Archive for the ‘2009 | 09 | September’ Category

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Ask Rhee Gold
2 Tips for Teachers
A Better You
On My Mind

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Teacher in the Spotlight | Debby Dillehay Walters
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Feature Articles
Ballet Scene | Competition Kids, Ballet Pros by Nancy Wozny
Dance Teachers Diary by Gregg Russell
If You Play, You Pay, by Joshua Bartlett
Taming the Hypercompetitive Parent by Debbie Werbrouck
Conquering Competitiveness by Melissa Hoffman
Left to My Devices by Julie Holt Lucia
Dances With Heart by Diane Gudat
Back From the Brink by Misty Lown
Convention Quandary by Debbie Werbrouck
Backstage Strageties, by Marianne Messina
Dancing at Disney
Directors’ Dialogue
Registration Made Simple by Mark Mahoney
Competition Costs by Jennifer Rienert

Advice for dance teachers

Dear Rhee,
I have been teaching for 25 wonderful years and still love what I do. That said, I have been presented with a dilemma. My studio has a competitive team, and we have only done regionals to this point. However, a parent is pushing for her 9-year-old daughter to attend a national competition because it is close to where we live and her daughter wants to do it. The competition does not accept individual entries; therefore, I would have to enter it, and it happens to be the week of my recital. So I cannot go to the competition, nor can I send a faculty member to represent my school. Also, I feel that if I let this girl go, I need to open the competition to the rest of the girls. But is that fair to the studio to have this disruption right before the recital? —Carolyn

Hello Carolyn,
It might be time for you to start to think about participating in a national competition, but not this way. You should not let a parent push you into participating, especially when the event interferes with your recital. The stress associated with the show and having your kids be in a competition (especially one that you cannot attend) is more than this mom should be asking of you. I would tell her that you cannot participate this year but that you will consider a national event for your team in the future.

It’s not easy when parents interfere in areas they should leave to your discretion. Be strong and stand up for what you know is right for you and your other students. Good luck! —Rhee

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Dear Rhee
I have a question regarding costumes, music, and choreography for adult dancers who are amateurs. I choreographed a piece to “Rich Man’s Frug” and purchased blonde bob wigs and dresses. Granted, the costumes looked better in the catalog than on the adult bodies. These dancers are doing nothing but complaining. We had an in-studio dress rehearsal last evening and they frumped through the routine looking like they were in extreme pain. How do I get them to just go onstage and have fun? Any advice you can give me would be greatly appreciated. —Lisa

Hello Lisa,
I would ask the dancers what they would like to do with the costumes to make them feel more comfortable (maybe add something?). This is not an easy situation, but in the future, you might want to have a seamstress make the adult students’ costumes or let them find something they feel comfortable wearing. Sometimes an adult body needs something different from what the catalogs offer. I wish you all the best. —Rhee 

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Hello Rhee,
I have a simple question. My 9-year-old son dances for my dance studio. Should he wear tights under his costumes so that he matches how the girls look or should he have bare legs? For the tap routine the girls wear tan tights and tan shoes and he wears capri-length pants. For the lyrical routine, the girls are in brown dresses with tan stirrup tights and he wears brown shorts; for the hip-hop routine (black capris and black sneakers), the girls wear tan tights and black sneakers— should he just wear black socks? Until now his costumes have all been long pants. We want to be confident that he dances and looks like a young man. Thank you so much for your masculine authority! —Andrea

Dear Andrea,
My thought is to get rid of the capri pants and get him some long pants to wear in these numbers. Although I have put boys in capri pants, it is usually for a piece in which they don’t wear shoes. Putting your son in tights with socks and shoes would look strange. (I would be intimidated by that myself.) Don’t concern yourself so much with how well he matches the girls; you can accomplish that by matching the right shirt or top with the girls’ costumes. Because he is a male, that alone makes him look different from the girls, and his look should be different. I wish you all the best. —Rhee 

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Dear Rhee,
The single mother of a student in my dance company has been fighting breast cancer for years. Two years ago she ran up a huge bill and I told her I would allow her to make payments throughout the summer months to catch up. Come September of the next year she still had a balance, and then of course her current bills kept adding up.

Although she kept trying to make payments, some checks were returned again. She was approaching a balance due of around $2,800. Toward the end of the season, with the recital approaching, I said she would have to pay her costume balances and other material items but that I would forgive her tuition bill. She would start with a fresh slate in September 2008, but I told her she would have to keep her account paid up to date. For a few months it went fine and I was a good person in her eyes and she said would never forget what I did for her daughter.

Fast forward to 2009. She owes me around $900. My recital is in two and a half weeks. I have spoken to her, explaining that I cannot continue on this path as I have salaries, rent, and utilities to pay. Then I got a note from her asking for a detailed listing of her costs because she thinks I am charging her incorrectly. How soon she forgets what was done for her.

I printed out a detailed list and have not gotten a check since. She will not return my calls, and her 16-year-old daughter continues to come to class every week. I think the mom is calling my bluff that I will not pull her out of her dance for the recital. Doing so is not my nature and I don’t want to have to make the teachers change the choreography.

She sent in a ticket order, and I could apply that amount to the account, but it is only $96. I didn’t forgive the bill so I could put myself on a pedestal; no one knew about it except my office manager and me. But now I’m the bad person for having the nerve to ask her for the money. The girl’s teacher overheard her saying how I harass her mom constantly about money. What should I do? —Frustrated

Dear Frustrated,
I would probably be as frustrated as you are with this situation. One thing that’s important to remember is that you already went beyond the call of duty for this mom and her daughter. You are to be commended for that, whether they recognize it or not.

At this point, you have to let go of the emotions involved and let this mom know that you are not harassing her but are requesting payment for services rendered, just as you would with any other student in your school. If your policy states that all tuition and other monies owed to the school must be paid in full in order for students to be in the recital, then you have no choice but to take action.

Either in a phone call or a letter, explain that you cannot process her ticket request because of the outstanding balance for lessons. Ask her if she would like you to apply the $96 to that outstanding account and then ask when you can expect the remainder of her balance. If she does not pay the bill, then her daughter cannot perform in the show. As harsh as that may seem, the rest of your clients are adhering to your school’s policies; plus, you have already given to this family in a time of need. It is time for this parent to show appreciation for what you have done and take care of her balance due with respect and appreciation. If she doesn’t do that, then know in your heart that you have done all you can and that will have to be enough for you.

Don’t stop giving, though—many people in need will appreciate your kindness and not forget it. And those who do will appreciate you long after the dance classes are over. That’s what it’s all about. Good luck! —Rhee

By Mignon Furman

Tip 1
Pirouette en dedans should be the easiest way to turn; it is the most natural. However, problems arise when turning is made so technical that the dancers become tense, restricting the movement.

Preparation is from a fourth position facing croisé with weight over the front foot on a bent knee with the back leg straight. The arms are in third with the same arm in front as the front leg.

Do not over-cross the croisé position and make certain that the shoulders and hips are aligned. The movement of the working leg should coordinate with the side arm. The working foot can come directly to the turning position (under the knee of the supporting leg) or pass through second. Try not to stop the turn but continue with the feeling of turning with the arms in first.

Tip 2
For piqué (posé) turns, dancers must push from demi-plié onto an extended, fully stretched leg. The arms open to second and then close into first position on the turn; coupe is performed on completing the turn. Stepping onto piqué without turning, and using the coupe to make the turn, is incorrect.

Arms should open on the piqué so that the leading arm points in the direction of travel. I tell young dancers that the leading arm is like a direction finder indicating where to go and the arm that closes is the engine.

Going beyond the abs for true inner strength

By Suzanne Martin, PT, DPT

“Core? What is that?” I received this query from a French editor when she was translating my Better Back book into French. Today we have so much biomechanical research to answer that question.

It’s true that most dance injuries occur in the ankle and foot; however, overuse injuries are the hallmark of dance training, which is repetitive by nature. The biomechanical chain from the core downward is of crucial importance in helping dancers continue to dance. The top of this chain is, of course, the core.

Most people think the core consists of the abdominal muscles. But that’s only part of the story. The core is not only cylindrical (the abs) but also has a top and bottom. Think of this inner unit as Computer Central.

Training dancers in the concept and mechanics of the inner unit as Computer Central is the next wave in comprehensive career preparation. Core control separates the beginners from the advanced in terms of coordination and technical finesse; without it, limbs literally flail in partnering.

Parts of the inner unit
The inner unit has four elements. Located in the front are the deep abdominals (the transverse abs), which run from side to side, creating an abdominal “corset.”

Underneath a flat soft-tissue layer are the multifidi, each of which connects several vertebrae. These thin muscles, of varying lengths, stabilize the spine. These muscles work underneath the long, strappy muscles (the erectors) that run vertically down the back. The erectors stabilize the back in large orientation motions of the spine, such as the arch of arabesque.

At the top of the inner unit is the respiratory diaphragm, a circular muscle that moves up and down like a piston.

At the bottom is the pelvic floor, also called the pelvic diaphragm. It moves in a small, parachute-like motion, rounding up into the body to support the internal organs above.

Why inner-unit control matters
These four aspects of the inner unit must coordinate to protect and stabilize the low back and act as an anchor, or ballast, for the motions of the upper body. For my clients with scoliosis and especially for flexible women, teaching them to internally “hold” the center of gravity by coordinating the inner unit essentially gives them an insurance policy against severe low back injuries.

Boys and men have other reasons to pay attention to the precision of inner-unit use. They tend to have greater strength in general, laying on more muscle mass after the adolescent growth spurt. But this absolute strength can mask any deficits in the postural muscles. Also, boys who start dance late or progress into partnering before they’ve gained enough torso strength risk back problems.

Another key reason for control is that the inner unit must be stabilized in order for the psoas to properly work for leg elevation, e.g., développés. You just can’t get around it—the inner unit provides low-back protection, an anchor for upper-body and arm use, and a stable base from which the legs lift. Plus, it guides the knees and feet into optimal contact with the ground. The core does everything except cook your dinner.

Just like Joseph Pilates said in Return to Life, anything worth doing takes time to develop, so be patient in your pursuit of the consciously working core.

I have faith in you.

Visualize and Exercise

Finding the components of the inner unit in dance motion is the subject of much interest in dance medicine and physical therapy circles. Here are some tips to help you find them most effectively.

Visualize: Your center of gravity
Place one hand on your navel, then go 3 inches down and imagine going 3 inches inward. Place your other hand on your low back opposite the front hand. Your center of gravity is in this area. Feel your hands sandwiching this area. Bring your head weight over this area. Notice how the back relaxes when the center of gravity and head are aligned.

Exercise 1: Finding the inner unit
Transverse abdominals
Kneel on all fours in a tabletop position. Make a flat back, extending your head and tailbone in opposite directions. Keeping your back flat, lift your abdominals up toward the spine. To access the deepest abdominal muscle layer, visualize your abdominals as ‘smiling’ from hipbone to hipbone. Try pulling the muscles in and pushing them out without your breath initiating the action. Then pull them in and hold them while thinking of the diaphragm moving up toward your head and then down toward the tailbone four times.

Multifidi
Sit tall on the edge of a chair with a firm surface. Place your hands on your low back at the waist. Shift your ribs forward and feel the big, strappy erectors pop out. Then feel for the trough between the erectors and the spiky dinosaur bumps of the spine.

Now sit tall with your head and ribs in a vertical line over your pelvis (so you’re no longer shifted forward). Without changing the orientation of the back (no flexing or arching), feel like you’re pushing back against the muscles in the trough to tighten them. These are the multifidi. 

Pelvic floor
Think of the pelvic floor as diamond shaped, with the four points being the pubic bone in front, the tailbone in back, and the two sitz bones (ischial tuberosities) at the bottom. The diamond can be divided into two triangles, front and back.

Practice pulling up the muscles of the pelvic floor. Don’t grip them; instead imagine that an elevator is lifting them into your pelvis. Go easy.

Now squat in a wide second position, bracing your hands against your thighs. Practice lifting the muscles of the pelvic floor even though you are widening the bones of the pelvis into the squat. Stay there and breathe four times, working on keeping the pelvic floor muscles engaged in this wide position.

Respiratory diaphragm
Since the diaphragm is circular, let’s find it in several places. Place your hands on the front of the ribs. Now sniff briskly. The movement you feel in front is the action of the diaphragm. Now place your hands on the sides of the ribs. Inhale and see the sides of the rib cage expand; as you exhale, gently squeeze the rib cage.

Next, get a Thera-Band® and place it horizontally around your back below armpit level, making it tight enough to feel the tension (but not too tight). Breathe in and feel the rib cage expand and press against the band to the back. To fully fill the lungs when you inhale, think of filling two cones, one on either side of the body, from the base of the cone up to the tip, which reaches above the level of the collarbone.

Exercise 2: Straw exercise
(Imagine being sucked up through a straw. This is also a good one to do in a car while waiting in traffic.)

Sit on a surface that’s high enough to let your feet dangle above the floor. (In a car, simply keep your feet on the floor.) Slump down like a deflated accordion. Inhale, and as you exhale, gently pull your sitz bones together. Then press down on the sitz bones and feel an imaginary hand lift the skin of the low back so that you roll slightly forward. Elevate through the pelvic floor. Keep lifting the spine through the waist and lift the rib cage off the waist. Continue stretching up through the middle and upper back, thinking of going up through the rib cage. Then stretch the neck up like a giraffe’s neck.

Stay tall and inhale. Exhale and get taller; inhale and stay tall. Repeat. Exhale and get taller, then relax.

Visualize: Pelvic placement using the inner unit
Stand with your feet a few inches apart, toes facing forward in parallel. First feel the external muscles. Using the abdominals, tuck your pelvis, shortening the distance between the breastbone and the pubic bone. Then try tucking the pelvis by tightening the glutes (pulling the back of the pelvis down toward the thighs). Then arch the back by tightening the erectors, the big, strappy muscles of the back.

Now find a neutral pelvis with the hipbones lifted and the tailbone pointing down toward the floor. Experiment by moving the pelvis into a tuck and then into an arch only by changing the tightening of the pelvic floor. First tighten the front and notice the slight tuck. Then tighten the back and feel the slight arch. Train yourself to find a neutral pelvis and support the low back through the use of the deep muscles of the pelvic floor.

Exercise 3: Coordinating the inner unit
Take a tabletop position on your hands and knees with the knees 3 to 4 inches apart in parallel. Find a flat back. Reach behind you with the sitz bones so that the pelvis is neutral, without a tuck.

Feel the abdominals lift against the spine and an imaginary hand holding the low back flat, creating a sandwiching effect. Feel the width between the sitz bones as you lift the pelvic floor up toward the head without disturbing the orientation of the pelvis or back. Tuck the toes under. Inhale and exhale, then lift the knees about 2 inches off the floor. Stay there and breathe for four breath cycles, then lower the knees. Repeat.

Words from our readers

The letter from Frances has moved me to comment [“Ask Rhee Gold,” May/June 2009]. I see both sides of the equation. I work at a dance studio that has a main studio as well as rented space in a church, with portable bars and a curtain dividing the classrooms. While the main studio has more of the “bells and whistles,” the students there may need to adjust when recital time comes and they have no mirrored friends to follow. But at the church space, the students copy the teacher, so facing the audience is less of an issue.

Yes, at the church I might have to clean up after another group. But I’m sure my studio owner appreciates the fact that heat and electricity are included, and come winter, so is the plowing.
April Mosher
Mary Ann Studio of Dance
Springfield, Agawam, and Wilbraham, MA

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Thank you so much for the great article on our studio’s Make-a-Wish experience [“Making Dance Wishes Come True,” May/June 2009]. I was reading the magazine at the doctor’s office and I almost wanted to stand up and share it with everyone. You are the best! It’s the only magazine we get or want. It answers everything. Now all the new features on the website—it is amazing.
Pennie Bleil
Just For Kicks School of Dance
Port Orchard, WA

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I want to commend you on the success of your magazine. I’m sure you hear this quite a bit, but I’m totally hooked on Dance Studio Life. I see no need to subscribe to any other dance magazine because I can get all I need and more from yours. I go back to past issues for ideas and information all the time.

I’m writing to advise: As studio owners, we put trust in others, but we must never let our guard down. I got burned by a teacher and dear friend (so I thought), who informed me that she would no longer be teaching at my studio. Two days later I saw a sign announcing the opening of her school. I will not let her discourage me. I will continue to stay focused on my business and not hers. I want to make other owners aware that they should watch their backs.
Shelly Clark-Moore
Pink Slipper School of Dance
Leesburg, GA

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Our studio is celebrating its 70th season this year and we would like to know how many schools across the country join us. I am sure there are many, and we would love to know who they are and what their stories are. We know that ours is the oldest school in South Carolina. My mom started the school in 1939, and she still goes to the local Elks Club on Friday nights and kicks up her heels a bit at 87.
Linda Oltmann Walker
Trudy’s School of Dance
Charleston, SC

Words from the publisher

In August of 1994 my mom, Sherry Gold, lost her battle with cancer. Her school was set to open for the season in less than two weeks, so not only did my brother Rennie and I face having to carry on a 30-year legacy, we had to make the transition quickly. It was not easy; we were dealing with lots of raw emotions. With each decision, I can remember thinking, “How would Mom do this?”

At the time, I didn’t want to deviate from what she would have done. After all, she had created her school and her way of doing things had worked for 30 years; plus I wanted to show respect for her by not changing things too much. What I didn’t realize was that life is all about change and about embracing those transitions as opportunities. We saw new doors to dance through, new ways of doing things. We needed to embrace the moment and not cling to the past.

In March of 2008, Gus Giordano, a longtime Gold family friend, passed away, leaving his legacy to his daughters, Nan and Amy. Having gone through a similar experience, I empathized with them. Would they try to hang on to the traditions and practices Gus had established, or would they take his school and company in a new direction?

As I write this, I have just returned from the Jazz Dance World Congress in Chicago, which Gus founded in 1990. This was the first Congress since his death; there were lots of tributes to the jazz master, and so many of the folks I remember from my own days with Gus were there. It’s remarkable how many of them are now successes in their own right. All of them carry a piece of Gus in their soul, which they pass on to the next generation. That means Gus’ legacy continues today and will for all time—what a tribute to the great master.

In observing Amy and Nan in action, I could see that they have already learned that while respecting Gus’ legacy, they must have a good grip on the future. As director of the school, Amy has created children’s and teen programs offering tap, jazz, ballet, hip-hop, modern dance, and more. She has taken the Giordano offerings to a younger generation, added diversity in training, and is carrying on her father’s legacy in a new way.

Nan, who is the artistic director of Giordano Jazz Dance Chicago, is bringing in choreographers to set new pieces for the world-famous company while maintaining the high standards set by her father. And she is opening the company’s repertoire to what’s new in jazz dance. While watching Nan teach, I could see her father, but I also saw her own personality coming through loud and clear.

Although passing the torch can be tough on those who receive it, the reality is that we cannot live in the past, wishing to revisit all the good times. Instead it is the responsibility of the next generation to make new memories and good times for those who pass through the school’s future. Nan and Amy are doing one hell of a job and I know Gus would be proud of his children and the future of his great legacy.

Owner, Debby Dillehay Dance Studio, Kenner, LA

NOMINATED BY: Staci Melancon-Gelpi, teacher at her school: “Mrs. Debby works hard to make sure that every performance is top-notch and each dancer performs to the best of his or her ability. She funds her nonprofit dance company mostly out of pocket so that students have opportunities to perform for the community. After Hurricane Katrina hit in 2005, the studio had two feet of water and roof damage. Mrs. Debby, her husband, and her brother-in-law worked day and night to renovate the studio, one of the first to reopen after the storm. Meanwhile, she and her husband are still renovating their storm-damaged home. It just goes to show that dance comes first for Mrs. Debby.”

AGES TAUGHT: 18 months (mom-and-tot class) to adult.

GENRES TAUGHT: Tap, ballet, jazz, pointe, and lyrical.

TEACHING DANCE FOR: 38 years.

WHY SHE TEACHES: Dancing since the age of 2, I originally only wanted to teach dance part-time as I had a full-time job in the clerical/bookkeeping field. Gradually, I felt teaching was my true calling. I enjoyed seeing the progress of the children and the sense of accomplishment in their faces. You don’t get that feeling pushing papers. So I did the clerical job part-time, concentrating more on dance, then finally opened my own studio and quit the clerical since there was definitely enough clerical and bookkeeping to do with the studio business.

GREATEST INSPIRATION: As a young dancer, I admired my teacher, Joyce Vignes Brinkmann. But as a young adult I took a workshop with Lea Darwin, who had an assistant named Susan Quinn. Susan trained with Gus Giordano. Susan’s enthusiasm for dance, emotional execution, and technical expectations inspired me to be a better teacher.

PHILOSOPHY OF TEACHING: Teach each child as if he or she were going to be a professional dancer. Make sure they have fun while learning, but teach proper technique and terminology from the start.

WHAT MAKES HER A GOOD TEACHER: I think the fact that I truly care for my students, their training, and overall well-being makes me a good teacher. Even though dance is first and foremost, I try to give them “life lessons” in the process. Most students will not become dancers, so I want to give them lessons to help in all aspects of life. Discipline and respect seem to top the list.

FONDEST TEACHING MEMORY: If I had to pick one moment, I think it would be the first time a student went professional. It gives you such a sense of accomplishment. But I also really enjoy having second-generation dancers come to the studio.

BEST PIECE OF ADVICE FOR STUDENTS AND/OR TEACHERS: Students: If you have a passion for dance, give it 100 percent. Never think, “I can’t,” only “I can.” You are in control. Teachers: Take care of yourself, but always think of the students first over the paycheck. If you love them, they will feel that you really care.

WHAT SHE WOULD DO IF SHE COULDN’T TEACH DANCE: I guess I would work in the office at my studio and let my faculty do all the teaching, or work the desk at someone’s studio.

MORE THOUGHTS ON DANCE AND TEACHING: The Debby Dillehay Dance Troupe, our nonprofit performing company, performs throughout the New Orleans metro area. I enjoy giving my time and training my students to give back to the community.

DO YOU KNOW A DANCE TEACHER WHO DESERVES TO BE IN THE SPOTLIGHT? Email your nominations to David@rheegold.com or mail them to David Favrot, Dance Studio Life, 10 South Washington St., Norton, MA 02766. Please include why you think this teacher should be featured, along with his or her contact information.

By Dorina Linga

A story about yourself is not just a simple essay about your life; it is a reflection on the past, present, and future—a meditation on failures, achievements, hopes, and disappointments.

So here I am, an international student who won the jackpot: a scholarship funded by the U.S. government. I was one of nine representatives of the Republic of Moldova (formerly part of the USSR) who were in the United States, the only one in Washington State. If someone had told me that one day I would be in the United States, fulfilling my dreams of traveling, studying abroad, and doing an internship with a professional ballet company, I would have laughed. But life is a lottery full of unexpected surprises. One thing I know for sure, as Paulo Coelho wrote in his book The Alchemist: “If you want something strongly, then the whole universe will come to help you achieve it.”

My mother took me to ballet from the time I was 3 or 4 years old. Ballet charms many little girls and determines their hobbies and their future goals; I was one of them. A year later we went to a professional national dance studio, where I was told to wait another year. Too small, I remember sitting on the stairs in the hall, watching all those dancers, rehearsing and dancing so gracefully, with tears in my eyes.

The following year my mother signed me into a music school for piano. A year after that, when I was 7, I handed my mother a note with an invitation to the dance studio Cununita. My mother was shocked to see my desire and ambition to dance. For more than nine years that was my second home.

Once my mother asked me what I liked most of all, dance or piano. I said dance. During the school years I lived for dance and music; school was a complement for my passions. In my last three years of high school I understood the meaning of graduating successfully, and I had to focus more on the basic school, but I didn’t give up my passions. I bow my head to the extraordinary teachers who helped me develop my artistic vision and character. My piano teacher, Ludmila Volcova, and dance teacher, Valentina Zagorskaia, are nationally recognized artists for their efforts in developing the beauty of arts in Moldova.

I realized that what defines me most of all is that life is wonderful when you gamble and enjoy the delight of winning.

My parents always said, “If you start something, finish it.” And so I did. There were some school years when I had rehearsals seven days a week. I had to run from one rehearsal to another all over the city. I chose to practice so hard because I love challenges. I consider them my most important motivator and tool for improvement. And in the process, I realized my strengths and weaknesses.

Three years ago I was chosen to work as a dancer in South Korea for one year, but I would have lost two years of high school. I decided to finish school instead. And that was what I worked on at Pierce College in Lakewood. As a scholarship recipient I had the opportunity to study both business and dance. The arts are business too, and it takes strong skills to survive in a not-so-well-understood field.

As an intern at Dance Theatre Northwest, near Tacoma, I realized that what defines me most of all is that life is wonderful when you gamble and enjoy the delight of winning. There was no way I could foresee working with someone as accomplished as Melanie Kirk-Stauffer, the artistic director. The learning experience afforded me the opportunity to speak and present myself in public forums. I learned about marketing, development, advertising, budgeting, politics, advocacy, and networking and how these activities all come into play to support the beautiful, graceful aspects of dance.

I am grateful for this opportunity—to my parents, Ion and Larisa Linga, for supporting my aspirations; to my teachers; to my hosts, Sunny Burns and George Neal; to my advisors at Pierce College, Sandra Plann and Mary Meulblok; and to the staff at Dance Theatre Northwest. It’s my dream to build something as important in my own community one day. I am really inspired and I can’t wait to put my learning experiences into practice.

What competing did for the careers of four ballet dancers

By Nancy Wozny

We often think competition kids are heading for Broadway or commercial regions of the dance world. Not always so. Four leading ballet dancers discuss their early competition life, sharing what they learned and how those experiences shaped the dancers they became.

Melissa Hough, Boston Ballet
Boston Ballet soloist Melissa Hough has been wowing audiences with her performances in ballets from Swan Lake to Twyla Tharp’s In the Upper Room. Now in her sixth season with the company, she finds that her extensive competition and jazz experience as a teen comes in handy in working with certain choreographers.

Hough began her training in a small non-competition school. After a short time she wanted to be pushed more, so she headed off to a competitive studio in Glen Burnie, Maryland, where she competed with Dance Xplosion and New York City Dance Alliance. “I consistently scored high and won several junior teen and senior outstanding dancer awards at nationals over the years,” she says.

She was lucky that her studio valued ballet and had several former Kirov teachers on faculty. At 13, she entered the Kirov Academy of Ballet in Washington, DC, and for a while tried to simultaneously keep up her ballet and competition life. “We worked it out with my jazz studio so that I would come on Mondays, Thursdays, and Sundays,” says Hough. “It was difficult because I was always going and never had a day off.”

“So often ballet dancers only train in ballet,” says Hough. “Some things that are stressed in the jazz/comp world can be very useful, like learning quickly.” She recalls the intensity of learning at the conventions that often accompanied competitions. “If you didn’t learn the combination right away, you were left in the dust. It was much more like a Broadway audition,” says Hough. “Also, you had to be able to perform right away and make it different than the other hundred or so people in the room.”

Learning to make your mark in a huge group informed Hough’s approach to coping in a big ballet company. “Having been through that rigorous work ethic of competitions helped me tremendously when it came to people watching me in class and navigating the ballet company world,” she says. “I learned more discipline at my jazz studio than I sometimes see in professional companies, and I think it has helped me to stand out in certain ways.”

Jazz dancing is all about being distinct either through musicality or style. Hough remembers learning Finnish choreographer Jorma Elo’s highly idiosyncratic ballet Brake the Eyes. Elo’s style, with oddly angled shapes and quick shifts of weight, was not such a foreign land for Hough’s body. “There’s some funky movement in his dances,” Hough says. “His stuff feels a bit like breaking, popping, and locking.”

The in-your-face approach of William Forsythe’s in the middle, somewhat elevated provided another opportunity for Hough to draw from her competition experience. “We had to learn the Forsythe piece really quickly and then do it,” she says. “It was a ‘nail it the first time’ experience. I think all the time I spent at conventions and competitions helped me get it right the first time out.”

Today Hough reflects on her competition experience as both valuable and problematic. “It’s much more about quantity than quality, and quantity seemed to always win. The difference is that in the competition world, many teachers care mostly about how many times you turn in a pirouette or how many tricks can fit into a three-minute routine,” she says. “In the ballet world the quantity is not so much a focus, but a goal you might personally set for yourself after you’re able to lift your leg properly to 90 degrees with the correct port de bras and coordination. There is much more refinement and understanding of the body in ballet before you can begin to think of the quantity.”

Today, Hough feels like a much more nuanced dancer who has made the most of her versatile training. She has some concerns about what has happened in the competition world since she left. “Punching everything and giving too much all the time feels kind of fake,” she says. “And the training is not preparing kids for what is out there in the real dance world. In some ways it’s become its own world that is disconnected from the field.”

Hough also feels there needs to be more emphasis on ballet training, which often gets short shrift in the comp world. “Dancing has to be about larger concerns than winning, which can skew one’s thinking. It’s great that kids are passionate about an art form, but at the end of the day they need to know why they are doing it,” she says. “It’s great to have that rawness that makes you stand out, but you need to have strong technique to make it in the professional world.”

 

Perry credits his highly knowledgeable teacher and frequent Dance Studio Life contributor, Diane Gudat, for his solid training in jazz dance and a smooth ride on the comp roller coaster. “She’s so smart, and a stickler for details,” Perry says. “I was taught to always create a story in my dancing and I am always bringing that in, even in ballet.” And he found that the sheer amount of performance experience made competing worthwhile. “I learned how to perform and connect to the audience.”

Perry finds his background useful in making his mark on McIntyre’s hard-to-classify style. “I learned to really move through space on the competition stage, to go that extra little bit and pull it out of nowhere,” says Perry. “It’s all about standing out.”

As a choreographer, McIntyre is interested in what his dancers add to his movement; it’s a co-creative process. “I like to add a little spice to it,” says Perry. “If he doesn’t like it, he will tell me. Sometimes I need to calm down; he’s very honest, but also is very interested in what I am going to do with his movement.”

McIntyre’s Leatherwing Bat, set to “Puff the Magic Dragon” by Peter, Paul, and Mary, is just such a piece. “I pulled my training into this piece,” he says. “Sure, there are ballet moves in the piece; it’s classical ballet with a twist, and that twist is up to me.”

Barette Vance, Pennsylvania Ballet
Barette Vance loved every bit of her competition experience. Now a soloist at Pennsylvania Ballet, Vance dances a varied repertory that includes such ballets as John Cranko’s Taming of the Shrew, George Balanchine’s Slaughter on Tenth Avenue and The Four Temperaments, and Matthew Neenan’s 11:11.

Starting with creative movement in her toddler years, Vance entered the jazz, hip-hop, and lyrical world at age 6. She started competing in fifth grade with Starpower Talent Competition, Showbiz National Talent, and others at the now-closed Saddleback Dance Center in Mission Viejo, California. Competitions were all about jazz to Vance. “I had so much time in front of a crowd, and all that jazz training really helped with developing performance qualities,” says Vance, 25. “By the time I entered summer programs at the School of American Ballet, I had a lot more experience than others starting out. Competitions really make you focus on expressing yourself as an artist.”

“I had so much time in front of a crowd, and all that jazz training really helped with developing performance qualities.” —Barette Vance, Pennsylvania Ballet

Vance competed until she turned 14 and became a serious ballet dancer. She appreciated her background when it came to learning and performing Pennsylvania Ballet resident choreographer Matthew Neenan’s tricky ballets. “He doesn’t want you to look like a ballerina in his dances; he wants you to hit the movement hard but still keep a very organic and earthy quality,” says the Laguna Hills native. “A lot of ballerinas have trouble making contact with the ground like you do in hip-hop. It’s very good to have a varied background because choreographers are not all classical these days.”

She admits that she still tries to sneak out for jazz classes from time to time. “It comes back to me very easily.”

Vance enjoyed judging at Starpower last summer. “It was a great experience and taught me a lot. There was so much talent and it was really hard to decide what I thought was best. The judges have a hard job, but at the same time it’s so exciting to see all the great dancers,” she says. “The one thing that has stayed with me about judging was that everyone has their own opinion and taste, and just because you think someone or something is the best doesn’t mean the next person will agree. That’s what makes this job so exciting.”

Jessica Collado, Houston Ballet
Jessica Collado, a newly promoted demi-soloist with Houston Ballet, treasures her time spent in jazz classes and competitions. From dancing the role of the showgirl in Stanton Welch’s ode to Gershwin, The Core, to her gutsy performances in Welch’s earthy homage to the Australian pioneers, Red Earth, Collado adds pizzazz to everything she does. She also drew on her training for the pounding beat of Welch’s all-women powerhouse, Mediæval Bæbes. 

Collado attended more competitions than she can remember, including Tremaine Dance Conventions, Starpower Talent Competition, L.A. Underground Dance Convention, and StarQuest. At first she studied jazz and ballet, but when her father got transferred to Atlanta she decided to focus on ballet and gave up competitions. “Competitions were fun because it was a chance to see the talent of other dancers in your age range. I always wanted to see how I compared to other dancers; it gave me perspective as to how I was progressing and improving,” says Collado. “They also were always in fun cities and you got to travel with your friends.”

Named one of “25 to Watch” in 2009 by Dance Magazine, Collado prides herself on her versatility; she is often selected by visiting contemporary choreographers. “My jazz background is hugely beneficial to my dance career. Today, companies require dancers who are strong in both classical and contemporary technique,” she says. “I feel that many of the specialty roles I’ve been privileged to dance have come about because I stood out in contemporary work.”

Collado, like the others, benefited from the hours of performing, and the hard work of getting ready for competitions gave her a taste of life as a professional dancer at a young age. Often in several entries in one competition, from solos to group pieces, Collado had to make sure she was totally prepared.

“I also developed stage presence,” she says. “Going onstage in front of hundreds is nerve wracking as it is, but knowing that you are being judged on your technique and artistry is a lot to handle. You can’t just dance the piece; you have to perform it and stand out among the rest.”

A week in the life of a convention teacher

By Gregg Russell

I am a working teacher and choreographer from Los Angeles. I have taught internationally for 20 years with many dance conventions, including Dance Olympus, L.A. Dance Force, Tremaine, and American Dance Awards. I am currently employed by Co. Dance Conventions and travel with them to more than 20 cities per season. Overall I travel roughly 40 weekends and 20 weeks per year. As manic as my weeks are, I am blessed to be able to do what I love for a living. The following journal is of a typical week during the busy convention season. Bring on those frequent flyer miles!

Day 1: Infamous travel day

Ah—an early Friday morning and time to head to the airport. This weekend’s Co. Dance convention is in Orlando, Florida. It is the sixth weekend in a row I am traveling for them and I must admit that it can get tiresome. But it’s a small price to pay for the smiles and inspiration that evolve during each class.

I am on the plane now, after battling some Los Angeles traffic. Today should be an easy day since I have a direct flight (five hours) and then some time to chill. I am very excited that there is no Friday night competition scheduled. Now, let’s pray for no airplane delays.

Made it to the hotel safe and sound and ready for some food. I am faculty leader this weekend, so I checked in with my boss, Tracie Marciniak, and we are good to go. We had some minor changes and discussions regarding schedules and arrival times of the other faculty. We have a contingency plan in case one of the faculty members doesn’t arrive, and I have notified everyone accordingly. Now it’s time for some Chili’s!

My belly is full and off to bed I go to try to get some sleep. It is 11:30 p.m. but only 8:30 West Coast time. Let’s see what’s on television.

Yikes! It’s 2:30 a.m. and I still can’t get to sleep. Television must be turned off now or I will be spent for the next day.

Day 2: Marathon day

This morning came much more quickly than I wanted it to. Luckily, the gift store has Red Bull. I have to be down at 7:30 a.m. so we can review our warm-up and start at 8 a.m. Nothing like doing some jumping jacks early in the morning (5:00 a.m. West Coast time)!

Warm-up was a success; our last faculty member due in showed up 15 minutes before we started. She is a trouper. The students were buzzing and excited to be there, which makes our job so much easier. Now it’s time for the schedule of schedules. I teach every hour except one (schedule is from 8:00 a.m. to 3:00 p.m.) and also speak at the dance teacher luncheon. Then I have an hour and half to go upstairs, shower, and get ready for a six-hour competition. I think I might need another Red Bull!

I’m walking down to judge now, and must say I still have energy. The classes were a blast, and it was nice having a great assistant. I’m sure the performances tonight will be great because the talent during class was wonderful.

It is now time for bed! The energy I had earlier left a long time ago. It’s hard to believe that it has been a 16-hour day of dancing. Very successful, but wow!

Day 3: Performance day

Much better. I got a great night’s sleep. In fact, I didn’t even move the entire night. A big accomplishment for a hyper tap dancer like myself.

So, once again I teach every hour except one, and then all the teachers perform in the faculty showcase. I think this is one of the best parts for me. I do enjoy getting out onstage and showing the students what I have been talking about throughout class. I feel that as a teacher, but also as an artist, I should share my passion and integrity with them. My mentors did this with me, and I want to do the same with my students. They have shared their love of dance the entire weekend, so now I want to do the same. It is a beautiful balance and I am blessed to be able to do this for my career and life.

The showcase was amazing and I am happy with the dancers’ response, along with the parents’ and grandparents’ too. To me, it is a true accomplishment to be able to reach the non-dancers as much as the dancers.

Now I am scheduled to travel to a local studio to do master classes on Monday. The studio is Erin’s Danceworks, in Spring Hill, Florida, a small town about an hour and half from Orlando. It’s rewarding to teach in small towns—I grew up in one and would have loved having a master teacher visit my school.

I am in my new hotel room and ready to pass out. I do wish I were at home right now, but I’m thankful for the opportunity to be here. It is time for a candy bar, shower, and SportsCenter. Good night, weekend!

Day 4: Energizer Bunny day

OK, I have had a Red Bull and still can’t get my batteries charged. When I teach on weekends, I always tell people that one convention class is equal to two or three normal studio classes. Well, my body agrees with me. I feel like I’ve taught 20 or so!

I’m feeling better now because I took a walk, got some food, and bought a couple of new songs. Buying new music is one of my secrets to getting inspired. I have been teaching at conventions for about 20 years, and hearing new music always helps me make up new choreography. Two new dance combinations in the hopper, and now it’s time to teach five classes.

I don’t think I’ve ever sweated so much in my life. My last two classes were incredible and basically “off the hook.” I ended about half an hour late, but no parent or dancer was upset.

It’s funny when dancers want to take pictures and have me sign things. I understand why, but I feel as though I am just a normal guy sharing what I have learned. Well, through experience, I know that if it motivates them to be who they want to be, then I’ll sign and they can click away.

The downfall of a small town is that restaurants close early. We cannot find anything open—even Subway and two McDonald’s are closed! Looks like a Wendy’s night.

I don’t know how I made it through this day, but thank God for giving me the passion and strength to do so. It was a good day. 

Day 5: “There’s no place like home” day

I am still extremely tired but woke up early. I am excited to get home, see my girlfriend and dog, and sleep in my own bed. Here’s to an easy travel day.

Well, so much for an easy travel day. My flight is delayed about an hour or so, which will get me into Los Angeles around 5:00 p.m. Can’t wait to sit on the freeway with tons of cars. Maybe a pretzel will get me out of this yuck mood.

The pretzel helped, and I got bumped up to first class! I swear I have “travel angels” who look after me from time to time. Thank you, thank you, and thank you! Los Angeles, here I come.

We have landed and I’ve never been so delighted to see smog in my life. I did see a bunch of traffic on the freeway, but I am home and glad I made it safe and sound.

My bed has never felt so comfortable. Good night, world.

Day 6: Errands day

I have no work scheduled today but must catch up on life before I head out again. It’s time for the dry cleaners, bank, grocery store, post office, a haircut, and lunch with my girlfriend.

Mission accomplished. Now it’s time to unpack, do laundry, and pack for the weekend. I don’t think my dog even recognizes me.

I swear that running errands and doing chores is almost as grueling as teaching dance. Time to go visit my girlfriend and watch the Lakers game. Now that is the way to end the day.

Day 7: Warm-up day

Got a chance to sleep in a little bit, and now it’s time to get ready to teach later tonight. I teach regular classes once a week at California Dance Theatre in Agoura Hills. I am happy that my students are patient and understanding with my busy schedule. I also am glad that I teach at a studio regularly, because it makes me feel more connected to students and teachers during conventions. I grew up at my mom’s studio and can relate to the daily grind of a dance studio. Hopefully, with my experience, I can offer some insight and “outside the box” ideas to inspire dancers, teachers, and studio owners.

I finished packing, checking emails, and deciding on music for class. It is now time for the 40-minute drive to Agoura Hills. First thing first—I must stop and get some fuel. Gas for my car and a Kit Kat for me!Classes were successful and productive. We accomplished a lot with their recital dances and progressed positively toward their year-end goal of an amazing recital. I also feel that I did a good job of challenging the dancers to accomplish their goals and giving them the space to figure things out on their own.

Overall, I do enjoy Thursdays. I use them as a warm-up for the weekends, and they teach me to focus on what I want to accomplish in my convention class. With my busy schedule, it would be easy to “phone it in,” but that would be a disservice to the students who attend, myself, and the art form of dance.

Made it home, and it’s time for some dinner. I think I’ll relax in front of the television and catch up on some shows. Then it’s off to bed because I have an early flight tomorrow.

Day 8: Infamous travel day—again

Here I am again, driving to the airport early Friday morning. I’ll be in Seattle this weekend for Co. Dance conventions, and ready for my seventh weekend in a row. I do have an extra perk in my step though, because I have a trump card to get me through the weekend. My girlfriend is traveling with me to keep me company. I am a lucky man! Now, let’s just pray for no airplane delays . . .

Everything you need to know about music rights

By Joshua Bartlett

OK, so you own a dance studio. For your classes you use recordings or have a pianist playing various musical scores. Some of those songwriters or composers might include, say, Stevie Wonder, Leonard Bernstein, Duke Ellington, John Lennon, Beyoncé, Neil Diamond, or Gloria Estefan. And artists like these have written some of the millions of song titles and compositions from the last century, including such diverse genres as Broadway show tunes, R&B, rap, rock, hip-hop, classical, Latin, New Age, country, gospel, Christian, and pop. And during the school year, chances are you have recitals and performances that utilize these musical selections.

Do you have to pay royalties to anyone? How do you find out? Or do you just hide your head under the covers and hope that no one will notice?

First of all, let’s clarify the definition of music performance rights. Performance rights allow music to be legally performed in public. These rights are part of U.S. copyright law and demand payment to the music’s composer/lyricist and publisher.

Music performing rights organizations
There are three major music performing rights organizations in the United States: BMI (Broadcast Music, Inc.), ASCAP (American Society of Composers, Authors, and Publishers) and SESAC, Inc. (originally the Society of European Stage Authors and Composers, but now the acronym is solely used.) These organizations act as agents for the songwriters, composers, and music publishers, so that anyone who wants to use their copyrighted titles doesn’t have to negotiate with every artist, which would be a major headache. As a studio owner, a license gives you permission to use the titles covered by the performing rights organizations in your classes and performances.

What are you paying for?
“Under current copyright law, the only performing right that exists is that of the songwriter or the composer and music publisher,” says Jerry Bailey, senior director of media relations and business communications at BMI. “For dance classes, that is the only performing right.”

Why is that important? Because—apart from the videotaping and distribution of performance tapes (we’ll discuss that a little later)—a dance studio owner is not responsible for paying anything to the recording artists or recording companies—only to the creators of the title. “If you are dancing, say, to a Frank Sinatra performance and the song is written by a BMI songwriter, you don’t have to worry about the record company or the Frank Sinatra estate,” says Bailey. But you do have to pay a fee to BMI.

Keep in mind that we are speaking strictly about the United States in terms of copyright law. Outside our borders, each country has its own laws regarding performing rights, synchronization rights, and master use rights. (The latter two terms will be explained below.)

Bailey claims that BMI represents more than 6.5 million titles, while Vincent Candilora, ASCAP’s senior vice president of licensing, says his organization represents more than 8.5 million titles. SESAC represents a much smaller percentage of the music played in the United States, but the number is still, at minimum, in the hundreds of thousands, SESAC’s Bill Lee says.

“We see ourselves as the bridge between those who create music and those who use it. The money we collect is not going to record companies—it’s going to the creators.” —Jerry Bailey of BMI

So unless your studio’s classes are accompanied only by Chopin waltzes or improvisational drummers, the odds that you are utilizing some of these titles are extremely high. So what do you do about it?

Studio-related fees
These organizations offer annually renewable dance studio contracts that cover all the titles in their repertory. ASCAP, for example, determines the fee based on the types of classes offered and the number of students enrolled each week. For example, if your school is primarily ballroom oriented and you have 300 students per week, the annual fee is $490.98. If the studio offers a combination of classes—jazz, ballet, tap, modern, aerobic, and gymnastics—then the fee for the same number of students is $368. If you offer solely ballet lessons, the annual charge is $245.

BMI’s tiered contract structure is slightly different. It doesn’t matter which types of classes are offered—only the number of students. For fewer than 60 students per week, the annual fee is $144; for 250 to 374 students, it’s $566. But if you use recorded background music, say, in the reception area or in the dressing rooms, you pay more to BMI. For example, if your school is located on one level and enrolls 250 to 374 students and uses background music (other than the radio), then the fee jumps up to $910.

SESAC’s facility license is straightforward: $94 for a full-service license agreement that authorizes any number of instructors, students, or types of classes. SESAC also offers an individual instructor license, so that a freelance teacher who works in a recreation center one day, a YMCA on another day, or a dance school on still another day doesn’t have to worry about licensing coverage. (Generally, though, a venue that hires a teacher is responsible for any performance rights fees.)

Likewise, freelance choreographers are commissioned for their choreography and the venues—schools, dance companies, or shows—that commission the works are responsible for paying any performance fees.

Discounted rates
A number of teaching organizations like Dance Masters of America and Dance Educators of America have recently negotiated reduced fees for their members with all three performing rights organizations, so it behooves you to find out if you qualify.

For example, DMA’s agreement allows member studios with around 300 students weekly to pay an annual fee of $345 to BMI, $138.11 (combined classes) to ASCAP, and $56.08 to SESAC. The savings is significant. For details on DEA’s discount arrangement, contact the organization at 800.229.3868.

Performance fees
And what about recitals and other school performances? “The venue in which the public performance is occurring is responsible for the license,” says Candilora, speaking for ASCAP. Most performing venues, just as they need property and liability insurance coverage, own blanket licenses that cover all types of music.

As a studio owner, you technically need a competition/show license from BMI if you rent a performance space from an unlicensed venue—or even if you have an in-studio recital and already have the dance class license. The BMI competition/show license costs $209.10 for up to 15,000 in annual attendance. SESAC’s studio license covers a studio and its students no matter where they perform—in a recital, a parade, or a nursing home.

Public domain music
One of the biggest misconceptions about performing rights is that all classical music is in the public domain. (Public domain pertains to what is often legally called “intellectual property”—a range of abstract materials. If that property is in the public domain, it is not owned or controlled by anyone.) It is true that, for example, Tchaikovsky’s Swan Lake is in the public domain. But, says Bailey, “the common assumption about classical composers is that they are all dead. Many classical compositions have been written in the last century.” (Think of all the minimalist composers like Steve Reich or Philip Glass, just to name one genre of classical music).

According to current copyright law, enacted by Congress in 1999, works created after January 1, 1978, are owned by the composer’s estate for the life of the composer plus 70 years. Older works are copyrighted for 95 years from the copyright date. But, as an example, if someone prepares a new guitar arrangement of a Mozart score, that piece could very well be copyrighted and, therefore, not placed in the public domain.

Exemptions
According to Bailey, 98 percent of the colleges and universities in the United States have blanket licenses that cover any group that teaches or performs in some way under the auspices of the institution. Performing rights organizations do not pursue licenses for grammar or secondary schools.

“There are exemptions for educational organizations that are nonprofit,” says Candilora. “Composers want students at the secondary and grammar school level to appreciate music. They hate it when budgets get cut, and the arts go first.”

Benefit concerts, such as a performance in which all the proceeds go to victims of Hurricane Katrina or to fighting breast cancer, are exempt from copyright law, as long as none of the organizers, promoters, or performers is getting paid.

Synchronization rights
So let’s tackle the thorny, complicated issue of videotaping a recital, class, or performance. Two terms need clarification: synchronization rights and master use rights.

Synchronization rights (often referred to as “synch rights”) refer to the right to synchronize a composition in timed relation with visual images on the film or tape. Master use rights pertain to obtaining permission to use previously recorded materials, a “master recording,” such as a particular orchestra’s recorded version of a symphony.

“If someone from Ms. Mary’s Studio is using a recording from a CD, and that is what is being blended in on the video, you need permission from the record company—that’s the master use rights,” says Bill Lee, senior vice president of licensing at SESAC. “If the video has a live performance, with Ms. Mary playing the piano, there are no master use rights. But in either scenario, you need to get synchronization rights, and those you get from a publisher.” And it doesn’t matter if you are simply videotaping a show for rehearsal purposes or selling DVDs from the show for a profit.

The problem is that not all publishers are easily contacted. “It’s a challenge to get the proper authorization [for synchronization rights]. It seems like most people in that scenario fly under the radar,” says Lee candidly.

With the rampant use of music in all types of commercial videos, dance schools are hardly the main concern of publishers and recording companies. But the law is the law, however cumbersome or difficult to enforce. Unfortunately, none of the performing rights organizations deals directly with synchronization or master use rights.

Noncompliance
But back to the more pertinent issue of performance rights: Unless you are cherry-picking all the recordings you use in your studio (the published titles are available from the performing rights organizations’ websites), it makes sense to sign up with all three of them to make sure all your bases are covered. But what happens if you don’t do that? Do you get fined? Go to jail?

Performing rights organizations don’t fine anyone. It’s up to the federal courts to decide on infringement of copyright laws. “We don’t just drop in out of the sky and take you to court,” says Bailey. “We first try to educate [people] about copyright law, and if it appears that no progress is being made, BMI might file an infringement suit. But more than 95 percent of the cases don’t go to trial and are settled. It’s always cheaper to license than to go to court.”

“Keep in mind who our board is,” says Candilora, speaking for the 24 songwriters and music publishers on the board at ASCAP. “It’s our very last resort to file a copyright infringement. When we explain the copyright laws to 90 percent of the people who use our music, they comply. We’re not going to take some woman who is 60 years old with a dance studio [who is] trying to put her kids through school and wind up filing a suit against her because she is not paying her fees.”

Why should you pay?
Given the state of the economy and the struggle that many dance schools are encountering just to cover their overhead costs, why should they pay songwriters and publishers? “We are not trying to make a living off of dance studios,” says Candilora. “People have a hard time separating recording artists from composers.”

Performing rights organizations were originally created for the sake of and—in most cases—by artists. “We see ourselves as the bridge between those who create music and those who use it. The money we collect is not going to record companies—it’s going to the creators,” says Bailey. (Generally, overhead fees for performing rights organizations run around 11 or 12 percent, so the rest of the money goes directly to the artists and publishers.)

How do you sign up? The best way is to contact the organizations by phone to determine the type of contract that works best for your situation. In any case, information is a good thing.

For More Information
ASCAP: 800.505.4052; ascap.com
BMI: 888.689.5264; bmi.com
SESAC: 615.320.0055; sesac.com

How to cope when moms and dads feed the winning-is-everything frenzy

By Debbie Werbrouck

You work hard in class and rehearsals, spending time and energy to produce exciting, creative choreography, all to make the performing experience a good one for your students. You might have visions of grateful parents, happy with the benefits you provide for your students. But sometimes the parents themselves present a roadblock to a good outcome.

I’ll never forget one incident several years ago at a competition that caters to students who are heavy on attending workshops but light on competition experience. For the first time, a school with obvious competition experience participated in the event. The students, very polished, wore beautiful, expensive costumes with everything matching, down to the last detail. The choreography was clever and audience pleasing. It was obvious that these were veteran competition-goers.

The tone was set before the performance began when the parents rushed into the dressing area to claim about half of the space for their children. Meanwhile, in the audience, another group of that school’s parents rushed in to claim the first several rows of seats. When the dances began, these parents entered and exited and talked while other schools’ students performed, and their yelling and whistling when their children appeared would have rivaled the noise at any sporting event.

When the results were announced, these students received multiple trophies and ribbons. They did not, however, receive first places for each entry. Their teachers and parents raised questions and objections, making comments to the effect that the other schools’ dancers weren’t as good and that their own students deserved to win. Their behavior put a cloud over an otherwise happy and exciting event.

Since the adjudicating committee had never experienced this type of behavior before, it was caught off guard. Several polite, general statements regarding respect for the efforts of all performers fell on deaf ears. The episode prompted a barrage of comments from the educators who regularly attended this event. The resulting changes—door monitors and a whole new set of rules—helped to eliminate many of the problems at this event, but I’m not sure they changed the tone of that school.

Of course educators set the rules for their own schools and for competition participation, but most people assume those rules are aimed at students, not parents. And teachers who have had no prior experience with hypercompetitive parents might be blindsided at the first encounter.

Usually, the problem starts with a parent who wants or needs to control situations. Parents like this need recognition, and one way to get it is through the accomplishments of their children (who usually, but not always, have talent). The parents either try to be very involved or do nothing but second-guess all efforts. Such behavior can be challenging for teachers and harmful to the students.

Overly competitive parents can sneak up anywhere. Their most common arena is competitions, but they’ve been known to appear elsewhere. Several years ago I learned what it’s like to deal with one of these parents firsthand.

Our school is proud of our family-friendly quality, and most parents support the faculty in their efforts for all students. However, one mother, whose two daughters had been students for several years, began to be a concern to me. As her daughters progressed through class levels, she began to invite only the “best” dancers in her daughters’ classes to birthday parties and other events. She would always volunteer for the project that, in her mind, would do the most to advance her daughters in classes, performing groups, or special productions.

You set the tone of your school. If you have a group that performs or competes, let parents as well as students know what you expect even before they audition.

I realized that she was putting pressure on her children when her oldest daughter came to a rehearsal crying. She said that her mother told her that she was wasting her time and money on dance lessons since the daughter didn’t get a “better” part in our company’s holiday production.

I was upset and torn about what to do since I didn’t feel as though I had the right to give the mother parenting advice. I decided not to speak to the mother; instead, I explained to the girl all of the factors involved in casting decisions, including matching heights for partners and balancing roles so that everyone is used in the most appropriate parts. I told her not to take her mother’s comments to heart because she probably didn’t understand the complexities of casting. Also, I emphasized how all parts are integral to the whole performance and how proud I was of her efforts and progress.

After our conversation, I tried to give this student as much encouragement as possible and kept my ears and eyes open for any other negativity from the mother. I didn’t have to wait long. “Parking lot” and “waiting room” comments from this mother got back to me (they always do, don’t they?) regarding how much more advanced her daughters were, in her opinion, and that she didn’t want to have her children held back by being in classes with students who weren’t as good.

This woman’s younger daughter began having major attendance issues—not surprising, since her mother had signed her up for a softball league across town on the same day and time as her dance classes. The student was falling behind and I called the mother to express my concern. She told me it wasn’t a problem because her daughter knew the dance and was still one of the best dancers, even without being at class. I explained to her that although her daughter had talent, without regular attendance she was not progressing with the rest of the class and was in fact regressing. Although she wasn’t happy about her daughter having to attend the remainder of the classes in order to perform in the show, she did comply.

I continued to have issues with this parent, but I dealt with them because I wanted to encourage the students. I finally asked the family to find a new school when the girls began to show the same competitiveness as their mother. I could see that my influence was not going to trump hers.

So how can educators forestall or minimize such problems? The answer—just as with most concerns—is communication. You set the tone of your school. If you have a group that performs or competes, let parents as well as students know what you expect even before they audition. Just as the dancers must follow your rules, parents must support your philosophy.

Let parents know that to be a part of a group or performance, everyone must support each other—that in order for students to benefit from the experience, educators and parents alike need to set a positive example. Tell them that in competition settings, you expect them to be gracious and respectful of all performers, educators, and parents.

To keep things on a positive note, you may want to post a code of conduct for your school that states the good actions you expect. You may also want to present consequences for actions that don’t comply with the expected behavior. Many schools have contracts with students and parents so that everything is clearly laid out.

It’s a good idea to let parents and students understand what your goals are for each event. In any performance, you want dancers to work hard to improve skills and gain experience. You may want to explain that in a dance competition, high scores are in the eyes of the judges; they are opinions, and therefore subjective. Explaining this point beforehand will give them perspective about the experience; explaining it after the fact will sound like an excuse if expectations are not met.

Emphasize that competitions and performances are growth experiences that should have positive benefits. These can include learning the value of working hard, stretching their abilities as dancers, making new friends, and experiencing the larger dance community. To make these opportunities into positive learning experiences, educators should help students (and parents) balance their reactions, encouraging them not to feel bad if the results are less than expected, and not letting first-place awards go to their heads.

Ultimately, though, you may not succeed with every encounter. Some parents won’t believe that your words apply to them or their children; others will hear only what they wish to hear. And some will blame you if their child doesn’t “succeed” according to their definition. In those cases, if personal warnings don’t work, you may have to ask the students to leave your school in order to preserve a healthy educational environment for your students, faculty, and yourself. Refusing to compromise your values and standards will reinforce your standing with your students.

A little bit is a good thing—but where do you draw the line?

By Melissa Hoffman

Competitiveness—anyone who is involved in dance competitions must have a streak of it. And it’s not all bad; after all, the urge to succeed encourages us to strive for excellence. But how much competitiveness is too much?

I have heard of rival studios stealing other studios’ costumes and dumping coffee on their music tapes to increase their odds of winning. I have seen studios use others’ choreography or badmouth them at competitions. Then there are the owners who advertise that their school has won more awards than someone else’s or claim that theirs is the best studio due to these wins. Does this type of behavior gain us customers or, more important, respect, not only among our peers and from our students but also in the community?

I’m lucky, because in my experience, teachers often sit together at competitive events and enjoy each other’s work or vent about their studios. After all, many of us ventured into competitions 20 or so years ago in order to educate our students and ourselves. For some studios, though, this is not the case. For them, competitions have become a proving ground of sorts.

The roots of this kind of competitiveness often lie in personal conflicts. The rivalry comes not from participating in competitions but from bad blood between studio owners. It can happen when a school owner trains someone who then opens a school too close to their own or when studios that have more than their share of “studio hoppers” (students who switch schools) clash.

Getting perspective
To put the rivalry at competitions into perspective, you may need to ask yourself some questions. First, does this type of behavior increase the number of students you have? The truth is that the mother of that 3-year-old who just enrolled is not impressed by any competition your school has won or the fact that you beat the studio down the street. She cares that you have created a safe, caring, and fun environment that will foster her child’s love of dance.

Second, does winning a competition and having rivalries get work for our dancers? Absolutely not. Potential employers have no interest in how many competitions the dancers won or placed in. But in the professional performance world, dancers from schools you considered to be your rivals will be dancing alongside your former students—or maybe one of them will be a director who is considering hiring your dancers. Do you want them to lose a job because of your negativity, which could have occurred years earlier? Those putdowns and holier-than-thou attitudes aren’t easily forgotten.

The mother of that 3-year-old who just enrolled is not impressed by any competition your school has won. She cares that you have created a safe, caring, and fun environment that will foster her child’s love of dance.

Finally, does this behavior make you a better teacher or, more important, a better person? Give this one some thought. Personally, I never want to be defined by what I have won or not won. Nor do I wish that for my studio or my dancers.

Decreasing competitiveness
So what can we do to change this behavior? More than once some wise people have told me, “You can only control your own behavior.” Then there’s the familiar axiom “The apple never falls far from the tree.” So it seems that as teachers, we must control our own actions—and if we do, our students and employees will follow suit. If we talk negatively about other schools, our dancers will believe it is OK to do that. If we have the attitude that “we are better than them,” not only do we leave a bad taste in others’ mouths but we also leave ourselves no room to improve and learn from each other.

At competitive events, lead by example. When other schools present some great choreography, congratulate their directors or teachers. Encourage your dancers to clap for everything they see and appreciate it for what it is; doing so will create an atmosphere that is fun and appreciative rather than stressful and judgmental.

Do not make a weekend’s success at a competition the first thing everyone hears about when they walk into the studio on a Monday. Congratulating your dancers is important, but be careful not to act like that is all you care about; it’s not a good business practice. Your dancers will follow your lead and be less likely to brag.

Establish a policy (unspoken or spoken) with area teachers about studio hoppers. When students who are considering changing schools contact me, I ask them to sit down with their director first to talk about their concerns and explain that they are considering a move. In most cases I let the dancers know upfront that they will need to be enrolled in my school for a year before they can compete with us. If they are truly looking for what my school can offer them, they’ll agree to this policy. If they are simply looking to compete, it may not be acceptable. I believe it’s because of this policy, and the fact that many of the teachers in our area are friendly, that we do not see much studio hopping.

In creating ads for your studio, be thoughtful about what parents of potential new students are looking for. I doubt that many want to see that you scored higher than the studio down the street. Your focus should be to show your school in the best light; for most, that means including photos of young dancers enjoying themselves—and very little text about your numerous awards. After all, the recreational students, not the competition dancers, pay most schools’ expenses.

Keep competition in perspective and examine why you choose to participate. Learning and growing as teachers and students are among the best benefits competition has to offer. If each school handled competitive events, advertising, and relationships with other studios in a positive manner, everyone would benefit. Being negative with our competitors or creating rivalries does nothing to better our businesses or who we are as human beings.

A dance teacher’s dream inventions

By Julie Holt Lucia

Have you ever found yourself making a list, say, before you go to Target, and it starts out looking like this: tissues, soap refill, CD-Rs? But then somehow it turns into something like this: tissues, soap refill, CD-Rs, sanity, body double.

No doubt many a studio owner and dance teacher has wished for some magical or otherwise impossible-to-obtain items. We are passionate about our work, but we’re not immune to the day-to-day issues that drive us batty.

Inevitably, we daydream about solutions that are nowhere near realistic and products that could never be made—at least not on our planet. We look longingly at our preschool classes, wondering how it might be possible to bottle the dancers’ energy and turn it into a piña-colada–flavored elixir. We glance foggily at the clock, hoping it would move slower to give us one more chance to work on that eight-count, and in the same breath wishing it would move faster so we could get home already and eat Cheetos in peace.

Dance teachers are by nature a creative breed. In our unique profession, there are many fantasy-worthy inventions that could make the day run more smoothly, get the customers taken care of, and help us all appear a little less nutty. Are they realistic? Not really. Are they practical? Um, no. Are they fun to dream about anyway? Oh, yes. 

The perfect dancewear. We need stylish, affordable, comfortable, sweat-proof, slimming, non-fading, non-smelling, and professional-looking teaching clothes—preferably with built-in lights on the back that flash “Yes, I am available” or “Sorry, I’m on my way into class.” Add a self-replenishing snack pocket and you’ve got the ideal outfit to get through a long day of classes, rehearsals, answering phone calls, and putting out fires. (Gotta keep the energy up until they invent that piña colada elixir!) Are you listening, dancewear makers? Let it be known that this is the holy grail of clothes for dance teachers.

The all-in-one dance bag. And speaking of dancewear items, who hasn’t wished she had a Mary Poppins–like dance bag? What a great dance teacher invention/magic trick this would be: A truly bottomless supply of shoes, clothes, hair elastics, socks, sticky notes, water bottles, and more. All right at your fingertips. I’m sure more than one dance teacher has wished she could pop a lamp or spare mirror out of her bag, just like in the movie. Left that important recital CD at home? No worries—pull a duplicate out of the bag. Did that loose tap fall off your shoe? Not a problem—there’s a new one right here. This bag would have it all, and your imagination would be the limit.

Self-cleaning floors. Let’s all admit that we don’t enjoy cleaning. Or we don’t enjoy spending money for other people to clean. Whichever it is for your studio, you know it’s a highly necessary pain in the rear. And what’s one of the most time-consuming tasks? Taking care of our special floors, of course. What we need are dance floors that do the work themselves, just like a lawn sprinkler system, but better. We could install water and neutral-pH cleansers in little hidden spigots across the studio perimeter. Then, at a programmable time overnight, the spray would begin and then dry to an impeccable finish. Not a speck of dust or glitter in sight.

The secret space. During class we could use an old-invention-turned-new-again: the trapdoor. Most dance teachers could use one every now and then, to disappear into when they need to take a deep breath and count to 10 (or maybe just 8?). When you feel your patience dwindling, you could slip away during stretches or a water break, do some silent screaming, and then reappear refreshed.

We look longingly at our preschool classes, wondering how it might be possible to bottle the dancers’ energy and turn it into a piña-colada–flavored elixir.

Or when you’ve gone off on one too many tangents about how a waltz is in 3/4 time, which means we’re going to accent the 1, just like you might hear in the first act of The Sleeping Beauty, which was originally choreographed by Petipa, and . . . the glassy-eyed dancers are looking at you like you have three heads. Then what? You escape through the trapdoor, privately refocus your thoughts, and emerge ready to continue the lesson. Three heads back down to one.

Radar detection. Speaking of the classroom, and preschoolers in particular, we all know (unfortunately) that some kids do not do the telltale have-to-go-potty-crotch-grab-hop. Some just freeze and go. Others cave in during a fit of laughter. And still others are simply determined to keep practicing, no matter what nature has in mind. So why not have a full-bladder radar system? Laser-infused detectors mounted in the classroom would alert us with flashing lights once a bursting bladder was detected. This would also eliminate (ahem) the need to question those little ones who have to go potty every five minutes, or when the potty parade starts and everyone has to go. Class interruptions would diminish greatly. Problem solved.

Reminder responses. You know when you finally come up with a great reply to those most-often-asked questions and you think, “Yes! Well done, me!” And then you promptly forget what you said and have to start over again with the next customer? We could solve that problem with a special response-recorder device. You could wear it like a beeper (remember beepers?) with a tiny earbud attached and simply push a button when you need it. So when a well-meaning mom asks you for the eleventy-thousandth time why preschoolers don’t learn pirouettes, instead of launching into your usual rushed recitation of dance pedagogy, you could push that button and your device would bleat the reminder in your ear: “The dance class curriculum includes age-appropriate gross motor skills and dance vocabulary. We build your child’s confidence from the inside out.” And then you could pick up the conversation from there. Ta-da!

Mind management. And now the invention to rule them all: A dance-brain temporary shutoff switch, so we could sleep peacefully without choreography endlessly looping through our minds like an unstoppable earworm, only worse. This would also prevent pre-dress–rehearsal nightmares about broken floors, missing stagehands, and stampeding customers shouting, “I’ve paid you enough already!” A simple flip of the switch on your nightcap (no, not that kind) would lull you into a soothing slumber, and you would wake up refreshed and ready to face the new day ahead. No more dancing (or crying) in your sleep.

These inventions might not be rational solutions, but you have to admit they’re both comforting and entertaining to consider. We studio owners and dance teachers know we’re lucky to have the problems we have—we’re fortunate to get to do what we love for a living in the first place. Who else gets to pretend to dance like a monkey at 10:30 a.m.? And see that 8-year-old’s smile glow when you tell her how much her arabesque has improved? And watch that dad tear up because his daughter’s painful shyness is nearly gone? We have the best jobs in the world.

But oh, if I could just get myself one of those all-in-one dance bags. It would make my days so much easier. Or some self-cleaning floors. Or a dance-brain shut-off switch. In the meantime, a real piña colada will have to do the trick.

Forgo those fouettés and focus on artistry for competition choreography that sizzles

By Diane Gudat

As a judge, I have witnessed thousands of competition performances. Many have stood out as examples of how the right song, the perfect costume, a great story, and intelligent choreography can come together to enhance young dancers’ technical performance. Unfortunately, the pressure placed on teachers to excel and to produce impossibly huge amounts of choreography has undercut the quality of what we see weekend after weekend on the competition trail.

Many judges also are teachers, and they understand the struggle to please students, pacify parents, and meet unrelenting deadlines. More and more students want solos. As studios grow, more dancers want to be involved in performance opportunities. Although every dance might not be a competition winner, it’s important not to give up on the goal that each should become a piece of living art.

As we prepare for another season, allow me to offer some insight into what judges hope for and how you might better prepare for the experience.

Artistry trumps tricks
Judges have seen millions of fouetté turns, billions of pirouettes, and every jump in the book (and then some). Although these skills can lend athleticism and excitement to the choreography, they rarely impress the judges. And more often than not, they interrupt the artistic flow.

These steps put undue pressure on the dancers to flawlessly execute advanced technique, often at the expense of emotional interpretation. I have heard many judges express disappointment in what would have been a moving performance had it not been interrupted by a combination of unnecessarily difficult turns.

Instead, judges prefer an honest attempt at artistry and the development of a story line. They would like to be affected in some way by the performance or learn something about the dancers and their story.

Intent and nuance
Dancers should show the intent behind the movement. The audience should discover shapes and patterns, see the use of weight, and notice involvement of the entire body. Regardless of the type of dance, it should have breath and phrasing and allow audiences a glimpse into the dancer’s personality and soul.

Music choices
Begin by making intelligent musical choices. Try forming a union with other dance teachers to share good music. The perfect opportunity for this type of alliance comes from networking at teacher-training schools, workshops, and conventions. Come to these events armed with several copies of your recital music or programs and offer them in trade for someone else’s. You will be surprised at the response and the wide variety of pre-tested music you will inherit.

Other ways to find music include emailing your peers with your recital theme or ideas and asking them for suggestions, and making a note of songs you thought worked well for others while attending competitions.

You must strive to make the lyrics and messages of the songs you choose appropriate for children to listen to repeatedly. The argument that children are used to hearing questionable lyrics on the radio (and have become desensitized to them) does not dismiss our responsibility to take a higher moral ground. Are the lyrics something they would feel comfortable singing to their grandmothers? Does the subject matter fit with the life experiences of the child?

Sometimes you might want to make a social comment with your work; if so, is it age appropriate for all of the students participating? Will it be family entertainment and acceptable to all who will attend your performances? Inappropriate lyrics and themes can make the judges uncomfortable and detract from the performance.

Music structure
Pay attention to the musical nuances, the high and low points of the music’s structure. Map the structure on paper, finding the accent points, where the music builds and where it softens.

Check each competition’s guidelines for song length and decide how to best cut the music to the appropriate length. Make sure edits are smooth and as unnoticeable as possible. Volume levels should be consistent from one section to another.

Fitting the piece to the music
Are your pieces too long? Try to narrow the topic and eliminate repetition. The choreography should build in the same places as the music; when it does not, it should be an intentional attempt to go against the natural flow. If the music represents a certain era, do research to decide what kind of steps and costuming might be appropriate for that period.

Presentation
There is no list of skills that impress a judge or win a dancer “points.” In each performance, the dancers have an opportunity to present their own personal excellence. A compassionate judge allows each dancer to begin with a perfect score.

Although every dance might not be a competition winner, it’s important not to give up on the goal that each should become a piece of living art.

First impressions count. How your dancers take the stage and their early commitment to the piece give the judges important clues about what they might expect from the rest of the performance. In the same way, the ending pose or exit is the punctuation at the end of the dance sentence. Did they leave us wanting to see more? Does the story continue? Was the dancers’ last impression a shaky one?

Scoring
Although each competition has its own methods of scoring, most judges appreciate being able to separate the dancers’ technical and artistic performance from the choreographic and costuming choices. Check the costuming and choreography scores from last season; those numbers might cause you to rethink your process or give you confidence for the upcoming season. Because judges are aware that most students never see those scores, they are more apt to give their honest opinions in those categories.

Dancer interaction
Before presenting the choreography onstage, check for the human elements that draw the eye and keep the audience interested. Do the dancers appear to make eye contact with their audience? Have they invited them to invest emotionally in the piece, or do they allow audiences to sit passively and watch the movement? Do the dancers appear to be running toward or away from something, or are they simply changing position onstage?

Dancers who are interacting with each other should exchange honest expressions, develop eye contact, and work well within their traffic patterns. Facial expressions should be varied and appear honest and sincere.

Encourage your dancers to use full energy, dance “dangerously,” and learn more about themselves as artists every time they take the stage.

In a group piece, all dancers should share the workload. Does the group consistently drop to the floor to feature one strong dancer or a lone male? Is the same dancer always in the front? Have the dancers taken personal responsibility for remembering the steps, or do they consistently watch those around them? The choreography should reflect and complement the talents of the entire group rather than hide weak dancers.

The choreography should be a positive step for your dancers on their long path to technical excellence. It should reflect their strengths without being overly difficult or so easy that they don’t have to invest physically to accomplish it. It should build on their technical foundation so that they get stronger by learning, rehearsing, and performing the piece.

Costumes
Costuming is one of the biggest topics of conversation among judges in their down time.

Does the costume you have chosen help to develop the theme or story line of the dance? Will it make the dancers feel proud and teach them to respect and protect their bodies? Are the male judges and fathers in the audience going to be comfortable with your choices?

The current trend toward extremely low-cut pants and skirts, bootie shorts without tights, and dangerously small tops causes judges a lot of stress. Clothing, or lack of it, can divert attention from the dancer and choreography. Whether the judges can find a delicate way to comment on this problem or decide not to mention it (on behalf of the children who might listen to the critiques), they are distracted and often more than uncomfortable. Err on the side of caution and choose costumes that will look good on the dancer with the fullest figure in your group.

Overuse
Another prominent problem is performance overexposure—overuse of similar steps, shapes, and patterns. Before you enter all the dances you have choreographed for the year into the same weekend of competition, examine them carefully. Is there enough variety? Did you overuse a combination or a particular leap or turn? Did you overexpose one dancer or group of dancers?

In competition, rarely can you decide the order of appearance for your entries without manipulating the rules. The order of performances is often decided by a set schedule along with computer placement that allows for costume changes. Numerous small dances of the same flavor can greatly diminish the impact of your larger pieces.

Judges
Your major concern as a teacher, choreographer, or studio owner might well be the judges. Try to choose competitions that seat judges who have a wide variety of dance education, represent a wide age range, and most important, have had classroom experience working with children of all levels and talents.

Look for competition directors and staff who seem to reflect your morals and values as they relate to your students and their families. Visit a few competitions before attending with your students, or use your teacher network to find out how people with similar interest in their students felt about a particular competition experience.

Ask questions, make your feelings known, and communicate after the event if it did not meet your quality standards.

Should you compete?
Participation in the competition circuit is not a good choice for every studio. Not every student has the talent or personality to support solo work. Done well, competition can enhance your program and inspire your dancers to reach their potential. It can expose them to a wider dance community and allow them to find their place within that structure. Done poorly, it can serve as a cancer within your studio, causing division, jealousy, and disappointment.

Reevaluate why you are choosing to compete and which competitions will best serve your needs. Perhaps some of the money expended for competition fees can be filtered back into your studio through additional learning experiences such as master classes and in-house workshops. Perhaps a guest artist could assist with some of your competition choreography load.

Art, not sport
Remember that a teacher’s first job is to educate children, and with that comes the responsibility of teaching students that dance is an art form, not a sport to win or lose. Learning to perform from the heart, regardless of the outcome, is one of the most important lessons you can give to your students.

Judges want you and your students to succeed. They learn from what you present and are more than willing to reward honest effort and performances. They sit for many long hours and do their best to stay upbeat and offer positive critiques. Most respect you as a choreographer and look forward to the opportunity to see your work.

Judges expect diversity on the competition stage and love to see the courage of new dancers as well as the strength of seasoned competitors. Although fouettés are fabulous and layouts can be lovely, stay true to the artist within and your competition scores will reflect the effort.

Simple methods to keep parents’ costs down and let your studio thrive

By Misty Lown

These days, most businesses, especially small ones, are feeling the economic pressure of decreased consumer spending. Dance studio owners face the additional challenge of offering an elective activity. Although many parents will cut their own spending before pulling their kids out of activities, you can help your clients avoid reaching that financial breaking point. How? By changing your programming in anticipation of tighter budgets. And parents won’t be the only ones who benefit—you will too.

Stacking classes
At our studio the average upper-level dancer takes about eight classes per week. We used to spread out the intermediate and advanced classes so that kids would come to the studio four days each week for two hours each time. Now they have the option to come two days per week for four hours each day, which most of them are doing. Most kids don’t seem to have trouble doing four hours of class at a stretch, but those who do can stick with their usual schedule.

Everyone benefits. Parents save time and money by cutting down on gas and trips to the studio, but the school doesn’t lose any revenue. Older dancers have more opportunities to get involved in after-school activities during those free afternoons. And studio owners enjoy easier scheduling.

Competitions
For years we took our competitive groups to one competition and convention/competition each season. Starting last year, we began attending two competitions and no conventions. Typically it costs my competitive dancers $75 each to go to a competition, with no hotel fees. A convention with a competition costs about $250, plus food and hotel expenses for two nights.

I did not get one complaint about the switch, and many families were thankful for the break in costs. And, of course, I encourage those who want and can afford to go to conventions to do so on their own time.

In-house conventions
When I cut out that annual convention, I didn’t want to send a message to students and families that taking master classes is not important. We needed to continue to provide opportunities for students to study with regional and national experts, so we chose to bring the master classes to us.

We have produced these events several times with different artists, but the result is always the same. I can offer my students two days of master classes for about half the cost of attending a traditional convention. If you factor in the hotel and travel savings, the value for families skyrockets.

With good promotion, studio owners should be able to generate a small profit to compensate them for the time spent producing and hosting the event. However, even if you only cover your expenses, you cannot put a price on the goodwill and publicity the events can generate. Local newspapers are more likely to run a photo of kids taking class with a visiting guest artist than to cover an event that takes place hours away. Inviting other studios in the area sends a message of inclusiveness to the dance community. And, finally, it’s a convenient way to commission choreography from new sources without having to travel or bring someone in exclusively for that purpose.

Make travel count
There are some experiences that cannot be duplicated in the studio setting, however. Taking class in New York City, performing at Walt Disney World or on a cruise ship, and attending national competitions or conventions can be important events for studios and their students. And although these trips are worth every penny, they can cost a pretty penny too. But you don’t have to give up on them entirely. Make big trips more affordable by offering them every other or every third year. You can keep students’ enthusiasm high in the interim by announcing future plans with a lobby sign that says, “Performing at [your choice] in 2010!” Besides the financial benefit for parents, there’s value for kids in learning to wait for something special.

Make big trips more affordable by offering them every other or every third year. Besides the financial benefit for parents, there is value for kids in learning to wait for something special.

Since finding the time for such trips can be a challenge, traveling less gives studio owners a break from the constant activity associated with planning for group travel. And when we do make those trips, whenever possible I choose family-oriented destinations so that students’ parents and siblings (and my husband and kids) can come along.

Costumes

Reduce, reuse, recycle
Costumes can be a burden for parents, and the quickest way to bring those bills down is to reduce the number of costumes each family has to buy. We did “closet pulls” (costuming by theme out of students’ and parents’ closets, not from catalogs) for about 15 percent of our recital dances last spring. Mommy & Me, hip-hop, tap, and musical theater classes are some obvious choices for closet pulls. A dad’s white button-down shirt and tie, worn with black jazz pants, for “I Won’t Grow Up” from Peter Pan is a good example. And what kids wouldn’t like to dress up as orphans in Annie with clothes from the family ragbag? For hip-hop costumes, jeans, colored tank tops, and bandanas can be quick fixes, and Mommy & Me students can wear their best spring dresses.

Even if a costume can’t be eliminated, often it can be reused. Some jazz and tap classes can wear one costume for both dances. This requires more planning to make sure that the songs for both dances make sense with the costume, but it is time well spent. The unexpected benefit is fewer backstage changes at recital time.

If recycling costumes won’t work for your recital, try doing it for competitions. This year we recycled almost all the competitive kids’ costumes for solos, duets, small groups, and specialty numbers. For example, this year’s lyrical quartet is wearing last year’s large-group lyrical costume. The judges will never know that one of my soloists is wearing a recycled costume as long as it fits the song. With the extra expenses associated with these specialty numbers, not having to buy a costume can be a real blessing to parents. 

Same level, same costume
Many intermediate and advanced students at my school take multiple sections of the same class each week. It used to be that the teachers for each section selected different songs and costumes for their classes. Now all of the classes of the same level and genre wear the same costume and dance to the same song. That way, the parents of kids in multiple sections of a class don’t have to buy multiple costumes. For us, having all the kids wear the same costume has no effect on the recital presentation since each class performs in a different show. Studios that produce only one show might have to get more creative, using accessories or added costume pieces to vary the look.

This policy saves time and money for studio owners. Take costume exchanges, for example. If three sections of Ballet III have the same costume, you have three times the opportunity to exchange sizes among your students before making a formal exchange with the company, which would mean time, money, and a trip to the post office for you. Plus, using the same song for every section of that class means two fewer songs to edit before choreography can begin. Multiply those savings across every class that has multiple sections and they add up. 

Consignment sales
My in-studio dancewear store features a consignment service for dance shoes. Parents can buy good-looking, used dance shoes for about half the price of buying new. The bestsellers in the consignment bins are kids’ patent leather tap shoes. Kids outgrow them before they can wear them out, which means that parents usually have to buy these shoes more often than leather ballet shoes. Because the shoes hardly show any wear, parents feel like they’re getting a deal. You could extend your consignment service to gently worn leotards as well, particularly if you require a dress code.

For studio owners, offering a consignment option involves no overhead or up-front costs; you pay the clients only when their consigned item sells. (In most cases, I make more per pair on consignment shoes than I do on new ones.) I love something that saves the customer money and helps me out, too.

Often, the dance-related expenses that push parents to the limit budget-wise are low- or no-margin items or resource drains for studio owners and teachers. Take a close look at your school to see where you can pass on value to your clients.

It’s a jungle out there—here’s how to choose the right convention for you

By Debbie Werbrouck

The ads for dance conventions all shout the same directive: Register now for the best—classes, teachers, competitions, business education, and so on. The choices are endless, so how do you decide which to attend? There are as many reasons for making a choice as there are choices themselves.

The first step in finding your way through the jungle of options is to identify your needs. Are you looking for professional development in technique, choreography, or pedagogy, or are you searching for business-related assistance? Do you want study or performance opportunities for your students, or classes for your own enjoyment and education? Is taking a class with a “big name” teacher important to you or your students, or are you looking for inspiration to take you to the next level in your development as a teacher?

Giving careful thought to answering these questions makes it easier to decide which programs to attend. Although sessions can vary slightly, often you can get the flavor of an organization the first time you attend.

Reputation
Bonnie Cagle of Bonnie’s School of Dance in Humboldt, Tennessee, says she chooses various programs for different needs, but one criterion in all choices is the reputation of the program or sponsor. “I would have to know that the quality was there before I would attend a session,” says Cagle, who has taught for 36 years. “If I’m looking for a competition for my students, I want one with quality that also offers a recreational category.”

Since competitions are an “extra” for her students, Cagle says choosing a session that provides a positive experience for them is important. Having her students, who participate in a limited number of competitions, dance in the same events as students who compete each week would not produce the desired result.

Quality is also an important factor to Donna Ziegler of Willow Street Dance Theatre in Mokena, Illinois. “People think of us as a competition school, but we’re really not. We do competitions to give our students performance opportunities. If we didn’t, their opportunities to perform would be very limited. I want to be sure that the quality is in the program if I’m going to bring my students to participate.” Ziegler feels that choosing the right match for her students is important to their development. She sees improvement in their performances, such as more attention to detail and better personality projection, from the challenge of competitions.

Where and when
Schedules and locations are important factors to many educators. “The first thing I do when considering events is to check how available dates work with my schedule,” says Cagle. “The second consideration is location. Especially now, travel is a big factor in my decision to attend a workshop. If there are two sessions of comparable quality, my choice will be the closer location.”

The other side of that coin is to choose a location that will provide additional opportunities or that you would like to visit. Travel costs, as well as the cost of the convention itself, are business expenses.

Name recognition
Faculty name recognition is a factor in making a decision, but not to the extent that might be expected. Of course, young dancers want to take class with the most current phenom in hip-hop, but most look forward to class with lesser-known faculty who present quality material. This seems to be true for all dance genres; each has several faculty names that draw interest.

Often you can get the flavor of an organization the first time you attend. Are the sessions organized? Can you get your questions answered without jumping through hoops? Are you lost in a sea of dancers?

Each organization has its own identity in terms of session offerings, with faculty members who are considered “regulars.” This consistency can be helpful in the selection process.

Facility and class size
How comfortable would you or your students be with the size of the classes? Perhaps you would gain as much in a lecture class of 300 as in one of 75, but would the same be true in a dance class? Do you want to offer your students the excitement of taking class with a nationally recognized faculty member even if the class will be packed, or would you rather have the chance for one-to-one interaction that a small class with a lesser-known educator can provide?

How big is the space? What is the faculty/student ratio? What type of floor surface would you be dancing on?

Which level?
Think about the level of the material to be presented. Taking an advanced ballet class won’t meet your needs if you teach only beginners. Similarly, you will be poorly served if you are looking for advanced-level work and find that the session is extremely basic. Would you feel comfortable asking basic questions if the majority of the class is far beyond your expertise?

The same is true for your students. Matching their level to that of the material presented will make their experience a good one. But abilities can vary widely even within a single level. Some educators use the convention experience as an eye-opener for students who are the “big fish” in their home school “little pond.” Those students are often surprised to see the talent that exists in the world outside of their studio doors.

Goals
What do you want from the session? Are you looking to improve your own technique or pedagogy, or are you in the market for completely choreographed dances? Participating in classes is essential for some teachers, while others prefer to observe and take notes. This distinction, as well as other factors, can help to determine whether a convention is a good match for you or if a training school would be a better option. For many new educators, a training-school setting will provide the knowledge and confidence that will propel them in their career. This type of setting can provide a comfort zone for asking basic questions while also supplementing an experienced educator’s knowledge, especially of new techniques, theories, or styles.

Conventions, on the other hand, usually lean toward presenting choreographed material versus technique and pedagogy. Organizations that don’t present both training schools and conventions usually offer both kinds of material.

Compatible philosophies
Matching your philosophy with that of the session will also help to make the experience a positive one. If your school has no dress code, your students would feel out of place in a session that required black leotards, pink tights, and buns. Are your students geared to competitions or is their interest in technique?

Other considerations
Does the session or location offer any additional opportunities for your students, such as performances or competitions? Can they attend a performance or audition? Are the sessions organized? Can you get your questions answered without jumping through hoops? What additional costs are involved? Travel, hotel, food, and any “extras” should all be considered.

Why go at all?
Perhaps the question of which workshop or convention to attend is less important than why you should attend. Continuing education and gaining experience are important factors. Dance styles and teaching methods are continually developing, so continuing education is needed in order to remain current and to expand your expertise.

Gaining knowledge of related subjects such as injury prevention or musicality supplements teachers’ knowledge of technique. School owners or administrators can learn business concepts and practices that will help them run a more efficient and effective school.

Two for one
If you wish to increase your knowledge in both dance technique and business practices, you should find workshops that cater to dance educators/business owners. Sessions might include material on bookkeeping, advertising and marketing, and staff training. Learning to work with lawyers, CPAs, and insurance agencies is helpful to new owners and veterans alike. And, of course, conventions are great places to find specialized vendors such as recital photographers, videographers, and costume companies.

Aftereffects
Often, what you learn outside the classroom can be as valuable as the classes themselves. Networking with your peers is invaluable. Sharing information on the best place to rent scenery, purchase costumes, or locate a hard-to-find prop is the kind of support you can find nowhere else. You might have a headpiece that your friend can’t find anywhere else, while she could have something equally valuable for you.

Finding a different approach to a shared problem is always a benefit, and sometimes discovering that you aren’t the only one with the problem is support enough. Many lasting friendships have been formed at workshops, and knowing that you have an understanding ear on the other end of the phone can be very reassuring.

Continuing education provides benefits not only to teachers but to students as well. Over the years, I have sent students and faculty to dance friends I have met through conventions across the country, and had them send students and teachers to me. It’s reassuring to have a recommendation from someone whose opinion you respect and value.

Conventions have so much to offer you and your students. The only challenge is finding the ones that best meet your needs.

Offstage practices yield onstage results at competitions

By Marianne Messina

Nothing tests the character of a studio more readily than the backstage tensions—the waiting and fretting—of competitions. Challenging even the most competent studio directors, a four-day nationals competition forces them to rely on individual strengths, creativity, and especially a sense of good sportsmanship. Ultimately, it’s a studio’s countless moments of performance behind the scenes that chip one finely sculpted moment onstage.

According to dance judge Nancy Stone, vice president of Dance Olympus/Danceamerica and International Dance Challenge, good sportsmanship matters, and teachers who encourage their students to cheer for their competitors are providing good competition training. “Nothing pleases me more,” says Stone, “than when there’s a group waiting to go on and the group that’s on the stage finishes and the group waiting to go on applauds. I love that. That’s the kind of thing I look for in a dancer—one who genuinely enjoys watching other people dance.”

Both Amy Page, director of Best Foot Forward in Escondido, California, and Deborah Blume-Byers, director of The Hanover School of Ballet in Hanover, Pennsylvania, encourage their students to cheer on their competitors.

For Page, a competition is a success if everyone has “had the opportunity to have fun and enjoy the moment.” At competition, Page uses customized backstage rituals to get younger students to focus and enjoy; with one student she sings “this really obnoxious song” to bring out a smile; with another, she holds hands as they try to out-speed each other’s tendus. During the school year, Page impresses students with this message: “You can be a great dancer, but you need to be an awesome person.”

Other studios that notice the quiet professionalism of the Hanover School dancers backstage at competitions might also notice that none of its students’ parents are there. Maria Benson of Maria Benson Centre for Dance in Cranston, Rhode Island, remarks, “If you can take responsibility like that, you have no outside drama. That’s kind of nice.”

Blume-Byers says that the “no parents” policy helps students mature. The older dancers watch the younger ones; they all remain together at the hotel and travel together to the competition. “Then they go onstage with that same bonding,” says Blume-Byers, who admits that her approach would be unattainable for most studios. “I know if studios don’t start that way, they’ll never be able to make it work because parents won’t be used to it. I do things my way, and my way works. It might not work for every family, but then they’ll find something different. But that’s the choice.”

“Outside drama” as Benson calls it, is a persistent challenge. Erin Messaris and her sister/co-teacher, Kelli Gill, of Erin’s Danceworks in Spring Hill, Florida, tell the kids, “If you’re old enough to be on the competition team, then you’re old enough to get yourself dressed.”

It’s a hard policy to enforce. Messaris and Gill handle it by redirecting parents to become involved in more productive ways. In their pre-competition meetings, “we show the parents stretches and stuff to do with their kids,” says Messaris. Then at competition, they encourage parents to help their daughters or sons with warm-ups.

Messaris, like Page, knows the power of comedy to relieve backstage drama and stress. But Messaris admits she’s a mess backstage. As a result, she has a “no dance teacher backstage” policy and reports that she and her sister are virtual unknowns backstage. “Number one, we like to see the dance from the front. We want to see what the judges see.” But number two is the way she obsesses over details. “The kids—probably like six years ago—started saying, ‘OK, Miss Erin, you just go out because you’re making us nervous.’ ” So Messaris and her sister have come up with a creative solution: “We check [the dancers] in backstage, and we leave them with our husbands— funny people.”

A three- or four-day competition is bound to challenge just about every studio when it comes to food. At national finals, it’s common to have 10 hours between dances, pitting the dancer’s desire for a trim line against her body’s need for energy. No one wants to have students try to marathon a whole day’s worth of dancing without food, which happened to a student of Cathy Kurth. “We had a girl last year who literally almost passed out. She could hardly lift her arms up,” says Kurth, a 30-year veteran of dance teaching and competing and owner of Cathy Kurth Dance Academy in Moss Bluff, Louisiana.

Kurth had done all the right things leading up to the competition, including telling everyone—including dancers’ parents—that the dancers need to eat something, even if they’re dancing first thing in the morning. Though the student recovered after “she got some bread in her, a little sandwich,” Kurth decided she had to do more to impress on students that avoiding food during competition is simply “asking your body to run full force with nothing to fuel it.” So she started requiring her students to read an article on the importance of carbohydrates in athletic training.

Messaris has an aerobics/Pilates instructor who is familiar with athletic nutrition introduce students to the food conversation early on. “She’ll come in and talk to the dancers periodically throughout the year,” Messaris says, “about healthy eating and [how] ‘it’s not a diet to lose weight; it’s a diet to give your body the energy it needs to make it through.’ ” With that preparation, Messaris doesn’t worry about the issue during competition. “We don’t really monitor it. I feel like, just like a parent, you can teach your kids how to do it, but you can’t follow them around their whole life.”

“Nothing pleases me more than when there’s a group waiting to go on and the group that’s on the stage finishes and the group waiting to go on applauds. I love that.” —Nancy Stone, vice president, Dance Olympus/Danceamerica and International Dance Challenge

On the other hand, Page addresses the competition/food issue by becoming supply chief. “We carry a little rolly-cart, and it always has granola bars or trail mix, or something like that, in there. And I always have water and I always have a Diet Coke.”

Blum-Byers would have a problem with the Diet Coke: “We say for drinks, water only—obviously it’s a lot healthier.” Plus, she points out, if something gets spilled on a costume, water is less damaging than soda.

With two daughters on the team, Benson does monitor, if not control, her dancers’ food choices. She keeps a constant supply of protein bars on hand, hoping to entice the girls from sugars to carbohydrates. Like Messaris, Benson has no worries about her students under-eating. “I don’t know about any other studio, but [the kids at] my studio love to eat.”

Benson points to another problem that comes up at competitions: “There’s the drama of we turn 12 or 13 and the hormones are wild and you get into little spiffs right before you go onstage—over stupidity.” Nothing can torpedo a good performance more readily than a sudden girl-spat.

Blume-Byers is not unfamiliar with the problem. “You know girls—things usually get pretty petty.” But she attacks it from the earliest studio classes. “There’s no conflict among the group,” she reports proudly. “I don’t approve of it; I don’t allow it, and if it gets too bad with somebody, then I’ll give them a list of phone numbers [of studios] where they probably would be more comfortable.”

Preemptive training and a watchful eye can reduce the incidents, but few studios are immune to this issue. It’s not necessary to turn into a disciplinarian—especially if that’s not your style—in order to cope with it. “At the last competition there was a little misunderstanding about how there was going to be a sleepover—one thought one was invited,” Page recalls. Page, who wants her students to have fun at competition, offered a correspondingly gentle response to the incident. “Before they went onstage, we pulled them aside. ‘OK, hug—no one meant to be mean. Now do your dance; that’s why you’re here.’ ”

There are as many ideal ways to handle a tiff as there are studio director personalities. For instance, Benson has a jovial, chatty personality, a motherly regard for her students, and a “coach mode” that takes over when she’s at competition. When she talks about her studio, she talks in family terms about providing “security, safety, warmth, and comfort.” Benson meets this particular “drama” as any mom-turned-coach would: “That’s when I get mad,” she says. “I just tell them to separate, get in line, and dance.”

Pack up your students and head to Orlando or Anaheim for a unique performance opportunity

By JoAnn East

Most dance school owners are always looking for new ways to showcase their dancers. Performing at Walt Disney World® Resort in Orlando, Florida, or Disneyland® Resort in Anaheim, California, is a popular choice. Disney Magic Music Days, which celebrates its 25th anniversary in 2010, has hosted more than 2 million international guest dance, instrumental, and choral performers at their parks worldwide.

Disney welcomes a wide variety of dance styles and performers and emphasizes the overall group’s performance. Competition-level technique comes second to showmanship at the “happiest place on earth.”

If you’re considering a trip to Disneyland or Walt Disney World, begin your planning a year in advance, especially if this is your first visit. Two websites, disneymagicmusicdays.com and disneyparks.com, are “must visits,” and unofficial guides to the theme parks help with planning. A list of your questions and interests will come in handy whether you plan the trip yourself or engage a tour company.

First steps
Decide when you’d like to go, where you’d like to stay, and where you might be performing. Check your dance school’s calendar, along with those of the academic schools in the communities you serve, for potential dates. Choose two scenarios that you believe would be attractive to your potential travelers. Remember, when school is out, Disney parks and resorts are packed! Is that OK with you and your customers? What about weather conditions?

Half days or school closures can be good times to travel since students would miss only minimal school time (which parents appreciate). Another consideration is whether you’ll want to close your dance school while you’re away.

Disney welcomes all age levels for performances, so you’ll need to decide whether you want to open the trip to all students or only to your school’s dance company or performance team. The performance program at Walt Disney World offers two workshops called “Disney Dancin’ ”: one for ages 6 to 10 and one for ages 11 and up.

Consider how much (if any) fund-raising you want to do and who might be involved, such as students, parents, or staff. Do you want to charge for the choreography and lessons/rehearsals? If so, how much? Parents will want as much information as possible about the cost of the trip.

Another consideration is chaperones, who the Disney application states must be age 21 or older. Discuss the options with your tour company, if appropriate, and ask if the number of travelers impacts the price per traveler. Staff and parents could supervise assigned groups of students, or you could require an adult or responsible party to accompany each student on the trip. The more chaperones, the lighter the burden of responsibility is on the school owner.

Do you want to limit how many travelers can accompany each dancer? If so, one way to do that is to require an adult to accompany each child; that limits participation because it’s often difficult for parents to take the time off work, and of course it costs more. However, lifting the one-adult-per-child requirement allows the participation of children whose parents can’t afford to go.

Solo or tour company?
Do you want to plan the trip yourself or go with a tour company that specializes in student performance tour groups? Tour companies are knowledgeable about all aspects of the trip and can tailor it to your group’s wants and needs. They will take you through the entire process, including setting an itinerary, handling registration forms and payments, and auditioning.

Another benefit of tour companies is the on-site guide they provide—an aide who handles all the questions and issues that arise. Tour guide staffing varies with the company, so make sure to ask about options. Some guides may meet you only at check-in and on the days of functions, while others stay on site for the duration of the trip; some companies do not provide an on-site staff member at all. Make sure you know how much responsibility you will have when problems arise.

Finding the right tour company is a major step, but help is available. The Student Youth Group Travel Association’s website (syta.com) has an extensive directory; click on the “For Educators/Group Leaders” tab. Or search online for “travel companies” + “Disney Magic Music Days.” And ask around—what did your colleagues who have taken their students to Disney like or dislike about their experience?

Tour companies can schedule flights for your group, or you can have each family plan their own travel. Although groups typically get cheaper flights than individuals, many families appreciate having the freedom to extend their trip. A good tour company will accommodate both preferences by offering land-only or flight-inclusive transportation options. Remember that delays can occur with any form of travel, so it’s a good idea to request that your performance be booked on the second or third day of your trip.

Before deciding to take on the project yourself or go with a tour company, think about what kind of travel experience your group would like—value, moderate, deluxe? The basic Disney Magic Music Days trip covers accommodations, tickets into the parks, a workshop, private motor coach transportation, and even meal plans. If you book with a tour company, staying off-site can be cheaper because hotels offer special discounts to groups. Group meals or tickets to special events can be included in the tour, and you can choose a schedule that’s packed with activities or leisurely paced.

Auditions
In order to perform at Disney, your school must be accepted. Tour companies can help with the audition process. You must submit a video audition tape or DVD two months to a year in advance (which you can upload online). Costuming also has to be preapproved. Visit disneymagicmusicdays.com for guidelines. Remember, Disney expects potential performers to do just that: perform.

Tour companies are knowledgeable about all aspects of the trip and can tailor it to your group’s wants and needs. They will take you through the entire process, including setting an itinerary, handling registration forms and payments, and auditioning.

You will be allowed to re-audition if the dance material or costume selection you submit isn’t up to snuff. Have second choices ready to go, and be careful not to order costumes before you receive approval.

Read the rules and regulations before sending in your audition tape. You do not need to record your intended performance for the audition. Your best resource is your latest performance or recital. Disney wants to see dances that are representative of what you intend to perform, not the whole recital. So if you’d like your 6-year-olds to perform with your 12-year-olds, submit a DVD that shows that. An honest representation and overview are what they require. Consider having the video professionally edited—it’s usually money well spent.

Planning the show
Do you want to showcase different ages in different dances? The performance needs to be 20 to 25 minutes long, including all transitions and pauses for applause. Having at least one dance that has everyone in it is a good formula. A whole-group opening or finale (or both) will boost camaraderie among your dancers.

As of press time, the Waterside Stage at Downtown Disney’s Marketplace, which opened in December 2008, is the site of all dance performances. Let your families know that; many people imagine that their dancers will perform in front of Cinderella Castle, but no youth dance performances occur there. The Waterside Stage offers two advantages: You are almost certain to have a crowd to support your show and you do not need a park pass to watch or perform in the show.

Dancers must be completely dressed at all times, so if you want to have costume changes, plan on every dancer wearing a base of leotard and tights and layering costume pieces over it.

Make sure that your music selection has been approved before you get too vested in choreography. Remember, copyright issues exist here, so although your students can dance to an Elvis song, they can’t look like Elvis while they’re doing it. Be especially careful with Disney songs as well; it’s smart to ask about using them in advance.

Dance productions have to be suitable for family entertainment, so reach for the squeaky-clean music selections. Your music will need to be dubbed on a CD, burned at slow speed to decrease the chance that it will skip or not read. Remember to bring backup copies. Someone from your school—you, a teacher, or even a knowledgeable student or parent—should be in the music tech booth during the performance.

Ask your tour company or contact at Disney Magic Music Days for stage layouts so you can plan how to stage your dances. Once there, you will get no onstage rehearsal time, but your dancers will have time to warm up and prepare before the performance. If you require your dancers to arrive with their hair, makeup, and base costume on, you will have extra time to deal with any challenges that arise, like the need for last-minute restaging.

If you would like to have the performance professionally recorded or a group photo taken, ask your travel coordinator if these services are available.

Workshops
Part of the trip consists of a dance-convention–style workshop with “Disney Clinicians,” professional entertainers who talk to the students about being a professional dancer at Disney. You will have the opportunity to discuss your group’s needs with a clinician before you arrive. Their goal is to make your experience both educational and appropriate to your dancers’ abilities.

One workshop for ages 11 and up is conducted like a professional audition, with one exception—at the end everyone “gets the job”! Your dancers are sure to be motivated when they learn portions of dance routines that are featured in the park and get tips on show biz and resumes.

For the workshop, dancers get to go into the backstage areas, but warn them that they will not get to see the famous “Disney underground.”

Spreading the news
Once you know what kind of trip you’d like to take, it’s time to generate interest. You can call parents on the phone, speak to them in the waiting room, make an announcement at the recital, or send out postcards or group emails. Generating an initial buzz and then having a parent information night works well. Parents appreciate getting all the information before they have to decide whether to allow their children to participate. At the meeting have sample itinerary and price scenarios ready so that parents understand the nature and potential cost of the trip.

This is a great time to market your school. Invite the public to a dress rehearsal and call the newspaper to announce the event. Consider getting T-shirts, jackets, or warm-up outfits for your dancers to wear on the trip.

Practicalities
Determine a final signup date, at which time a deposit per traveler will be due. If you opted to include travel insurance, the related paperwork will most likely be due on that date as well. Typically you’ll collect the first payment and compile a list of travelers. If you are using a tour company, it will take over at this point, including assisting you with the audition process if necessary. If you are doing it on your own, be sure to make a clearly stated payment schedule and policy. It’s also a good idea to include in your school’s policies that all tuition and costume accounts must remain current in order to participate in the trip.

As the trip date approaches, you may be in touch with your tour rep or the Disney Magic Music Days staff frequently, by phone or email. Be prepared to delegate studio responsibilities if trip details need your personal attention.

When it’s time for your show, make sure to treasure every second as the announcer’s voice presents your dance school to the world. You’ll probably have a tough time deciding which you’ll cherish more—the joy you see in your students or the pride and delight on their parents’ faces.

Talking shop with competition directors

Dance Studio Life recently asked dance competition directors across the United States to share what’s on their minds. As it happens, a lot of their concerns may sound familiar to studio owners. Their responses to our questions appear in alphabetical order by company name (sometimes abbreviated). We thank them all for their participation:

• Randy Allaire, principal and executive director, L.A. DanceForce
• Dan Barris, executive director, Dancers Inc.
• Bill Bohl, owner/director, Hollywood Connection
• Ginny Faubell, director, Beyond the Stars Talent Competition
• Stephani Kammer, regional director, VIP Dance
• Jeremy Keeton, owner/director, Adrenaline Dance, Inc.         
• Katherine C. Kersten, artistic director, American Ballet Competition
• Michelle Kresge, co-founder and national director, Spotlight Events, Inc.
• Pearce McLain, national director, Dance Olympus/America
• Brian Perks, co-director, Emotions Dance Productions, LLC
• Andrew Phillip, director, Celebrity Dance Competitions
• RoseMary Pontuck, co-director, That’s Entertainment Performing Arts Competition
• Nancy Stone, vice president, International Dance Challenge (IDC)
• Shari Tomasiello, national director; Irma Ziegler, president, Headliners

• Cathy Tubolino, director, Dance Expressions

What do you appreciate most about being a competition director?

Adrenaline Dance (Keeton): It is good to compete as dancers, but we have to remember that a person’s worth can never be measured by an award. We strive to teach kids that while competing is fun and exciting, it is more important to empower them to grow. It is gratifying for me to be able to provide the opportunity, the expertise, and a conducive environment for them to do just that.

American Ballet Competition (Kersten): The opportunity to meet and see so many talented competitors and their dedicated teachers and parents.

Beyond the Stars (Faubell): I love seeing the dancers who return to us year after year mature, both as performers and as people. To share their journey, even in some small way, is an honor.

Celebrity Dance Competitions (Phillip): The connections and friendships that I make with studio owners and dancers are among the things that I most appreciate. I enjoy talking with studio owners to hear who they are and where they come from. I love talking to the next generation of dancers and listening to their dreams and goals. Watching these young dancers gain grace, poise, and confidence through competition is remarkable. 

Dance Expressions (Tubolino): The progress I see in the dancers who return each year. It’s so great to see them grow as performers.

Dance Olympus/America (McLain): Being able to monitor the changes of dance styles and trends across the United States, but more important, watching the repeat competitors grow in their craft.

Dancers Inc. (Barris): The opportunity to have dancers from different areas be exposed to the caliber of judges that we employ. I enjoy watching the dancers grow and develop from year to year, and seeing them work on perfecting their technique and performance.

Emotions Dance Productions (Perks): Probably the best part is making money doing something I love. Watching the kids grow from year to year and seeing their talent develop is an additional benefit.

Headliners (Tomasiello/Ziegler): Being around the children. Also, after 20 years in the biz we have made so many wonderful lifelong friends. 

Hollywood Connection (Bohl): As a former dancer and choreographer and now a talent agent, I am so grateful to be able to give my experience and guidance to whoever attends and wants to know more about the dance industry. I wish I’d had that when I was starting out. I love seeing these incredible young dancers surprise themselves by achieving things they never thought they could do or feel. It’s amazing!

IDC (Stone): Every moment of the dance competition. I love the great routines and I love the not-so-great routines. Every dance is special and every dancer is special.

L.A. DanceForce (Allaire): The ability to provide a wide range of education, experience, awards, and opportunities that bridge the gap between amateur and professional, as well as provide scholarships that emphasize dance as a springboard to other goals and careers.

Spotlight Events (Kresge): The freedom to shape Spotlight around my personal philosophy of what a dance competition should be about. Being able to provide an environment that promotes something I’m passionate about and seeing the finished product is extremely rewarding. I also love the creative outlet it provides me.

That’s Entertainment (Pontuck): Being part of a wonderful industry where I get to meet so many wonderful performing-arts directors, teachers, students, and their families. Getting to see so many students grow through the years in their performance and entertainment levels is such a joy.

VIP Dance (Kammer): The opportunity to enrich students’ lives with dance education and help them understand that every dancer has different strengths and weaknesses and that you must focus on yourself and what you can offer rather than compare yourself to others.

What’s most challenging about your job? 

Adrenaline Dance (Keeton): In a very competitive market, my company has had virtually no turnover in staff; it seems everyone wants to be a part of the Adrenaline “family,” but I am extremely selective about my staff. We work together as a team—there are no “divas” here. Everyone must have an unsurpassed level of commitment and talent. This parallels what we communicate to the kids: Don’t be intimidated by other dancers’ perceived strengths or successes, and celebrate and support excellence in themselves as well as others.

American Ballet Competition (Kersten): Making sure that the American Ballet Competition exposes contestants to international guest teachers and unmatched opportunities to be viewed by professional dance directors from throughout the dance world. Another challenge is ensuring that the competition not only promotes its participants’ artistic and technical growth but also affords insights and a reality check for contestants’ professional expectations. 

Beyond the Stars (Faubell): Making people understand that my job is not to make everyone happy—that’s impossible. My job is to make sure that everyone is treated fairly. It’s hard to say no to a valued customer, but sometimes I have to in fairness to the other studios.

Celebrity Dance Competitions (Phillip): I love my job and look forward to all of my responsibilities as well as any challenges that come my way.

Dance Expressions (Tubolino): Staying true to who I am. Some dance competitions are huge and travel the country, ending the year with a national finals; some are very high tech and are run by notable dancers who offer dance workshops. Mine is very small and personal. We don’t have “finals”; we compete in a school on a stage, and we’re known for our friendly, no-stress, one-day competition. I’ve been very successful being different and I strongly feel that bigger isn’t always better.

Dance Olympus/America (McLain): Maintaining a safe, comfortable arena for gifted artists to showcase their talents.

Dancers Inc. (Barris): Parents! The ones who lag in paying their competition fees; the ones who complain about schedules and entry limits. People don’t seem to realize that kids don’t need to dance after 11:00 p.m. Also, why do parents insist on breaking the rules at a venue? If they are drinking coffee in a theater where “No Food or Drink Allowed” signs are posted everywhere, they are teaching their kids how to break the rules too. The major challenges of my job are avoiding burning out and trying to inform people politely that we are running a business that involves teaching kids responsibility.

Emotions Dance Productions (Perks): We hold all of our competitions in high schools, and trying to get schools to respond in a timely way is difficult at best. We have to work around the schools’ activities and functions and sometimes get “bumped” by the principal. Schools should realize that hosting a competition is a tremendous benefit and an additional and reliable source of income.

Headliners (Tomasiello/Ziegler): The fact that we are responsible for the outcome of the entire event. Overseeing the staff and making sure that everything stays on schedule and everyone stays on task. 

Hollywood Connection (Bohl): Trying to pull out more from the dancers. My wanting them to perform more, connect more, emote more is just that—it’s my wanting. I have to remember that we all learn in our own ways and in our own time, so I must be patient with their own personal discovery and journey.

IDC (Stone): Making sure that teachers, parents, and dancers put the competition into proper perspective.

L.A. DanceForce (Allaire): Deciding what to order for lunch.

Spotlight Events (Kresge): Finding the right balance between family time and the heavy demands of this job. This job also requires wearing many hats that are sometimes difficult to juggle. The competition season is extremely intense and I live, eat, and breathe dance 24/7. 

That’s Entertainment (Pontuck): Making sure people go home happy after a competition.

VIP Dance (Kammer): Keeping the focus on education and experience rather than a medal or a trophy. Yes, the dancers are there to compete, but classes and the judges’ critiques are most valuable and should be placed above all else.

What kind of person do you think makes a good judge (experience, qualities, personality)?

Adrenaline Dance (Keeton): Good judges bring to the table a keen eye for good technique, reward innovative choreography, allow themselves to be moved by the emotion in the performance, appreciate artistic use of color and design in costumes, and most important, can communicate in a constructive and positive way not only ways to improve but also valuable feedback on what competitors are doing right. 

American Ballet Competition (Kersten): The best judges have had a highly regarded professional dance career in performance, teaching, and directing. The best judges are focused and intent on a fair appraisal of each contestant’s artistry, technique, and potential.

Beyond the Stars (Faubell): We require that our judges be experienced in all of the traditional forms of dance, but being a good judge is much more than that. They need to understand not only the potential and development of young dancers, but also how to offer critiques in a positive way. I tell would-be judges, “If you can’t appreciate the efforts of every dancer, regardless of ability level, then you shouldn’t judge for us.”

Celebrity Dance Competitions (Phillip): We pride ourselves on our judges, who are working professionals who care about dance and the next generation of dancers. We want our judges to communicate at events and build relationships with our dancers.

Dancers Inc. (Barris): The qualities we look for are kindness, professionalism, credentials, and the ability and desire to work with children. We offer a convention, so all of our judges teach as well. Whether on a professional, studio, or recreational level, all of our master teachers and judges first have to love kids, to love working with them, and always be adaptable.

Dance Expressions (Tubolino): A good judge must be experienced and proficient in all dance forms. That said, I also look for judges who love kids. They must be compassionate, have a sense of humor, be able to give corrective criticism kindly, and be clear about whom they are judging. I’ve had some famous judges who were on Broadway in notable musicals and traveled the world teaching, but not all were good judges. Many of them judged as if they were evaluating dance professionals. My best judges have been other dance teachers. Also, my judges put their comments on tapes, so a bubbly personality is a must.

Dance Olympus/America (McLain): A person who has both performance and teaching experience. It is important that a judge has spent many hours in the studio teaching and perfecting dancers of all ages and levels of dance.

Emotions Dance Productions (Perks): Just because you trained for 20 years doesn’t mean you can be a judge. You have to be precise, quick to act and comment, and able to spot line formations and all elements of the dance. A good judge will also be compassionate, notice small accomplishments, and have a great memory. When a judge passes a dancer in the hallway and makes a comment about that person’s dancing, it is incredible to watch a child light up with pride because that judge noticed him or her.

Headliners (Tomasiello/Ziegler): Our judges must be well rounded, with experience teaching children in a competitive environment, extensive training in a variety of dance forms, and performance experience. Also, they must be able to express themselves accurately and positively and provide a positive learning tool to the dancers and teachers. 

Hollywood Connection (Bohl): I believe a good teacher makes the best judge—someone who can break things down and explain what needs to be improved upon and how to do it. Being a great dancer does not make you a great teacher; there is a huge difference.

IDC (Stone): A good judge is a well-rounded dancer with some knowledge of all disciplines of dance, a great personality, and the patience to sit for long periods without losing focus. I’ve never been a fan of non-dancing celebrities as judges because I feel that knowledge and experience are key components.

L.A. DanceForce (Allaire): Our judges are professionals with extensive industry experience. We consider their role to be part judge, critic, educator, and motivational speaker. Judges must have knowledge of multiple disciplines and education covering a wide range of ages, as well as experience and knowledge of performance, choreography, and production. What’s most important is that their comments are constructive, supportive, and meant to inspire—not just, “That’s pretty.”

Spotlight Events (Kresge): We look for judges with a strong background in multiple styles of dance and choreography, professional performance experience, and experience teaching dancers of all ages. It’s extremely important that they appreciate and understand all skill levels so that they may evaluate fairly and provide appropriate and positive feedback. Communication skills are important—they need to relay their opinions and suggestions in a sensitive and understandable manner. They also need high levels of energy, enthusiasm, and stamina.

That’s Entertainment (Pontuck): As a retired studio director of 34 years, I believe that excellent judges are those who work daily with students in the performing arts. They have the experience and good eye needed to critique in a positive way so that the competitors reach their goals.

VIP Dance (Kammer): What makes a good judge is also what makes a good teacher and studio owner. All should have adequate training in ballet and any other styles being judged/taught, as well as a basic knowledge of the body and major muscles. Professional performance experience can give a prospective judge an edge over those who have only taught at a studio. A healthy, positive attitude is always the cherry on top!

Rank these aspects of competition in order of importance, and explain your reasoning: performance, choreography, presentation (costumes, etc.).

Adrenaline Dance (Keeton): At each convention we have separate special awards for technique, choreography, and entertainment to recognize group numbers that are “above and beyond” in those areas. Our adjudicated 100-point scoring system awards technique 35 points and execution 30 points, which would encompass the performance aspect. Showmanship (presentation) is worth 20 points, and choreography at most is worth 10, with 5 points for costumes. I believe that technique and execution are 65 percent of a performance. Good choreography is secondarily important. Costumes can sometimes boost a performance or detract from it, but they shouldn’t be an overriding factor. 

American Ballet Competition (Kersten): Performance is most important, as it should encompass artistry, technique, and interpretation regardless of unforeseen occurrences. Presentation—personality and connection with the audience, plus an obvious joy in performing—vies with performance, with choreography coming in third.

Beyond the Stars (Faubell): I would rank technique as most important, followed by performance. While creative choreography and presentation are important, great technical dancers performing average choreography should be rewarded before great choreography performed with sloppy technique and no enthusiasm.

Celebrity Dance Competitions (Phillip): Technique comes first, followed by performance, then choreography, and finally presentation. While I feel all of these are important, we judge our participants on their technique and their dancing ability. Our judges follow very strict guidelines for awarding points for all these aspects. A great dancer can make any choreography look good, which is why performance is very important.

Dancers Inc. (Barris): I would say that I have an extremely technical crew, though their performance expectations are extremely high as well. Costume is the least important factor for me, though it has to be appropriate—no half-naked 10-year-olds, please.

Dance Expressions (Tubolino): First, performance—I’m assuming this means technique. Students need to show the judges that their technique is strong and equal to the level at which they are competing. Second, presentation—if students are truly ready to compete, they must be able to present the material given to them. Third, choreography—the dancers need to be able to interpret the concepts that their teacher gave them. Fourth, costumes. It’s important that costuming be appropriate for the routine and the students. I’ve seen some pretty skimpy costumes on pretty large children.

Dance Olympus/America (McLain): Presentation—the entire package must be entertaining. Performance, with dancers maintaining the same energy and enthusiasm from the beginning of the piece to the last note. Dancers often start out strong but for various reasons—such as too many tricks or laborious and repetitive combinations—finish on a low note. Choreography must be compatible with the accompaniment and not taxing and exhausting to watch. Costumes should enhance the lines and movement of the choreography. Overly elaborate costumes and unnecessary props can be so distracting that the intention of the dance is lost.

Emotions Dance Productions (Perks): I don’t know that you can rank elements of dance; they are all important. Certainly performance is necessary, but choreography is equally important, as are costuming and music. Music sometimes is a forgotten element; you have to have good edits and clean cuts. Lighting and set design are important so that the judges can see the entire routine clearly and in its intended form. A dancer has to have a love of dance that shines through the entire performance.

Headliners (Tomasiello/Ziegler): It all starts with the choreography. Teacher/choreographers must be aware of the abilities of their dancers and highlight their strengths. Too often dancers are given choreography that they cannot properly execute, which lowers the overall score. Next is performance; the choreographer can provide an exceptional piece, but it is the dancer who can bring it to life. Third, overall presentation—including proper grooming, well-fitted and age-appropriate costumes, and music—will only enhance a piece.

Hollywood Connection (Bohl): I don’t believe any one of these factors is more or less important. When all these aspects of a performance are powerful and combined, the end result will touch an audience to its core. This should be the goal of any number. I would also add one more: Have fun!

IDC (Stone): First, confidence: It is important that the dancers feel confident with their routine. Second, presentation: Dancers’ confidence in themselves will make their presentation even better. Third, choreography: It must be appropriate for the performers’ age and abilities. Finally, performance: If a dancer is confident, presents the choreography well and the choreography is designed with that dancer in mind, the performance should be outstanding.

L.A. DanceForce (Allaire): L.A. DanceForce emphasizes execution and technique, followed by performance, choreography, and costuming. We recognize that schools, groups, and independents differ in their economic status and access to professional choreographers. To level the playing field we start with what we consider the bottom line of competition: execution, technique, and performance. Choreography and costuming can have a big effect on a production, but they mostly have a smaller effect on the competitor’s overall score.

Spotlight Events (Kresge): Performance comes first. Regardless of the level of talent or technique, the true love and enjoyment of dance are what I like to see in each performance. These set the tone and can make or break a dance. Knowing that the dancers’ hearts are in it draws me into the routine. Choreography is second. Finding choreography that’s creative, innovative, and challenging while suiting the dancers at the same time takes a lot of work and dedication. When done correctly, it can produce an amazing routine. It’s important to see the dancers embrace the choreography. Presentation ranks third. Costuming, staging, and showmanship can really bring a routine together and make it that much more entertaining to watch.

That’s Entertainment (Pontuck): A combination of all these aspects is important to become both the total package and an outstanding performer.

VIP Dance (Kammer): Performance is most important because it is the goal of a dancer to draw the audience in, allowing them to feel what she’s trying to convey. Choreography comes in second. It’s important because it tells the story. The variations of dynamics within the choreography can capture the audience even if the performers are not as strong as they could be. Presentation, including costumes and props, takes third place. If the performance and choreography are as they should be, then a simple leotard would suffice. I enjoy the beauty of extravagant costumes but also appreciate simplicity. Both can provide great support for a solid performance.

How can teachers help kids to focus on their performance and not the trophies?

Adrenaline Dance (Keeton): It’s important to make the point, particularly to young dancers, that performance and competition are a normal part of life and that getting onstage and showcasing your best can have a positive impact. Teachers need to have a good grasp of development levels in children and understand how they interpret experiences, both positive and negative, to be effective in bolstering self-esteem and confidence and instilling a love of dance and performance that goes beyond the fleeting excitement of receiving a trophy. Teachers are like a mirror in which dancers see themselves; they should strive to be as clear a reflection as possible, while holding a vision of their dancers’ potential and affirming their strengths.

American Ballet Competition (Kersten): Teachers must impress on their students that the most important goal of any competition is one that the student sets for herself. One decides to perform, selects the piece, learns it, rehearses it, perfects it, performs it. The student’s resulting artistic, technical, and personal growth as a dancer is the actual reward.

Beyond the Stars (Faubell): Teachers should find ways to acknowledge dancers who made some progress but didn’t “win.” If the teachers are as proud of the soloist who finally stopped looking at the floor, or the group that finally stayed together on their turns, as they are of the group that placed in the overalls, then that attitude will filter down to everyone else in the studio. We often use special judges’ awards to recognize things other than just the top score.

Celebrity Dance Competitions (Phillip): Use critiques from competition. It is wonderful to get an outsider’s view from a judge to help your students grow as dancers. Listen, read, and watch your critiques and use them to your advantage.

Dancers Inc. (Barris): Don’t put the focus in class on the differences between dancers; [focus on] the similarities. Be real and honest with the kids. Don’t give them false hopes, and let them know that each competition has its own philosophy. They can win everything one weekend, and barely place the next weekend. Also, make the point that judges aren’t there to bash the dancers; they are hired to give an honest critique. If the dancers get a silver award when they were counting on gold, they need to realize that the point of competition is a growth experience, not a medal.

Dance Expressions (Tubolino): Sometimes I wish that there weren’t any trophies and that everyone came together to perform while professionals offered comments, all while eating pizza and singing “Kumbaya.” Since that’s never going to happen, I encourage teachers to tell their students that getting a trophy is like hanging a beautiful picture on a museum wall. Before it can be hung, someone has to deem it good enough. Whether it’s hung from a bronze, silver, or gold ribbon, it’s an honor just to be on the wall. These kids have to be told that their performance gets them “up on the wall” and that what they are hung on is irrelevant.

Dance Olympus/America (McLain): Set individual goals for each performer, expecting that the performance level and technique will get stronger each time a piece is presented. This can be done by monitoring and reviewing videos of each performance and having the dancer sit down as if she were a judge and actually score and adjudicate her own work.

Emotions Dance Productions (Perks): I have never seen a teacher have a problem with a dancer who is more focused on a trophy than a dance. These kids have trained many hours and when their time comes to be on that stage, they are so finely focused. It is not a challenge for the teachers.

Headliners (Tomasiello/Ziegler): This has become the biggest problem with competitive dance events. Most competitions have lowered their scoring standards and are now awarding everyone at least a gold award, which gives everyone—but especially the dancers—a false sense of accomplishment. The only way to combat this is to have all competitions go back to honest, realistic scoring. Headliners offers awards that are more in line with grading systems used in schools. We use this analogy: Scores in the 70s equal bronze and high bronze (a C or C+ in school); a score in the 80s corresponds to a silver or high silver (a B or B+) and a score in the 90s equates to gold and elite gold (A and A+). If scoring systems were the same at all competitions, dancers would be more likely to focus on the performance than the award because there would be consistency.

Hollywood Connection (Bohl): Set goals before competition that will take the focus off the “winning” of trophies. One goal can be to focus on the performance and really connect emotionally to the song, story line, and choreography. The next could be something technical: traveling more, hitting marks, straight lines, working more as a team or group, etc. Once the focus is on coming in first, we forget why we are there—to learn and get better as artists. Our growth as a dancer should always be the goal—always!

IDC (Stone): Make sure that you, the dance teacher, convey to your students that competitions are a learning experience. No matter what level your dancers are, they can learn something from every competition. Take advantage of this. Success is never measured by a trophy—doing your best and being happy about your performance are more important than a trophy will ever be.

L.A. DanceForce (Allaire): It’s natural to want to achieve, and the concept of competition touches every part of our lives. For many people, dance is about art and reaching personal goals, and attending competitions is part of their performance learning program. We see more often that parents consider dance to be equivalent to sports where winning is often paramount. However, L.A. DanceForce is about dance, growth, learning from our competitors, and good fun while playing a great game with your friends. Great artists focus on their product. The rest just happens.

Spotlight Events (Kresge): Spotlight has been built around the positive promotion of the arts and the encouragement of participation in dance. The message that we reiterate at each of our awards ceremonies is to focus not on the award itself, but rather on the accomplishment and the possibilities that lie ahead. Teachers play a crucial role in shaping the attitudes of dancers in regards to competition and awards. I would encourage teachers to downplay the relevance of the awards received and focus instead on the critiques and feedback provided for each routine and the overall positive aspects of a particular performance. It’s our responsibility as dance teachers to set a good example despite how we may actually feel!

That’s Entertainment (Pontuck): Students emulate the person at the top, whether it’s the school director or a teacher. It is very important that their role model not be focused on the trophy. If students enter competitions for the love of the art and dance, the rest always falls into place.

VIP Dance (Kammer): I believe this begins with the work ethic in the classroom and clarifying the importance of technique in creating strong dancers—in general, not just in competition. Students should be taught to work hard to better themselves as dancers as opposed to winning a trophy. Too often we see students onstage attempting steps that are much too difficult for them, making the lack of technique obvious and putting the dancers at risk of injury. Teachers should know that points are not awarded for such unsuccessful attempts; in fact, it’s quite the opposite.

Take the hassle out of enrollment by offering it online

By Mark Mahoney

Online registration is one of the most quickly expanding options for class-based organizations. More and more dance schools are choosing to handle registration online, and the reasons are no secret: Customers often prefer it, and school owners benefit as well.

Online registration lets your website do all the work, freeing your staff for other tasks. It gets rid of the 6:00 a.m. registration-day lines and allows customers to register at their convenience, and it automates what has traditionally been a tedious, time-consuming process. Plus, it improves the accuracy of registrant information.

However, online registration may not work for every school. Here’s how to decide whether yours would benefit.

Online registration defined
 Here’s what a good online registration solution can do.

• It places all the information needed about the student and the parents into the enrollment database automatically (no reentering data).
• It allows registrants to review and choose classes along with any options (one-time information input).
• It gives registrants the option to be placed on waiting lists for full sessions (keeps students interested in class).
• It allows registrants to pay deposits and/or full class fees (eliminates billing and collections).
• It provides registrants with confirmation of registration and payment (eliminates confusion).
• It allows registrants to complete registration and make payments at their convenience from home or work (makes processes easier for customers).

Problems can arise if you adopt a process that automatically accepts all applications. Instead, you can create a “hold” on online forms that lets you review them quickly, make your application decisions, and then communicate automatic or personal confirmation to applicants.

Note that online registration is a database; it does not offer a printable PDF of the application form on your website. If you simply collect information in a form on your website that does not connect to an enrollment database, applicants will have no idea whether the class they want is available.

Benefits
Online registration’s ultimate benefit is convenience, but there are others as well. A well-designed process can:

• Eliminate data entry and hard-to-read handwritten forms.
• Encourage prompt registration by offering the option to enroll online directly from your website, e-newsletters, or emails 24/7.
• Eliminate hard-copy forms and therefore reduce your postage costs.
• Give you a succinct, understandable view of the enrollment levels and remaining capacity across all of your classes. 

School owners and managers generally benefit from several factors that can result from a good online registration process:

• Consistent or growing registration numbers. Ease of process makes registration less of a “decision” since it is done at customers’ convenience.
• Significant time savings for owner/manager and staff. During registration seasons, the staff time consumed by registration details could be cut by as much as 75 percent.
• Heightened accuracy of information. The responsibility for account information is shifted to the parent or student.
• Increased customer satisfaction. Parents enjoy a greater window of opportunity for registration and payment options. They have a choice of when and how to register and have control over account information and payment options.

Customizing the process
An online registration system can be tailored to fit your school’s needs. For example, you may need more options than your provider’s system allows because you offer short-term classes in addition to those that span a season or year. The provider may be able to make adjustments for you for an additional cost. It’s up to you to determine whether the added cost is a good investment. 

Online payment options
Online registration doesn’t have to include online payment, but it does make sense to include the option to pay at the time an application is submitted. The simplest method is via credit card. You may offer secure payment processing via e-check (known as Automated Clearing House, or ACH, payment) or Paypal (a company that provides fee-based payment processing).

When considering online payments, be aware of the following.

Security
Securing all data collected in an online payment process is critical. You’re collecting sensitive data such as credit card numbers. The credit card industry continues to impose more stringent handling and storage of credit card information, including the Payment Card Industry (PCI) and Cardholder Information Security Program (CSIP) initiatives.

Information storage
You should not store credit card information unless it is absolutely necessary, and if you do, you must protect it with passwords and encryption. If you store paper records, equivalent precautions should be taken. Good online registration systems provide Web-based data storage as part of the package price, with stronger security than a studio owner typically could arrange working on her own.

Insecurity of email
Remember that any process that transmits this information using email is not secure. You could face fines levied by credit card companies on your organization for any data that is misappropriated.

Additional payments
You should consider how you would issue and collect any additional payments, such as those required for classes offered outside of your normal class tuition. You can always rely on mailed checks in such situations; however, a good online system should accommodate such payments. These online options are more secure and convenient for both you and your customers.

There are two options for alternative payments.

• E-invoices with an online payment option. You can send invoices to customers to convey charges or outstanding balances and include a built-in “pay online” link. The link directs them automatically to a payment page, where credit card information will be collected by the same secure system that accepts your tuition. Robust technology can do this with virtually no data entry for you or your customers.
• Preauthorized payment collection. Parents can agree to have subsequent or one-time-only payments processed automatically on their due date. If you’ve employed secure storage processes for credit card information, this type of payment processing can be accomplished without extra effort or cost.

Methods of payment
Credit and debit card payments are convenient and popular, but schools that accept them face costs in the form of a discount percentage fee. If the cost of accepting credit cards is prohibitive for you, it might make more sense to offer payment by ACH (sometimes referred to as e-checks). These are direct debits to a customer’s bank account, which tend to be less costly since they typically involve only a small per-transaction bank fee (rather than a percentage of the payment amount). Make sure the online solution you choose has been approved for payment processing and displays its secure certificate status—awarded by VeriSign, Thawte, and other companies. If a provider lacks such certification, pass it by.

Costs
A small dance studio should expect to pay around $500 annually for an online registration/studio management software service plus the fees from the credit card merchant provider. A larger studio might pay about $1,500 per year. 

Do your homework
Make sure to do a detailed review of any online process you’re considering. In addition to confirming the provider’s individual security certification, you should consider such options as accepting and handling electronic signatures and handling secondary forms (such as medical data) for students.

Attending competitions and conventions can get pricey for school owners and teachers. Who should pay, and how much?

By Jennifer Rienert

It seems like competition and convention season gets busier every year. More students, more entries, and more problems. For many years I did all this extra weekend work myself. However, as my program got bigger and more teachers came on board, it became impossible for me to handle it all myself. It was time to make some decisions. What would my expectations be regarding my staff’s attendance at competition weekends, and how should teachers who attend be compensated?

Here at New Hampshire School of Ballet, we compete at four regionals and one national competition every year—that’s 65 to 70 entries per competition, with about 40 students dancing. I have two teachers on staff who each choreograph about 10 dances per season. They get paid their hourly wages for choreography time and rehearsal at the studio, but I’ve never required them to come to every competition; I don’t feel I can expect them to give up so many weekends without pay. However, I have always asked them to come to the first competition weekend to give the kids the extra confidence they need.

My teachers have always been fantastic about coming to as many weekends as possible. They love to see their students perform and showcase their choreography, and they also have a sense of responsibility for and pride in our school. This year I realized their sacrifice and began giving them a per diem of $20 a day toward food. I also give my teachers the prize money if one of the pieces they choreographed wins. We always participate in local regionals that require no overnight accommodations, so travel costs are minimal.

Another school owner who doesn’t require her teachers to attend competitions is Liza Indiciani of Liza Indiciani Studio of Dance in Beverly, Massachusetts. She says, “If we travel far to a convention or nationals, I will ask one teacher to come along as a chaperone. I will offer to pay all expenses such as convention fees, airfare, hotel, food—everything. However, I do not pay a salary per day for these trips.”

Charging students a “staffing fee” is one way to cover teachers’ costs, but Indiciani chooses not to do that. Instead, she says, “I try to find competitions and conventions that offer rebates for entries to help offset these extra expenses. One time I added a few dollars to a regional entry fee on the students’ bills, but most times I pay out of pocket. I am lucky to have a large recreational program at my studio, so they are the ones who are really paying for the majority of the expenses.”

Others do charge a competition fee. A Midwestern studio owner who wishes to remain anonymous says, “At the beginning of the year we charge a $100 competition fee, which goes toward teachers’ gas, food, and hotel expenses. If my teachers would like to come to a convention, I pay their tuition, travel, food, and lodging for the weekend. For competitions, my teachers are compensated $10 for every hour they are there, not including travel or hotel time. They are not required to go, but what teacher wouldn’t want to see their work onstage?”

Competitions and conventions are a valuable educational tool for our students, but unless we ask parents to bear the expense, they come at a cost for school owners and teachers.

Katie Leigh Watts, co-owner of Studio 19 Dance Complex in Cranberry Township, Pennsylvania, says that she and her business partner are the only two teachers at their school who attend competitions and conventions with their students. She says, “We have never ‘paid’ ourselves for these events. We feel that the competition fees are already high, so we tried to cut back wherever possible to keep our customers comfortable and satisfied. I know some studios in our area charge a little more for each competition entry in order to pay their staff to be present. We tossed this idea around but opted to volunteer our time. However, if one of our group dances wins the cash prize, we usually use that money to benefit the studio in some way. It is truly rewarding to see our students dance and grow with every performance opportunity. To us this is compensation enough.”

Sue Warter, director/owner of Studio 1 Forever Dancin’ in Woodinville, Washington, says that her teachers go to competitions on their own time. However, the studio does pay for weekend stays at hotels. She says, “With the competitions and workshops already costing so much, I can’t ask for more money from the parents. It might be a good idea, though, since it can get pretty expensive for the teachers, as well as having to give up weekend time with their families. If we do have any rebates or discounts from entering competitions early, I use that money to help offset these costs.”

Joan Lundey has found some great conventions that offer free tuition and rooms if you bring enough students. The owner of Studio One Dance School in Madison, Wisconsin, Lundey chooses mostly conventions and competitions that give perks or rewards back to the studio in the form of rebates or free hotel rooms. This allows her to pay for her teachers’ travel expenses without the money coming out of her pocket.

Tammy Bisbee of A Step Above Dance & Music Academy in Monona, Wisconsin, says her teachers who choreograph (usually only 2 to 4 of the 11 on staff) are required to be at competitions to rehearse their dances and watch the performance, but they do not get paid for their time. They carpool to the events, most of which are within an hour’s drive; the farthest is in Chicago, about three hours away. “If the competition is a convention as well, they are required to go, but I pay for their fee and for a couple of hotel rooms for all the teachers to share,” says Bisbee. “Food and travel are at their own expense.”

Competitions and conventions are a valuable educational tool for our students, but unless we ask parents to bear the expense, they come at a cost for school owners and teachers. Although many studios cannot afford to pay their staff for the extra time commitment, good communication can help the situation.

This year my studio is traveling six hours by car to go to nationals, and I decided to charge my students a $10 fee to cover the cost of my staff’s hotel rooms. I alerted parents to this extra fee at the beginning of the year instead of springing it on them at the last minute.

Make your decisions clear to your teachers as well. Informing them in advance of any expectations regarding attendance at competitions and conventions, along with which costs you will cover, minimizes any conflicts in the future. Having a fun and rewarding year is everyone’s goal, but being prepared and well informed can be the key to your success.