THIS IS HISTORICAL INFORMATION ONLY

INTERSECTION STAFF MEETING
April 18, 1970
3040 Berkeley Circle, L.A.

 

Present:	Rudy Dannes		Dick Oakes
	Athan Karras		Linda Oakes
	Rubi Vuceta		Tom Bozigian
	Charlotte Kiwas		Nick Varvas
Excused	Helen		Chip Sheldon
Absent:	Helena		Bobby Jones
	Sara

 

The purpose of the meeting is to gain stronger communication between staff and owners, and between individual teachers.

I.		BACKGROUND It was stated that the Intersection did not start out as a business, but as a club. It has developed into a place where people can learn, but still dance spontaneously after classes. R/A are interested in ideas which make folk dancing exciting to other people. The spirit of the Intersection is such that there is a feeling of participation rather than that of a spectator. People should be encouraged to join in the dances even though they learn as they go. Such participation will encourage them to join classes. Many ideas are developed by the Intersection to promote an interest in folk dancing. The program for Greek Independence is an example, and the Greek Easter celebration is another. People will come to these special events and perhaps be moved to join a class, learn to play an instrument, buy gifts, or have a meal. Everything is geared to carry out the international theme, which is very important to the image of a living cultural center. Another activity -- interviews on the Anne Baxter and Art Linkletter shows -- should stimulate interest in folk dancing and make people aware of what is going on.
II.		TEACHER GUIDELINES Karras: The teacher has to make a stronger contact with the people. The person who comes to take a class likes to make some connection with the instructor. These contacts are very important to the student as he feels the instructor is taking a personal interest in him. After-class contact with your pupils is a means of guiding them into other functions. Guide people to various activities until they find what they want to do. People will often come in for one activity and stay to join in another if encouraged. Try to promote an interest in folk dancing among new people. If some ot the advanced pupils feel neglected and go elsewhere -- let them -- and concentrate on the beginners, which increases the number of interested people. Oakes: Has advanced class first, then beginning class. This arrangement takes care of those who want to learn advanced dances and, because they are more actively interested and more stable, they come in on time. The beginner or amateur tends to come late, so they wind up in the advanced class if it is held second. If the advanced class is scheduled first, some beginners will show up early and wait for their class, which gives them insight into what they can advance to, and stimulates interest in continuing classes. Avoid to much regimentation. Discipline is good in classes, but once the dance becomes to rigid it loses its earth quality.
III.		PARTICIPATION INVOLVEMENT The best way to stimulate interest in your class is to come in to another class, be introduced, and possibly show something of what you teach. Promote the dances rather than yourself. You are there to instruct, not perform. Bring ideas to R/A -- things you want to experiment with on your evenings. Teachers should communicate to R/A the records they want to have in stock to promote their dances. The classes thus promote the sale of records. The Intersection gives a 15% discount on records to teachers.
IV.		TEACHER RESPONSIBILITIES Time Off: If you plan to take time off, notify R/A and try to arrange for a suitable alternate. You should take a strong interest in who is replacing you because of the effect they can have on your class. Remember, you are going to have to counteract the effect they have. Late to class: Phone, so the class can be notified. Otherwise they tend to drift away. Record keeping: When you leave, put away the records you have used -- and in the correct categories. Suggestions to I: Get record racks -- easier to use. Pull records ahead, then replace in proper file as used. BE SURE YOU DON'T TAKE THE INTERSECTION RECORDS HOME WHEN YOU TAKE YOURS.
V.		RELATED ACTIVITIES The exhibition group started orginlly as an advertising ideas as well as to give people a chance to perform. The idea was to make personal appearances to stimulate interest in folk dancing, and expose people to the fact that folk dancing exists. The group is interested in dancing for exhibition as opposed to recreation. Exhibition dancing gives you an insight into what coreography is, folk art, singing, costumes. A folk orchestra is beginning. Professional people are becoming interested in involving other professionals. Presently there are three bazouki, two clarinet and a drum. The I is interested in involving professional musicians to perform as well as interesting them in learning another instrument. When ready, the I has the opportunity to arrange professional engagements. Many calls are received for performers, but previously there was no one to recomment as an instrumentalist. There are many openings for outside jobs. Let R/A know if you are interested in such referrals (dance partiues, institutes, instruction).
VI.		FUTURE PLANS Expansion of the present I, as well as locations in other areas in Los Angeles and other parts of California. Some future locations may have an independent restaurant, record shop, classrooms. Oakes: What is the Intersection theme? ("The world dances at the Intersection"). Will hold a contest Friday nights for a descriptive phrase of "what the Intersection is." Establish communication whith other staff at the I. You should establish a feeling of identity with other staff.

Minutes distributed to staff as listed.

NEXT MEETING: Saturday, May 9, 1970 -- 12 noon at the Intersection.

Review attached question list for discussion at next meeting.

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QUESTIONS FOR STAFF DISCUSSION

1.		How do you make your evening more interesting and different from another evening?
2.		How do you comminicate with the class participants?
3.		How do you evaluate your following?
4.		Why do you think people become interested in folk dancing?
5.		What are your likes and dislikes about teaching at the "I"?
6.		Why do you think people come to the "I"?
7.		How do you think the teaching atmosphere can be improved
8.		Do yoiu have an interest in "I" functions?
9.		What are your successful techniques?
10.		What are ideas you would like explored?