Walter's Random Musings
Here are a few things I have learned over the years, done by me and by other presenters - some good, some not so good, and some disastrous. However, each person is different, and different things work better for some folks than others. Your mileage may vary.
This is about the substance and style of your presentation. For issues of technology, go here.
Relax. It's not that bad
There are a lot of "rules" here, but many good presentations and good presenters break one or more of them. If you know your topic, and you care about that topic, and you can convey that enthusiasm to your audience, you'll probably do fine, even if you break a rule or two.
Make a Point
You can have one or multiple points to make, but try to present some insights about your topic that your audience may not have considered. Do not just say "Here is a thing", but try to say "And here is why that thing is interesting, and here's what that thing says about a broader issue and relates to other things"
Care about your topic as much as it is possible to care about your topic. Your enthusiasm for what you are saying is the key to engaging your audience. This works best if you are presenting on a topic that is near and dear to you, when the passion should flow naturally. If you are presenting the next fiscal year spending projections, do your best to convey some enthusiasm, or at least your sense of why it's important, to your audience - but don't be phony or forced about it, as that will always backfire.
Look at your audience
Do not bury your head in your script or stare at the computer screen on your podium. Make the human connection by paying attention to your audience. If you ignore them, they will ignore you.
Do Not Read From a Script
Your notes should remind you of the sequence of key points, and help you recall names, dates and anything else that might vanish from your memory under the stress of public speaking, but the ability to speak in a natural voice, with natural intonation and pacing, is very important, and the voice you assume when reading from a script is most likely the opposite of that - and it will make it difficult to look at your audience.
I realize that this is where I and many of my fellow presenters part company. I also understand that for people who aren't comfortable with public speaking, a script can be a life line. I would however, encourage you to try to wean yourself away from it, to make your presentation a conversation (albeit one sided) and not a recitation. If you can make that leap, it really will make for a better presentation.
Speak Like An Interesting Person
Vary your speech. Speak clearly, distinctly but with a sense of energy (not too fast, not too slow) Do not speak in a monotone, whisper or mumble. Do not sound like you are reciting a liturgy. Vary your volume and get a bit louder on the key points - not too much louder. Your audience and your A/V tech will thank you for keeping your volume within a reasonable spectrum.
This is not an unnatural way of speaking for most people. Speak like you are talking to one person, in your living room, about a thing that matters a lot to you.
I recently asked my international community of Facebook friends for suggestions on where one could do old fashioned social dancing in Paris. By this I mean the dances of the first half of the 20th Century, back into the 19th Century (Waltz, Tango, Java, Swing, Foxtrot etc.).
It's been a bit of a challenge just Googling it, as I mostly find "Dance Clubs" where deafening Hip Hop and the like is the norm, and that is not, as we said in my youth "my scene" (it wasn't my scene back in the '60s either - so it's not just that I'm old, which I am).
I've also found places that advertise "Bal Musette" which, from what I have seen on their YouTube videos, they define not as dancing but as sitting around a table singing along with Edith Piaf's greatest hits.
So here are my friends' excellent and well-informed suggestions, compiled here so I can share them and find them again later, as it is deuced hard to find anything on Facebook after it has been there a while.
It would appear that the sort of dance that particularly interests me is found in the "ThĂ© Dansant" (Tea Dance) format, which happens in the afternoon and is therefore quite congenial to old farts like me.
This information was gathered in June of 2014. I would strongly advise checking the websites and perhaps contacting the venues to ensure that they are doing what you want to do, when you want to do it.
When I was able to find video of the place on YouTube, I posted it below.
Businesses and Public Events
Le Balajo (Thanks Angela)
Mostly Salsa and modern dances, but it looks like they have "Every Monday from 2pm to 7pm, Old Fashion Music (ThĂ© Dansant) with Liliane and Jo."
No video of their tea dances available - just the Disco
In getting a sense of the dances of the Jazz Age, it's helpful to also get a feeling for where people were dancing.
In short, almost everyone danced and they danced almost everywhere. Many public events had provisions for dancing, and there were frequent private dances of all descriptions. They covered the whole gamut of social class and ethnicity, and were as formal or informal as was the habit within that group: though nearly everyone, rich or poor, black, white or brown, would at least wear dresses, coats and ties to go out in public and dance, even if they weren't part of a socioeconomic group that could afford "evening dress".
Colleges and high schools had frequent dances. Clubs (especially "country clubs") and other private organizations like fraternal organizations (Masons, Elks, Grange, VFW, Woman's Clubs etc.) threw frequent dances for their constituencies. Hosting a dance seemed to be a prime way for a group to affirm its identity.
I recently reviewed the old company newsletters of my corporate employer, and was struck by how many formal dinner dances they threw back in the '50s and early '60s for their employees and their families, because when men and women got together, they danced.
Private functions of all types (dinner parties, charity galas, weddings, picnics) frequently included planned or spontaneous dancing, since dancing was enthusiastically pursued in every social class and, with the exception of those who had a religious scruple against it, every element of society. Music could be live (professional or performed by the guests) or provided by a gramophone or radio.
As to the public dance scene: the following categorization of public dance venues is based upon a list in "The Taxi Dance Hall: A Sociological Study in Commercialized Recreation & City Life" by Paul Goalby Cressey, 1932. He is describing the dance scene in Chicago in the early '30s, just before the repeal of Prohibition.
In my zeal to document the social dances of the Jazz Age, I have built a rather large and intimidating collection of web pages and videos, which while they may be of interest to the aficionado, might be a bit much for a busy person in a hurry. So, I have briefly summarized my key points.
These relate primarily to Foxtrot, but are applicable with some modification to almost all the dances of the time.
The Foxtrot of today IS NOT the Fox Trot of the Jazz Age. Much of the original Fox Trot can be seen in today's Foxtrot, but there are fundamental and essential differences.
In the Jazz Age, almost everyone danced so they did a dance almost anyone could do.
The process of recreating the ballroom dances of the Jazz Age has been an eye-opening journey, and has led me to a new (for me) way of dancing that I have come to love. It has also made me question my long-standing assumptions about what it means to dance.
A couple of years ago I came to the realization that the internet is now brimming with film footage from the Jazz Age showing people dancing. Just a few years ago, original dance footage was a big deal to get, requiring much time, effort and expense to obtain a few brief snippets of footage. Now, almost overnight, we are awash in it.
When I do a thing, I tend to overdo it, and this has been no exception. I tracked down hundreds of clips from old movies, and used them to construct a picture of the of the dances of the 1920s - 40s; a period I am very interested in as I frequently attend, and occasionally organize "vintage dance" events set in that era. However, I had only the sketchiest of ideas of what was actually done at the time, and as I started to look at the footage, I realized that many of those ideas were not only sketchy but entirely wrong. Much of what I had been taught or assumed about the dance of the time had been filtered through the prism of the modern forms of those dances. The Foxtrot, the Tango, the Waltz are all danced a certain way today, and the natural reflex is to say "Oh, I know the Foxtrot and the Foxtrot I know must be what was danced".
This is, of course, wrong because dances evolve over time; but it put me in a rather unique position. To learn these dances, I could not just take a class. While much of what I might learn in a regular ballroom dance class could be applicable; most of the modern orthodoxy and technique was clearly, from looking at the films, not applicable. I was going to have to rely on films and, to a lesser extent, books to be my teachers; along with the essential help of my wife and the many other women who have been my partners and collaborators in making sense of all this.
Germany during the era of the Weimar Republic (1919-1933) was a place of political conflict and economic chaos; as well as a nexus of cultural ferment, a flowering of invention and creativity, and a rejection of pre-Great War social norms and cultural conventions. It was also notorious for the vitality of its decadent night life, awash in sex and booze and jazz music: jazz music provided by hot German bands with their own distinctive national sound.
The dance of fashionable Weimar Germany was indistinguishable from the dancing you would see in London or New York. In the countryside or in "folk" events, good old fashioned rotary Waltzes, as well as dances like the Polka, LĂ¤ndler, Zweifacher etc. would be in evidence; but in the night clubs of sophisticated cities like Hamburg or Berlin, only modern dances like the Foxtrot, Tango and "modern" Waltz were welcome.
It's not a stunning revelation to say that dancing has changed a lot in the last half century. We all know that, but I don't know that most of us have really thought about the ways it has changed and how it reflects the ways our world has changed.
"Back in the day" which for my purposes, I will encapsulate in the 50 years between 1910 and 1960, dancing played a central role in the social lives of mature adults which it has entirely lost today. Today, among adults, with a few notable exceptions, almost nobody dances. Back then, almost everyone danced.
Night clubs, hotels, ocean liners and any place where people gathered to socialize had live music and a dance floor. Corporations, lodges and community organizations sponsored dinner dances, where people got dressed up and men and women danced together - and their "signature" dance - by far the most popular and pervasive, was the Foxtrot. The dance floor was often too small, and it was crowded, but it was crowded precisely because almost everyone danced.
Starting in the early 20th Century, there was a clear distinction between Youth Dances and Adult Dances. The kids did the Charleston which became Collegiate, which became Swing, which became Rock & Roll (a species of Swing). Adults danced the Foxtrot, Tango and Waltz (but mostly Foxtrot) and occasionally Latin dances like Rumba, Samba, Cha Cha etc.(all fall in a category now referred to as "Ballroom Dances"). There was a distinctly adult way to dance and a distinctly kid way to dance, and when kids grew up, they gave up the wild kicks, spins, leaps and flying skirts and settled into a style more appropriate to their adult lives. We often refer to "Youth Culture" and tend fix on that when defining past decades in our minds, but we tend to overlook the fact that there was once an "Adult Culture" as well, which was much more ubiquitous and influential than the fads of wild youth.
The library where I work recently purchased three iPads with an eye toward making a practical test of whether this new technology could be of use. The result has, so far, not been encouraging.
It recently fell to my lot to take a new look at this issue and figure out how iPads or other tablet computers could be useful in this business environment, so I conducted an informal survey at work and on Facebook to get an idea of what people were actually using the things for - and thereby perhaps get a sense of what we might use them for.
Before the list of uses, I would like to make an observation:
The most enthusiastic iPad users listed ways in which it excelled as an personal device. Its utility as a shared asset, such as we have in our library, seemed very limited.
I received yet another email from a TV producer looking for people who live entirely in some sort of historical way. She gave me the sense that she really didn't understand us, and I fear that she was looking for subjects for a, not to put too fine a point on it, freak show like those I saw a few years back from the BBC. Here's how I responded:
I understand there are some people who try to live entirely in some sort of "retro" way, but I don't know any. Everyone I know cherry picks from the past: we draw from the past the things we find lacking in the present, but we are perfectly willing to take advantage of modern technology and live in the real world. Most of us prefer not to live in a world with the disease, violence, bigotry and gender inequality that was all too common in the past, and there's few of us would turn down a shot of antibiotic if we had a serious infection.
Different people cherry pick different things. A lot of folks love the fashions of the past and enjoy the sense of occasion that really dressing up lends to any activity - something that is sadly lacking in our hyper-casual society. Many (and these groups contain lots of the same people) love the music and perhaps dance of the past - a time when songs were finely crafted and dances gave you a real connection to your partner.
The connections between these dances are pretty clear, as they progressed in a parallel track with the more mainstream Foxtrot and other ballroom dances.
I will hit on just a few clear reference points that give a sense of the flow. This collection is nothing like comprehensive. I present them with a minimum of commentary, and will let them speak for themselves.