This is a piece full of vitality, where rhythm and variations carry the energy within the 3+2+3 time signature. Note that it is not simply 8/8; Bartok was very specific in allocating asymmetric time signatures to his music, based on country dance, in the 'Mikrokosmos' series. The series progresses in difficulty and presents someone not familiar with Eastern European folk tradition with certain challenges. Mastering the changes of rhythm at a quick pace will be the key to success here.
First I would invite pupils to identify the different rhythm patterns and perhaps use these to divide the piece into sections for practice. Bars 1-8 introduce the first pattern, using C pentatonic scale for the main melodic theme, and which is imitated in bars 9-16 in the left hand. Clapping all rhythms to identify stresses is advisable. Balance between the hands is important too- there are full chords which should not be played too heavily. Jumping from one octave to another in practice might help with the quick changes, as might taking the melody and chords with opposite hands sometimes. Bars 17-24 provide an interlude that varies the main pattern. This section also has contrasting dynamics which adds further excitement before yet another rhythmic change.
Bars 25-32 herald a complete change of emphasis; there are offbeat challenges for the left hand here. The pp section from bar 29-32 intensifies this, as fingers need to be firm and close to the keys in order to control tone. The first rhythm returns in the left hand at bar 33, with yet another different accompanying rhythm, this time in clusters. Repeated notes ornament the main theme again from bar 44, with some playful ornaments. From bar 51 there is a grand statement - very Gershwinesque in style - that leads to a grand finale in octaves. The piece comes to a close with a series of 'questions and answers' in contrasting dynamics. The first rhythm has the last word.
This is an exciting Modernist choice for the extroverts!