,
particularly in your preparation for the examination.
There is nothing like dancing the figures to really
help you understand them, you can choose nearer the
time of the examination whether you wish to dance both
roles in the test itself. In the Associate the occasional
Licentiate figures may be included if you wish but remember
the examiner is interested in seeing if you can present
the Associate work well. The more syllabus figures you
include in your demonstration the more confident you
will feel about them in the theory section of the examination.
Don’t be tempted to leave out the figures you
“don’t like” or “never use”.
I often find that once students get accustomed to figures
and explore different ways of using them they then become
more acceptable if not favourites. “Don’t
like” often equates with “not very good
at” whether you have been dancing ten months or
ten years!
Getting
someone to video you dancing with a partner is a good
idea. Have you developed bad faults in your own dancing
as you have been teaching? Common faults for teachers
include: over leading, unconsciously glancing down at
partner’s feet to check faults, and back leading
the leader. It is surprising how many teachers have
become accustomed to compromising their own shape and
line in their attempts to improve their pupils!
The
next, and perhaps the most important, stage of the study
is to make sure you can dance accurately every syllabus
figure in both roles. Apart from obvious weaknesses
such as not knowing the figures well enough or starting
as Man and ending as Lady there are other common faults
to be considered. Take care that Feet Positions are
a result of good dancing. For example step 2 Natural
Turn is LF to side, this is the position of the LF in
relation to the RF at the end of the step not an indication
that the left leg moves away from the right leg in an
open leg line. Alignments should be clearly danced throughout
taking care not to blur the picture by starting facing
LOD for example and then stepping DW for a natural figure.
The occasions where the starting alignment and the alignment
at the end of step 1 differ are clearly stated in the
technique (eg Reverse Pivot). Lowering actions are often
poorly danced in Solo Demonstrations. Lower end of 3
is often shown as lower on 3. The right heel on step
3 of the Feather Step should not lower until the LF
passes. It is very common to see both feet flat on 3
of a Natural Turn in Waltz or Quickstep before the LF
has commenced to move back. The lack of correct lowering
action here also results in CBM either not being shown
or being demonstrated in an exaggerated and incorrect
manner.
It
is a good habit to hold the final step of the figure
you are dancing for a moment before moving away. This
gives a sense of control and finish to your presentation.
Candidates often speed up as they get towards the end
of a figure. One tends to remember the last photograph,
in the mind; it doesn’t create a good image to
present the examiner with a series of photographs which
are at best sloppy and worst out of control at the end
of every figure. Use the time you hold the final step
to think of a suitable Follow. In this manner you soon
become adept at amalgamating figures and answer questions
on Precedes and Follows without hesitation.
If
asked to dance figures in the examination always give
the rhythm or timing. If you have a picture on the television
make sure to have the volume turned up. A good teacher
will always demonstrate a figure to a class in a convincing
manner and with an inspiring rhythmic use of the voice.
Throughout, the examiner is assessing your ability to
stand in front of a class or pupil. Of course this assessment
is relative to the level of examination being taken.
Student Teacher candidates should show that the basic
principles of technique have been studied and understood
to the level necessary to study for the Associate examination.
This includes the beginnings of good voice usage and
presentation for future teaching. In the Associate examination
the Examiner will be assessing whether the candidate
is presenting themselves and the dancing in a professional
manner as befits a qualified teacher. The Licentiate
examination is for experienced teachers. It is not just
learning extra figures. The confidence and assurance
that comes with working with your subject should be
evident in your presentation. Fellowship candidates
are examined on their ability as an advanced teacher
not only showing a deep understanding of the syllabus
work but being able to demonstrate an ability to develop
pupil’s dancing at various levels. Solo Demonstrations
along with the other sections of the examination should
have been developed to a high level. The sensitivity
of foot and ankle usage along with a quality of body
action should be evident.
In
future articles in DANCE magazine it is hoped to go
into more detail about Solo Demonstrations of the theory
of the various Chart Headings and of the requirements
at various levels.
Vernon Kemp |
