Examinations
in Focus
Vernon Kemp looks at the re-introduced Student
Teacher and Associate Examinations
As
we travel around the UK and Europe examining, a number
of my colleagues and I have found that teachers do not
always realise that the Student Teacher and Associate
examinations have been re-introduced. At a recent Ballroom
Faculty meeting it was therefore suggested that I write
an article highlighting this and in continuation of
the article in DANCE Issue 443. In this edition I will
concentrate on the Student Teacher Examination and there
may be more to follow in subsequent issues.
Why take the Student Teacher Examination?
This question is often asked when studying for Professional
qualifications. Surely it would be cheaper and quicker
to go straight to the Associate?
As
an examiner said to a young Student Teacher candidate
of mine only last week: “This is the most difficult
exam you will do!” An examination conducted orally
is very different to most candidates’ experience
so that the first time is always something of a shock,
no matter how well you are prepared. This is not the
same as a medal test, a competition or a stage appearance
although all of those experiences may assist presentation.
Familiarity with written examinations will aid study
techniques nevertheless gaining understanding of this
type examination before the Associate is invaluable.
The Student Teacher is the half way stage towards
a qualification:
i) In the Ballroom Student Teacher
syllabus there is NOTHING that is not required for the
Associate examination.
ii)
It often at this stage in the study that the student
is at a psychological low: “There’s so much
more to do”, “I’ll never remember
it all” are common at this point. Taking the Student
Teacher exam has mostly one of two results. High marks
provide just the boost needed and low marks give a warning
bell that things have to improve before the Associate
exam and maybe your teacher wasn’t just being
a grump!
iii) The candidate shows a conviction
to the process of qualification and demonstrates that
the underlying principals of the technique have been
studied and understood. The Examiner has a wider margin
for errors and so some confusion or omitting certain
points can still be allowed for, although this of course
would be reflected in the final marks and comments.
This gives the candidate a clear indication of their
progress towards their goal of a qualification.
iv)
Some students are more experienced than others.
If English is your second language I often find confidence
in this section of the examination is a greater problem
than the knowledge required. For young candidates or
those of any age with little teaching experience or
knowledge of the opposite role then it would seem unquestionable
that the Student Teacher should be taken before the
Associate. However in my opinion this decision is advantageous
to most.
What do I have to do?
The Examination itself falls into two parts, Demonstration
and Theory.
In the Demonstration section the candidate should dance
with a partner, to music, Waltz, Foxtrot, Tango, Quickstep
and Slow Rhythm. You may choose to dance either both
roles or just one. Candidates sometimes present some
dances in one role and some in another, this can prove
a workable compromise if there are time constraints
on the study period. If there is little knowledge and
experience dancing the opposite role I suggest a Student
Bronze medal is taken first as all teachers need to
be able to dance both roles in classes and individual
lessons alike. A selection of the syllabus figures should
be used and further figures from the Associate syllabus
may be added. The choice of figures ultimately lies
with the trainer and the candidate. Dancers with a comprehensive
knowledge of the syllabus figures will be able to present
all the groups they are planning to use in the Associate
examination whilst others will include some now, needing
to learn others later. Learning the technique without
understanding how to dance the figures correctly is
very difficult and dare I ask why?
Preparing for this section of the examination often
gives the student the opportunity to revisit their own
dancing. To consolidate and strengthen previously acquired
techniques and to develop their knowledge of the skills,
posture etc required to dance as leader and follower.
Try not to overlook Slow Rhythm, because the marks for
Demonstration are averaged the score for this dance
is just as important as the others and can determine
the overall result. Again I try to use this dance in
a positive way in my teaching, encouraging body movement
and awareness at a time when the ‘book’
is perhaps leading the student to an overemphasis on
foot placement.
The Theory section is of course examined orally. As
teachers it is vital that we are able to communicate
with our pupils and present our knowledge in a way that
is easily absorbed. Communication between the examiner
and candidate is essential. I covered some aspects of
this in my lecture on Presentation of Solo Demonstrations
in Professional Examinations for the Sequence Faculty
at the Worthing Congress this year and perhaps that
will the basis for a future article in this series.
If you are unsure of an answer let the examiner into
your thought processes. Here are a couple of examples:
The examiner asks “What is CBMP?” Remember
at this level a simple answer is all that is required.
Most candidates know what CBMP stands for so start with
that. Of course you haven’t really answered the
question so don’t stop there go on to show an
example of CBMP e.g. “I can dance RF forward OP
in CBMP” showing it as a picture is always stronger
than words alone. Now it often follows that you can
say: “my right leg is in line with my left leg”.
You have arrived at the answer without standing there
scratching your head and looking lost whilst you trawl
it from the memory banks or as is too often the case
blurt out the first thing that comes into your mind
– a definition of CBM! All the answers you need
are in the dancing. Give the examiner a picture of the
movement in the same way as you would a class.
In the Waltz the examiner may be dealing with the Natural
Turn:“As Man, please give the Amounts of Turn”.
Candidates often dislike fractions; older ones from
their schooldays and younger ones because they might
not have studied them at school at all. In training
simplify it: 1⁄8, 2⁄8(1⁄4), 3⁄8,
4⁄8(1⁄2), 5⁄8, 6⁄8(3⁄4),
7⁄8, 8⁄8 (1 turn).
Remember turning from same to same is always an even
number of eighths. That is from one wall to another
or one corner to another. Turning from a corner to a
wall or a wall to a corner is always an odd number of
eighths. Show the examiner you know where to start and
finish each step of the figure, this way you have the
correct picture all you need is to add the words. It
is essential in training to be able to dance all the
figures solo, in both roles, one step at a time.
The written technique only expresses what happens when
a capable dancer dances the figure. After studying,
many teachers comment on how much more secure they are
in front of their pupils. If you are studying at the
moment I hope you continue to enjoy the understanding
and confidence knowledge can bring.
Vernon Kemp |
