Advice for dance teachers
After 16 years in business I am purchasing a building to make a new home for my studio. The new space is close to downtown, where there are a couple of schools that are very competitive. I have always done my best to stay on the good side of both owners.
About two weeks ago, I put up a sign at the new location to let everyone know the school will be opening there in the fall. Immediately I received an email from one of the other school owners, who threatened “war” if I followed through with my intent “to move into her territory.” She used words that are extremely hateful about me, my students, and the way I teach. She questioned whether my new building was zoned for a business, which it is, and then she wrote that she would immediately head to the town hall to put in a complaint.
During this past season, my school’s enrollment was more than 300 students, which is the perfect number to allow me to afford the new space. It is not my intention to take students from other studios. My school is non-competitive and has a family atmosphere, while both of these other studios do many competitions each year. I thought, and still do believe, that my student base is different than theirs and that my school is not a threat to anyone.
Since the day I opened my school it has been my intention to work hard to save the money to purchase a building, and I am finally there. But now my dream looks like it is going to be a nightmare, and that is a hard thing for me to accept. What should I do? How should I respond? I feel shattered right now. —Shattered
This situation will be a nightmare only if you allow it to turn out that way. Take a deep breath and realize that you are dealing with an insecure person who feels threatened by your presence. It takes two sides to engage in a war. Choose not to participate. If she persists, the only battle wounds will be hers—and her business will suffer.
Think about it this way. It would take her a lot of time and effort to go after you. If she chooses to spend her energy on you instead of on growing her school, building a loyal clientele, and being the best school owner she can be, then she will realize her biggest fear: losing students.
On the other hand, you are excited to own a building and confident that you can make this work. You’re putting all your energy into making your business thrive: providing excellent customer service and quality dance education in order to ensure a happy clientele. This will make you the victor in this woman’s so-called war. And that will happen without you firing a single shot.
As for a response, I don’t think one is necessary. Do save the email, in case you need it down the road, but my guess is that this woman is hoping for a negative reaction from you—such behavior would justify her first attack. Forget about her. Now is the time to pat yourself on the back for making your dream come true and get to work. Good luck! —Rhee
For most of my career I have taught in a college classroom while others have created the performance choreography. Essentially it was my belief that teaching and choreography are two different specialties.
During the last couple of terms I was required to choreograph on our students, but the experience was uncomfortable for me and I was disappointed in my work. It seems blah compared to the choreography done by my colleagues or guest choreographers. I think it is because I am obsessed with having everything be technically correct, which it is—but the audience always seems less than thrilled.
I am now preoccupied with rising to the challenge. This experience has made me realize that I have missed out on the artistic side of educating my students and myself. Where do I go to learn choreography? Do you know of programs or workshops that focus on choreography? Any input is appreciated. —Carolyn
Good for you for not running from the challenge—I like your style! This question is interesting to me because I think of teaching and choreography as being one and the same; however, I can understand how someone could teach and not choreograph if that was the only responsibility required of them.
There are many choreography workshops, especially at the university or college level. Check out the trade publications and do an internet search for choreography intensives or workshops.
For most choreographers, art is the number-one priority. The inspiration comes from your soul, from the dancers you’re working with, and from the emotions you want your audience to experience. The music is a huge part of the inspiration; if you listen closely, it will guide you in choosing what your dancers should do. At first, allow yourself the freedom to create without regard to the technical aspects. The dancers will apply what they’ve learned in the classroom as they become proficient with the movement; you can work on the technique as the piece progresses.
Don’t be afraid to experiment with the bodies you have in front of you; think about using levels, and what happens to the mood of the piece when the dancers are upstage or downstage. Also, be open to the movement concepts that arise when you collaborate with your dancers.
As “homework,” see every performance you can, and look for diversity in the kinds of shows you go to—modern dance and Broadway, tap and ballet, hip-hop and jazz and contemporary. Ignore the dancers’ technical proficiency (or lack thereof) and concentrate on the design of the movement and why you like or don’t like what you see. What emotions do you feel, and why? What would you like your audience to experience?
Always remember that the audience must be entertained or engaged; even if they have no idea what good technique is (I know that’s hard to hear), they will know if they were moved in some way.
I’ve got a feeling you’ll be just fine. Immerse yourself, and enjoy the experience. And let me know how it turns out. —Rhee
My husband and I have been performing professionally for many years. In the fall we are expecting our first child, a fact that has made us think about the future. My mother has had a school in the Midwest for years and has always wanted my husband and me to take it over. Now we are thinking about it.
I am apprehensive because I’m not sure my mother is really willing to pass the torch, both artistically and financially. She is a good teacher who is set in her ways. I think we would bring something fresh to the studio, but I know we would be frustrated if we couldn’t make some changes and be sure that we could make a good living to raise our family. Got any tips? —Nervous Dancer
It sounds like you need to have a talk with your mom to let her know that you are considering her offer—but then you need to clarify what taking over the school means to her. My guess is that she is probably not expecting the question, so be prepared to give her time to think about her answer. But let her talk to see if you get an inkling of what her thoughts might be.
If it seems like what she’s thinking is also what you have in mind, then find a neutral party (an accountant or lawyer) who will help you draw up a legal agreement that works for both your mother and your family. Don’t go with oral agreements or anything that’s unclear. It’s better for you and your mom to be in agreement about this transition than to create tensions that will hurt your family. Good luck! —Rhee
Advice for dance teachers
I attended the DanceLife Teacher Conference in Phoenix last summer. I have made the exciting move of opening a studio, and I thank you for giving me knowledge about this process. Now I am creating a philosophy, goals, and a business plan, and I wondered if you could provide me with a few key elements that I should or shouldn’t include. Thank you! —Sophia
I would defer to professionals when it comes to your business plan. But I’ll give you some tips on strategy. As you launch, go for the preschool and once-a-week students market. Focus on their needs—learn everything you can about what they want and develop the best curriculums to make the parents feel that their children are receiving a solid dance education from teachers who care.
Some people open a school in hopes of attracting advanced dancers from other schools; I do not recommend that you go that route. Advanced dancers usually pay discounted tuition, require more of your time, and can be a financial burden on a new school. As you and your school grow, you will build strong dancers—which means when you’re ready to invest the time and effort (and finances) into working with the advanced dancers, they’ll be equally as prepared and committed.
Here are some specific questions to ask yourself, to help you analyze what’s working well right from the beginning. One, which age groups does your school attract? Two, which classes are the most successful? Three, which class days and times do your clients want?
Remember, the goal is to be different. Don’t put yourself into the same mold as the other schools in your area. Experiment with adult programs, and design some fun six- and eight-week programs as samplers or summer sessions. Make sure your preschool programs are top-quality and creative. And don’t forget to appreciate your staff, clients, and your own hard work. Have confidence in yourself and what you want to accomplish. Good luck! —Rhee
I have no idea how to handle this situation. I bought my studio in 2012; one of the former owners moved away, and the other one remained in the area. She and I were on good terms, and I continued to support her work after she left. I haven’t heard from her since I took over the school.
She has begun her own business as a master teacher and choreographer for local studios. She is sending resumes to these studios; however, she hasn’t approached me. The students at my studio who remember her do respect her, and I don’t want to change that. Many of them follow her new business on Facebook and Twitter. They would love to have her teach a class with us.
Her buyout agreement has a four-year non-compete, non-solicitation clause. I contacted the attorney who wrote the agreement, and he agrees that she has broken it. I am not threatened by her current business; in fact, I wouldn’t mind having her teach a class at my studio. But I have read comments on social media that indicate she is planning to offer regular classes. That does concern me.
Also, she has used video footage from my studio (her choreography, but done in my studio and at shows while she was still a co-owner). The agreement included her surrendering all files. I am not comfortable with her posting images of my studio’s clients and facility on her website.
The easiest thing to do is have the attorney send a letter to her asking her to stop, but I don’t know if that’s the right thing to do. I could call her (or write) to see if we can discuss the situation. I do want to approach the situation delicately. There is room in the city for both of us, and I want her to know that. But at the same time I want to protect my business. What do I do? —Nora
I too am not sure what to do in this situation. My first instinct is to call her, but you would have to be calm and professional. Don’t say anything about talking to a lawyer or anything else that might make her feel threatened. Let her know that you are aware that she is doing a lot of teaching and wants to expand to more classes. Listen to her and go with your instinct. If it seems as though her goal is to open a school or something like that, don’t say too much more. But if she wants to teach, perhaps you could ask her to come to your school.
If your instinct tells you that this might become a mess, let the lawyer take over.
One thing to think about: no matter what this teacher does, it will only be for a few more years that your current students will remember her. As time goes by, you will be the face of the school, and the students’ loyalty will be to you. Be sure that you go above and beyond for your clientele so that no one would think of leaving.
This is a kick in the butt for you, which could be a good thing in the long run. I wish you the best. —Rhee
Recently, one of my teachers quit because of how I handled a situation in which a parent took issue with her teaching style; her daughter wanted to quit dance because of it. This is not the first instance of this.
Last year we had a child in the studio who has ADHD and is on medication. This teacher would nag her for not paying attention and not remembering what was taught. She should have addressed it differently and approached me or the parent about what was going on. When the parent told me her child didn’t want to dance anymore because of how she felt in class, I met with her and the child.
After the meeting, I told the teacher about the parent’s concerns: her tone with the kids, lack of enthusiasm, and the fact that she greets nobody and never smiles. At first, the teacher tried to make those improvements. But the changes were short-lived.
Then I got a call from a different parent, whose child wants to quit because of the same issues with the same teacher. I contacted the teacher and she explained the difficulties and frustrations she had with the kids. When she complained that the kids weren’t getting the choreography, I suggested that she change it so the kids would shine and not struggle. She was adamantly against this and quite defensive at this point. She said nothing that addressed the well-being of any child or what she could do to remedy the issues. This concerned me.
I suggested that I take over her next class to see if I could formulate a plan to remedy any of the problems or frustrations she was experiencing. She didn’t want me in the class without her present, and told me she felt that excluding her from any discussions regarding her class was disrespecting her.
After she quit, I had a discussion with the class. The impression I got was that several children were seriously intimidated by this teacher. She’d threatened to “rip out” choreography and give them “baby steps” if they didn’t get it right or make them stand onstage with nothing to do if they didn’t practice. All of the kids were afraid, anxious, and fearful in her class. They were relieved when I told them their teacher was gone.
I’ve always prided myself on building confidence. This teacher came to me from another studio in a terribly timid state of mind, ready to give up dance. She had zero confidence and I changed that for her. But when she quit, she said that I was disrespecting her as a teacher.
Do I reach out to her and try to talk about how she was perceived, so she has the opportunity to reflect and work on bettering herself? Or do I let her go, knowing she might make the same mistakes somewhere else? Thanks! —Emily
I think you should do yourself a favor and not contact this teacher. You have explained to her several times over what you wanted her to improve, and she chose not to follow your suggestions. Let her move on; you’ve done as much as you can.
I suggest focusing on doing everything you can to make the rest of the year as positive, fun, and rewarding an experience as possible for this teacher’s former students. Good luck. —Rhee
10 competition judges offer wisdom and wish lists
Ever wish you could pick the brain of a competition judge? Sure, you pay attention to the critiques, but sometimes those polite comments don’t seem to scratch the surface. What do judges like? Dislike? Admire? Applaud?
We asked 10 experienced competition judges to share with us the following: one piece of advice (sage counsel to help teachers better prepare students), one pet peeve (something teachers miss the boat on), one compliment (something teachers generally do well), and one insider’s tip (something judges look for that teachers might not be aware of).
Participating judges included:
Thomas Alexander, DanceMakers: master teacher for tap festivals and professional teacher organizations; performer, choreographer, and dance trainer for Crystal Cruises
Adam Cates, Dancers Inc.: assistant choreographer for Broadway’s A Gentleman’s Guide to Love and Murder, among others
Bobby Clark, Access Broadway: professional performer with Broadway, national tour, and regional theater credits
Barbie Graham-Meier, International Dance Challenge: judge and master teacher; former studio owner and Colorado Dance Alliance board member
Mary Ann Lamb, Showstopper: performed in the films Rock of Ages and Chicago, and in original Broadway productions of Curtains, Seussical, Fosse, Jerome Robbins’ Broadway, and others
Tony Mansker, Sheer Talent Ltd.: New York City–based teacher, choreographer, master class instructor, and competition judge
Rolann B. Owens, Headliners: owner of Rolann’s School of the Dance in Florida and co-director of Music Theater Bavaria
Cheryl Priess Dickey, Adrenaline Dance: former studio owner, national adjudicator in the U.S. and Canada for dance and gymnastics competitions, and pageants
Brian Santora, International Dance Challenge: owner of Vibes Dance Center in Massachusetts, professional performer and choreographer
Jean Wenzel, Headliners: longtime Dean College dance faculty member and former studio owner
Thomas Alexander: Prepare students by stressing that the home studio’s rules and guidelines apply at convention workshops or competitions. Hold several dress rehearsals to mitigate any potential issues with costumes or choreography, and to grow confidence. Explain how to acknowledge the judges (do not stare them down), and how to include the audience in the performance.
Adam Cates: The way students rehearse is the way they will perform. If you aren’t pushing students to explore the acting and connections with one another in the studio, you can’t expect to get the performance quality you desire. Direct the pieces you choreograph. Make sure the dancers know what the piece/song is about.
Bobby Clark: A good performance is separated from a great performance by the dancer’s emotional connection to the material. From the moment the routine begins, judges can see if the performer has a reason to be onstage. The teacher or choreographer needs to spend as much time discovering the acting beats of the dance with the dancer as teaching the actual steps. Many times I can tell that the dancer has not been coached on the meaning of the piece; she performs it technically beautifully, but without real knowledge of its spirit. The choreographer can create a story if needed, or use the song’s lyrics. Improvisational techniques can help accomplish this goal.
Barbie Graham-Meier: Let your students know that we are not “mean creatures” waiting for them to make a mistake so we can rip them apart. I love to be entertained. I’m excited to discover what makes your students unique, to see how much of themselves they put into the presentation in front of me. I want to see them dance from the heart. I want to see a piece that moves me. Will it make me smile, laugh, or bring a tear to my eye? I give helpful critiques based on improvement, but I also praise what makes the piece entertaining and how it capitalized on the dancers’ strong points.
Mary Ann Lamb: Make sure students understand that dance is an art and not a sport. What is important about a dance competition is not who wins or loses, but rather that students learn to perform and work hard in their craft and technique. As a judge, I am looking for students to put their personality into the choreography. I would rather see passion than technique.
Tony Mansker: Never wait for the performance to “turn on the face.” Once the choreography is set and learned, students must then begin to rehearse their facial expressions, presentation, and storytelling, integrating them seamlessly with the choreographed movements. This will lead to more confident and polished performances. Setting up mock competitions prior to competing helps quell pre-performance jitters.
Rolann B. Owens: Performers are not born; they are nurtured, trained, and cared for in a loving manner. Many students perform well at an early age, but the true performer develops over time. No one can rush the development, training, or performance capabilities of a real dancer. And that is what we look for: real dancers, regardless of age, who own their routines. For me, there is nothing better.
Cheryl Priess Dickey: Teachers often believe that if they do not include, for example, a sequence of à la seconde turns, the number will not make the top 10. Not true! As judges, we want to see dancers who love and are dedicated to dance, with strong technique, showmanship, and execution. If the dancers cannot perform those turns properly, then I subtract points from the technique and choreography scores.
Brian Santora: Students should be prepped by teachers on the vision of a piece before they are shown the choreography. If dancers understand the music, lyrics, and choreographer’s vision, they will be better able to create a storyline that the audiences and judges can follow—leading to a better performance.
Jean Wenzel: Going into competition with all of the focus on winning sets up students for a stressful situation. Instead, instill in them the desire to learn and grow as performers and dancers. It is nice to be recognized for hard work, but this does not necessarily come in the form of an award. Praising progress is so much more important. Set a goal and work toward it. Put the emphasis on progression, not only for your students but also for yourself.
Alexander: Transitions, transitions, transitions. When transitions are not performed well or are disjointed, the choreography is broken up. In critiques I constantly ask the choreographer/teachers to make the choreography flow better from one section to the next.
Cates: Rationalizations regarding overt sexuality in costume design and movement for underage dancers, such as “That bra top on our 8-year-olds is cute”; “That bump-and-grind movement is fun for them”; “They see it in music videos”; “It’s what they want to do”; or “It’s just a dance step.” I realize an 8-year-old doesn’t equate sexuality with what she is wearing or doing and that an adult audience projects sexuality onto what they are seeing—but you are setting them up to do just that by the choices you make. There are an infinite number of better, non-sexualized choices you can make for your dancers. If you can’t think of any, then you aren’t very creative!
Clark: A cappella tap routines.
Graham-Meier: Props are a sore point. If a prop or set is needed, it must be used effectively. I feel sorry for parents or studio staff members who haul it to the competition and set it up, only to have the dancer(s) start on it and not make their way back to it until the final pose. Teachers and choreographers: capitalize on creative staging using the power of the prop. Otherwise, it can distract the judges from the performance while we wait for it to be put to good use.
Lamb: Too many “tricks” that take me out of the number and are not appropriate for the style of the piece, and also, when the costumes contradict the music and movement style. For example, in a beautiful contemporary or lyrical piece, dancers should not wear bling chokers, earrings, and sparkle bras. Let your dancers live honestly in the style of the work.
Mansker: The inconsistent use of lip-synching during solo routines. Lip-synching is a skill that is not particularly useful in the professional world; but if used, students should lip-synch the entire number and make the best effort to do it well. Practicing in a mirror can help build better accuracy. One more thing: that silly bench that is used for the first four counts and never used again? Cut it!
Owens: Tricks must be mastered before being placed in a routine. Also, don’t repeat popular tricks (fouettés, multiple pirouettes, grand jetés, etc.) in many routines. For judges, seeing these special tricks once is enough. Dance competitions are meant to be about how well the dancer performs and not how many tricks one can do.
Priess Dickey: Seeing dancers who have not been directed to take the stage as if they own it, and finish that way too. Too many teachers do not understand the importance of entrances and exits, and how they contribute to a solid and finished performance.
Santora: I think a lot of teachers/choreographers are missing the point that competition should be used as a tool to educate dancers. Teachers should tell students in the beginning stages of competing that the experience and critiques will benefit them and help to build their technique and confidence. Even for advanced dancers, it should always be about education.
Wenzel: Musical-theater routines should not be lip-synched. It does not help develop character, which can be achieved through choreography, facial expression, and body language. Lip-synching restricts choreography, is unrealistic, and does not enhance the storyline. In addition, facial expressions in all genres of dance should be genuine. Dancers should not “make faces.” Expression comes from within.
Alexander: I often witness the kindness of dancers applauding other studios after a performance. Promoting good sportsmanship pays off. Judges do recognize this and can spot this in your students.
Cates: Versatility. I love seeing studios that excel in jazz and contemporary come back onstage with a slamming hip-hop number, only to return later with Broadway-caliber tap skills. And then half the kids tumble, some perform a classic modern piece, and everyone commits to their characters in a musical-theater production number. This well-roundedness will serve your dancers not only as artists but also as creative thinkers.
Clark: I like it when teachers give their students opportunities to perform other than the once-a-year recital. Teachers tell me how important it is to attend dance conventions, which allow their students another chance to perform and to take class with seasoned professionals.
Graham-Meier: I appreciate that so many teachers and choreographers are mindful about age-appropriate material/costuming, and about keeping tricks out of numbers where they don’t belong. In the past, mature material was set on performers without taking into account that grandparents, siblings, and entire families come to competitions. Also, I’ve noted quality tap over the last few years, with great sounds, speed, and rhythms, in performances that are connected and flow nicely without the disruption of a set of fouettés thrown in.
Lamb: The dedication that teachers give their students is amazing—not just teaching them how to dance and perform but also life skills like discipline, confidence, and work ethic. These students will become great leaders in whatever they do, and they have learned to work together as a community in their dance schools. And every weekend these students support others in the competition. That is a beautiful thing.
Mansker: I see artistic, innovative, and beautiful choreography from studios all over the U.S. I love it when a piece leaves me in tears and sends chills up my spine. I applaud the teachers and choreographers who are pushing the boundaries, continuing their evolution as artists, and sharing this artistry with their students and audiences.
Owens: Dancers are more ambitious, studying harder, and reaching for the stars. I see dancers performing better than ever—congratulations, teachers! It is clear that teachers are improving in their teaching methods and choreography.
Priess Dickey: For the most part, teachers do a nice job costuming dancers in an appropriate manner, sometimes with only limited funds available.
Santora: Teachers/choreographers who take creativity to another level. It’s great to see routines that make a well-thought-out connection between costumes, props, music, movement, and vision. More and more choreographers are stretching the boundaries of style and choreography. Keep thinking outside the box!
Wenzel: I believe competition has been the primary motivator for the highly skilled dancers we see today. It has been my pleasure to watch the art of dance evolve through the exposure and motivation of competition and the higher education of our teachers.
Alexander: Surprise us. Challenge yourself as a choreographer to incorporate some element of surprise—which doesn’t necessarily have to be a trick. Whatever you incorporate into a routine to “wow” us, keep in mind that your students need to pull it off. Also, if you can find music that is a bit obscure, rather than using what’s hot today, it will make the routine stand out.
Cates: Some studio owners see a studio that made use of multiple tricks walk away with the big trophy and think the tricks were the answer. Next time, watch how they are done. Technique is the answer. If you want to incorporate tricks, that’s great—but it’s more important to have the technique with which to do them. That is what the judges are looking at.
Clark: Coming from a musical-theater background, I look at the total performance, starting with whether the teacher or choreographer has picked the correct material for the dancer(s). In professional theater, I have worked with many choreographers who tailor numbers to a dancer’s individual strengths and personality. If a step doesn’t fit or is too difficult, change it.
Graham-Meier: Many of my colleagues talk about “dark” music being used. In my opinion, it is not healthy to have a sad and depressing piece of music drilled into a young person. I have been moved to tears by beautiful tributes inspired by a sad situation but in honor of an event or person. To see young performers portraying something hopeful—for example, to a lovely rendition of “Over the Rainbow”—is so moving. My tears need to come from that. Better yet, I love to laugh, so keep that in mind when choosing music. It might be advisable to present choices to the students to see which music inspires them. Do whatever it takes to get the best out of them.
Lamb: Don’t make the number too long, especially solos, and particularly for younger students. A long piece asks too much of the dancers’ focus and energy, and they don’t always have the technique to support it. A shorter piece doesn’t expose that [weakness].
Mansker: A clean and confident routine that’s less difficult will always score higher than a sloppy routine with challenging elements that are done poorly. Adding elements that are beyond a student’s ability only leads to a shaky performance and low scores. Remember: as judges, we do not know your students or their history of growth in dance; we only have the piece onstage to work from. Practice challenging elements until they are solid before adding them to competition choreography.
Owens: Watch how children react to music on the first hearing, before any choreography is given—they will reveal what the music is saying to them. To me, their emotional response to the music is as important as choreography. Is the music age appropriate? If so, it is easier for the students to understand. Know your music well and whether it suits the dancer.
Priess Dickey: Keep music short and under the time limit. Many dancers do not have the stamina to finish long numbers. Also, set a protocol for your dancers during awards ceremonies. Judges often see inappropriate behavior toward other dancers or teams. Don’t allow dancers to bring cell phones onstage. Take the time to teach respect and theater etiquette.
Santora: Don’t forget the movement between the jumps, turns, and other tricks. Work the transitions and connections and you will create a smoother-looking piece of choreography. Look at the choreography as a whole, not as sections.
Wenzel: Expose your studio to the best dancers possible; this will inspire them to work harder. Do not feel threatened. Have a positive, adventurous attitude. Enter or just observe a competition that you know attracts the best. Dancers often have an unrealistic view of their accomplishments. They must first know their strengths and weaknesses in order to improve. Seeing excellence is often what students need to motivate them to be their best.
Advice for dance teachers
When I opened my school more than 12 years ago, a school owner a couple of towns away from my location decided that my little school was now her big competitor. As soon as I signed my lease, trouble started. Friends in my community told me that they had heard things like I wasn’t a qualified teacher or that I was a scam artist. Each time people told me something negative they’d heard, it got traced back to the other studio owner. The hard part was that I had no idea who this person was.
In the beginning, it freaked me out. Then I let it go until midyear of my first season, when I got a letter from her that ranted about how awful I was and that I should be ashamed for stealing her business. At that point, only two students had come to me from this school. I had no idea what she was so upset about.
I decided to ignore her antics. She wrote me letters, tried to call me, and said negative stuff about me to anyone who would listen. I just continued working on growing my business.
During my third year in business, a studio mom told me the other school had closed because of IRS and other financial issues. I was shocked because her school was five times the size of mine. Within a month of her closing we enrolled more than 25 of her students, and more trickled in. They came to me because there was nowhere else to go, not because I solicited them.
Immediately this woman started telling everyone in town that I put her out of business. She wrote nasty letters to the Chamber of Commerce about me, called my home and then hung up on me, and sent me hateful letters. She continues to stalk me today. On Facebook, she makes up false names and posts nasty comments on my studio page. She “friends” my students and sends them mean comments about me. She continually posts on her own page that she is reopening her school, but it never happens. She has even sent messages to my teachers offering them jobs at her new school.
Everyone around me knows this is crazy, but this has been a 12-year battle. I am so tired. I am at my wits’ end because she never stops. Should I go to the police, get a lawyer, begin to fight back, or what? Any thoughts? —Stalked
I believe “or what” is your best option. Think about this—the reality is that she has gone out of business because she didn’t know how to manage the finances. And maybe she spent too much time concentrated on hurting you when she should have been watching what was going on in her own studio.
As a result of her actions (not yours), she is obviously one frustrated person who has spent too many years blaming others for her own incompetence. You did nothing wrong. Twelve years of stalking does indicate that this person is obsessed, and my guess is that she wants you to be at your “wits’ end.” Don’t give her that satisfaction.
Ignore all of this, but do use it as motivation to continue to make your school better and to always be the opposite of what she perceives you to be, or what she tells everyone you are. My guess is that after 12 years, most of the people she spews her negativity to know she is full of you-know-what. This is her problem, not yours!
On a personal note: though the details are different, I have been harassed for 40 years by the same type of frustrated stalker you have described. She started on my mom and then moved on to my brother and me after my mom died. My mother made the decision to never respond and told us that we should do the same. It has worked marvelously, and I hope it will work for you too. All the best. —Rhee
I am so happy to have had the chance to teach thousands of kids how to dance. The memories are priceless, and the dance family friends will always be a part of my life. But I’m thinking it’s time to turn my school over to the next generation. I have two teachers who would like to become partners and purchase my business. How do I figure out the value of my business? Any pointers? —Carol
My first pointer is to go to an accountant, who can give you the best advice. With that said, I’ll offer you a basic starting point in determining the value of your business: two times the annual gross or five times the annual profit. For example, if I gross $400,000 annually, the starting point is $800,000. Or I could clear $100,000 profit annually, which gives me a starting point of $500,000. With this formula, the business is worth somewhere between $500,000 and $800,000. Good luck and enjoy the journey! —Rhee
I love teaching. I have been teaching all ages of kids at the same studio for two years, and I just lost my job because of pictures I posted on my personal Facebook page. I went to a bar with some friends and my boyfriend took pictures of us having a good time. My boss thinks they are inappropriate because she says I look wasted and because I swore in a couple of the posts. She said she is mad because I am friends with my students and parents, but they go to bars too. I don’t get it. I could see why she’d be upset if the posts were on the studio page, but what right does she have to fire me for what I do on my own time with my friends? —Frustrated
I am not a legal expert. For appropriate legal advice pertaining to the owner’s right to let you go, I suggest you contact an attorney. Putting the legalities aside, let me answer this question from a school owner/boss’ perspective.
You state that you teach all ages of kids. If you taught for me, I would expect that you would always be aware that you are a mentor, leader, and teacher. That image and responsibility would be expected wherever you come in contact with our clientele. You represent not only yourself but my standards as a school owner.
I’m assuming that you did look wasted in the pictures because you didn’t say otherwise. And you admit that your comments included swearing or profanity. You made the choice to welcome your students or their parents to your Facebook page. Consequently, I believe that everything on your page should be appropriate to the image of a teacher who is making impressions on the young minds in her care.
You need to think about how shocked some of your students and their parents might be at your posts, then think about what being a role model means. My guess is that you will discover that this was a hard lesson to learn and that it is something that you will never allow to happen again. Good luck. —Rhee
I had to let some time go before I responded to “Happy Ending” by Amy Moy in your October issue [“Thinking Out Loud”]. The studio I work at is all about family as well. We support each other through the tough times, which hit home for me when I’d been on the wild ride of my mother’s illness. After the year-end show, I let my dancing ladies know that I probably wouldn’t have my mom much longer. The next day my mom went into the hospital for the last time; a week later I saw my dancing ladies at the funeral, and a month later they were at my home for our annual picnic.
Like Amy Moy, I know how wonderful it is to be surrounded by your dance family. They add to the joy of the good times and lend support for the tough ones.
Instructor, The Mary Ann Studio of Dance
Thank you for the great article on Dance Canvas and our partnerships with KSU and Atlanta Ballet [“Dancing on Common Ground,” by Ann Murphy, November 2013]. I thank you for taking an interest in what we do!
Executive Artistic Director, Dance Canvas, Inc.
I read with much interest this month’s “On My Mind” [December 2013]. We are a rare breed, those of us who gave our hearts to dance early and who continue to dance today. I would never change my life or the international friends I have made, or the wonderful and exciting places I have danced, from Bermuda to the Bahamas to Nova Scotia to Argentina, for any diploma on the wall. I have no regrets, only wonderful memories.
You are a great success. You give great advice to dance teachers, and we enjoy your knowledge and magazine.
Owner/director, Carolina Dance Academy, Inc.
Advice for dance teachers
A few years ago I became the director of a dance studio where I had taught for years. The first year our enrollment flourished, and the second year it held steady. This year has been very difficult and enrollment has dropped. However, the students who no longer dance here did not leave on a bad note; they graduated or wanted to try new activities. Those families said they loved our classes and teachers but did not want to overextend their children with activities.
In the past, we dealt with the stigma of negativity regarding the former director and the studio’s name, which was changed immediately after I took over. I think we are still proving ourselves to the community.
I am trying everything to bring up our enrollment—advertisements, direct mailers, parades, community events, contacting past students (even from years ago), YouTube, Facebook. I am wracking my brain about how to improve the enrollment, especially of young children. I have even tried contacting local daycare centers offering programs and free classes to get the word out, but no one seems interested. I would be so thankful if you could give me tips on how to grow. —Frustrated
Sometimes it takes a while to eliminate the negativity surrounding a previous owner. I would continue the marketing you are doing. I would also add that it should be the goal of every faculty and staff person, and you, to ensure that every child (and parent) at your school can only rave about the experience. Give them excellent customer service, mature teachers who care for every child, and the most professionally run school in the area. To help attract parents of young children, go overboard with the little ones who are already enrolled by giving them great choreography for the annual recital. If you make them (and their parents) feel special, word will get around.
You say some students have dropped dance because they are overwhelmed with activities, but I have encountered many students who gave up other activities because they loved their dance teachers and classes. If you offer the best customer service possible and show dedication to every child, the negativity will diminish. Then you will be on your own to develop the best reputation possible. Good luck! —Rhee
I would love your thoughts on a situation. Two dancers (siblings) have missed two and a half months of rehearsals for our studio production number. Their mother felt that six hours with a video of the dance was adequate rehearsal, but I disagreed and removed them from one part (of three) of the production dance. I explained to these dancers that they could continue to work on the choreography for part one, and if it was up to the level of the rest of the group, I would gladly add them into it at a later date. I have 15 dancers who did come for those two and a half months and busted their butts to work on the choreography and staging.
This family also has decided to opt out of mandatory company events, workshops, and trainings.
The studio owner is not backing me up, which hurts, but I know I did the right thing for the 15 dedicated dancers and my colleague. The whole time, I was thinking, “teacher, leader, mentor,” and how the situation is unfair to the dancers who have worked hard. It’s also unfair to give these two girls false expectations and let them slide by with a poor work ethic. The owner has disappointed me by not supporting my choice as a professional. It’s been a very disheartening experience. —Raquel
I agree that these dancers should not be included in the choreography taught during the rehearsals they missed. Unless a dancer has a family emergency, a mandatory rehearsal must be exactly that, without exception. Too many kids and parents believe it’s OK to disappoint the dancers who do make the required commitment. For whatever reason, the families of dancers who miss classes and rehearsals believe they are different from the others.
When teachers or school owners go against their own policies, their credibility is diminished. Eventually everyone starts to miss rehearsals and take advantage of the fact that people at the school don’t stand up for what they think is right for the students, including instilling discipline, commitment, and respect for classmates.
You don’t mention why these kids missed so many rehearsals, or if there was any prior discussion regarding how the situation would be handled if they were absent. My best advice is to have a friendly talk with the studio owner to discuss why she isn’t backing you up and find out if there is more to the story than you know. I wish you the best. —Rhee
I have two questions I hope you can answer. I teach at the studio where my two daughters take class and are on the competition team. What is a reasonable discount on tuition for employees?
Also, my oldest decided to drop tap for the competition team and take it as a rec class. I teach that class. The owner gave me an adjusted statement showing the change in class, and now it costs more than when she did tap with the team. Should I be charged more for my child to be in my class versus another teacher’s class? The enrollment period was over, so she was not taking a spot another child could have occupied. —Teacher-Mom
There is a lot of diversity among school owners regarding discount policies for employees’ children, from 10 percent to a full scholarship. The variables might include the number of hours worked by the parent or the number of classes the child takes. In most cases, the expense of costumes, entry fees, or other non-classroom-related fees are not covered by the scholarships or included in any discounts.
Your second question is hard to answer because the school owner has the right to charge whatever she thinks is appropriate. I am not convinced that the fact that it is your daughter who is taking your class is relevant. And although initial enrollment is over, many schools accept new students on an ongoing basis. If another child with no relationship to the school registered for the class, she would pay tuition.
That said, I have no idea how much of a discount you receive already. In most cases, competition team classes are less expensive because of the number of classes required by the program policies. We also need to factor in the cost to the studio to run your class, including wages for you and office employees, utilities, and so on.
It might be better to think less about the cost of the tuition and focus on making yourself invaluable to the school owner. Then you can have a conversation about the amount of the discount she offers. I wish you the best. —Rhee
Advice for dance teachers
What would you do about a student’s monthly tuition if she was injured (in athletics, not dance, and it required surgery) and out for a couple of months to recover? She is part of a team and her mom wants me to hold her place in the choreography. I’m on the fence about this since she cannot dance; the problem is that she was supposed to be in eight dances, and all of the teachers will need to remember to factor her in. I’m not opposed to waiving her tuition while she is out, but I want to make sure I don’t start something that snowballs with all the other “ouchies” in the studio. Thanks for your help! —Shelly
This is an opportunity for this child, her mom, and the rest of your dancers to learn more than movement. It’s where you teach respect, dedication, teamwork, and more. When young dancers and their parents are truly committed, an injury doesn’t prevent them from going to the studio. I believe injured students should observe all the classes they can’t physically take, and it is imperative that they attend all choreography rehearsals. Injury does not prevent a dancer from using his/her brain; observation can be as educational as taking a class.
As for the choreography, the dancer must know that it is her obligation to be prepared to step back into the piece as soon as she is ready. And she should be able to do this without the choreographer having to spend hours re-teaching the movement. Learning her part while injured is an example of having respect for her classmates and her teachers.
In this case, no refund is applicable. It is the dancer’s and parent’s choice whether to take advantage of the opportunity to be part of what they are paying for. Good luck! —Rhee
You helped me through a very bad time years ago when two of my students who grew up in my school took almost my entire dance troupe and opened a school down the street. I was heartbroken. Now once again I am getting calls from people dropping out right and left. I have tried having a meeting and no one will share what is going on. But we now have only six kids left in one troupe and eight in another. If we keep this number of students, we will lose money paying a teacher, but if we get rid of the dance troupes altogether, then we will lose the students who want to compete. What do we do? —Cathy
I am sorry you are dealing with this situation, but in all honesty I find it hard to understand why your instinct isn’t helping you figure out why these dancers are leaving. How was the previous season? Did the dancers and their parents have any issues? Were you on top of your game when it came to customer service, organization, faculty, choreography, and so on? There must be something you know in your gut that would explain this exodus.
I would like you to think about this: if these departing students or their parents are not offering you any clues about why they made the decisions they did, or if they are not giving you what I might call the typical reasons (“My daughter has decided to do another activity,” or “My child doesn’t have the time to commit,” etc.), then my guess is there is something wrong and they believe you should know what it is. Apparently they are uncomfortable being truthful with you. Work harder to get honest feedback, and if you get it, don’t take offense; instead think about what you could do to avoid doing whatever it is in the future.
With the two groups of students who remain, give them and their parents the best dance year possible, both educationally and in terms of customer service. Though I know situations like this are hard, you’ve been through something similar and you survived quite well. Make it your goal to figure out the reality of the situation, and then get to work making yourself better by learning from of all of these lessons you’re experiencing. —Rhee
I have been teaching for two decades at the same school. I feel like I am at home, and everyone there is an important part of my extended family. The owner and I have had a wonderful working and personal relationship, but it has been more than 10 years since she has offered me a raise. Almost 10 years had passed before I received the only raise I have ever gotten. That happened because I was getting married and I told my boss that I had to cut back my teaching hours in order to get a real job so that my new husband and I could afford our mortgage. She was very generous at that time, increasing my hourly wage from $12 to $22. I appreciated it very much, but the school and the number of students that I teach has doubled since then. Not more classes, but more students in the classes.
My dance family means so much to me and I don’t want to lose it or my relationship with my boss, but my own family thinks that I am being taken advantage of. We are struggling financially. How do I ask for a raise, and if I do will I lose the career I love? I am so scared and I don’t know what to do. Thanks. —Valerie
You should be commended for your appreciation for your dance family and your loyalty to your boss. I would love to have you as an employee. You need to speak up just like you did 10 years ago. If your boss is your “family,” and your relationship is strong, she can’t take offense at your asking for a raise. And if she does, then you must realize that the relationship may not be the same for her as it is for you.
A hint: this time when you speak to her, you should also ask her to agree to discuss wages on an every-other-year basis. You need to establish some sort of boundaries in the relationship. She may know how much your dance family means to you, so it’s possible she doesn’t bring up money because she’s confident that you would never quit. I am not saying it’s right, but it might be how it is in your situation. I wish you all the best. —Rhee
Note to our readers: In this column you often read my responses to studio owners who say their former students or employees open a competing school nearby. Often, when teachers leave, they take their students along with them, and the war begins. Sometimes the circumstances that create the problem in the first place are similar to Valerie’s. She wants to be loyal, and she wants to be part of the “family,” but she can no longer deal with the financial price of her loyalty to her boss.
Advice for dance teachers
As an owner of a dance studio for many years, I wonder if it’s necessary to be at the studio every day. I’ve attended many of your conferences and I know your philosophy about how the owner sets the mood of the studio. I agree with that. But personal life has its ups and downs. I love the studio but feel burned out from time to time. I watch my customers take vacations as I work on the next project. Summer is a busy time preparing for the next season, so I feel like I don’t get a break.
I want the studio to have a good atmosphere, and I’m afraid my being stressed and feeling sad or overwhelmed will permeate the studio. I wonder if it’s OK to give myself a break from the studio and allow my staff to set the tone. Any suggestions? —Lisa
No, I don’t think you have to be at the school all day, every day. And certainly you can give yourself a break or take a real vacation. You will be a better leader if you give yourself what you need in order to stay fresh and able to appreciate what you have built. If you are feeling stressed and sad, you need to step away for a bit. Also, you need to know that you are not alone. The dance-education field is not as easy as most think it is, and many times teachers arrive at a place where they need to put themselves first without feeling guilty.
As for keeping the atmosphere positive, it won’t self-destruct if you are there less often; in fact, it might improve for everyone if you give yourself what you need. It’s obvious that you have worked hard to get your business to where it is today; it’s OK to take a vacation. I wish you the best. —Rhee
I need a morale booster about how to get more business. After 24 years my studio took a huge hit, and I don’t know why. I work so hard! I am hanging on by a thread, super-full of anxiety, and this has sent me into a depression. I’ve been hanging on to your positivity! —Tanya
I think you need to figure out why your clients left. Contact a couple of them (in the friendliest way) to discuss their motives for not returning to your school. It is important to know what their perception is so that you can move forward to eliminate the issues that caused them to leave. Also, it’s time to focus on bringing in a new crop of young students who will grow up to replace those you lost. Go nuts promoting the preschool and young children’s classes.
We sometimes get a kick in the butt that tells us we need to make changes. The catch is being able to recognize what those changes need to be. You can do this! Let go of the anxiety so that you can make good things happen for you and your school. —Rhee
Six dancers on my competition team were in a short video posted on Vine. They were twerking, and they made the video at my dance studio. They did not tag the studio or attach the studio to the video in any way, but they used their first and last names on it and have received a lot of attention (positive and negative) because of it. The video has tens of thousands of hits.
I have made it perfectly clear to them that I never want to see my studio used in such a video again. Some of the girls were remorseful and some are still proud of their popularity. I am so disappointed and frustrated by their choice to post themselves doing a questionable dance move when I constantly tell them to use proper judgment on social media. They have told me their parents see nothing wrong with it, which stuns me.
My dilemma: do I leave it where it stands, having discussed it with the girls? Or do I make an example of them and issue a consequence of some kind? I want the rest of my team and studio to understand that I do not condone what they did. Any advice would be appreciated. —Robert
I would sit down with the kids involved and their parents to explain that you are uncomfortable with them having used the studio to make the video. Whether or not they understand, you need to explain that reputation is the most important ingredient for success, in both the dance and non-dance worlds. If they choose to create something like this outside of the school and their parents don’t care, that is their prerogative. But if they choose to continue to represent your school, they must understand that you have the right to ensure that they do not tarnish your reputation.
Make it clear that if they do anything like this again, they will have to find another place to dance. It’s a new world out there, and we adults must keep trying to teach the next generation how important good judgment is to their success. I wish you all the best. —Rhee
This past summer brought lots of heartbreak and confusion to the studio I work at. A girl opened a studio right after high school, and a few girls went with her. Other girls went to other studios or quit altogether. Now my employer feels frustrated and I don’t know how to help.
The dancers who went to the new studio now realize it’s not what they want. A couple of them have been in contact, saying they want to come back, and one returned. However, another dancer I’m close to wants to leave the new studio but doesn’t want to hurt anyone’s feelings. Her mother has already let the studio owner know that she wants to switch, and so now we are all expecting her back. Yet the young girl feels torn.
This dancer is in contact with me, and I keep telling her she needs to be happy and that we will love her no matter what she and her parents decide. She appreciates that but now says she is going to quit dancing because she doesn’t want to upset anyone. I don’t want this to happen. I encouraged her to keep dancing, but I don’t know what else to do. I have been there for her every step of the way, but it’s starting to become irritating.
Is there anything else I can do to help? Or should I just back away from the situation? I’m confused! —Darlene
I think you need to step back a bit and not let this situation frustrate you. You can offer your best advice, but in the end the decision is up to the dancer and her parents. I would be sure to let any students who leave the school know that the door is always open if they change their mind, or if they just want to come back to visit. That is how school owners can make it less uncomfortable for young people to return if they discover they made the wrong decision.
My guess is that the school owner should evaluate why the students left. It might not be her fault, or it could be a sign that she needs to make changes that will boost her students’ loyalty to the school. Sometimes the hardest situations are the best learning experiences, but it can take a while to figure out what the lesson is.
I can tell how concerned you are about your students’ well-being, and I commend you for that. Now you need to get back to your classroom to inspire the kids who love to take your class. The rest will work itself out in the long run. Good luck! —Rhee
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Advice for dance teachers
The wife of one of the teachers who works for me was arrested several months ago. She received four years of probation for running a drug operation out of their house. The teacher hasn’t been implicated at all, but I feel like he is, in a way, because of their marriage. He and their child are staying with her, hoping to work things out.
I am torn about how to handle the situation. This teacher plays a major role at the studio and has helped to build my business; he has been my right-hand man. However, in a business in which people’s perception is everything, I don’t know what I’d say if someone confronted me about it. I feel as though this woman’s mistake places a black mark on her husband’s character. He stays with her and he assumes the black mark; I employ him and I assume the black mark. I would appreciate your input. —Confused
I think I would go for the benefit of the doubt on this one. None of us want to be judged because of the bad decisions of someone else. And most people know someone or have a family member they love who doesn’t possess the greatest character. Unless this situation is somehow brought into your school or business, I would let it go. If you’re asked about it, stand up for the character of your teacher and move on. I wish you all the best. —Rhee
How do we handle teachers who talk behind other teachers’ backs at the studio? It’s because of jealousy, of course. Thank you! —Melissa
From my experience, the best solution is to bring the teachers together for a pep talk. It’s time for you to express how valuable each of them is to your school’s success. Point out what each person has to offer and why his or her role is important. Explain that your objective is to create an atmosphere of respect among the faculty and staff as well as the students and their parents. Tell your employees that you won’t accept anything less.
Next, open the floor to discussion. Ask your faculty and staff whether they know of any issues that go against your philosophy or if they have comments or suggestions. The teachers who have been gossiping will know why you’ve brought up these topics. This is their opportunity to lay out their cards or say nothing, and change their attitudes.
If the badmouthing continues, you must address it directly with the guilty parties, and it could mean someone has to go. Good luck! —Rhee
Recently I have been experiencing a little bit of “misrepresentation.” A student of mine went to a summer acro camp at another school. The teacher then posted pictures of my student’s accomplishments on social media, claiming they were the result of her studio’s summer camp. Also, a new studio is claiming to be a satellite location of my school. (The owner took lessons from me for five years in her adolescence before she hopped to another school.) I discovered this because parents contacted me with this assertion.
I am flattered, but I think studio owners need to earn their reputation, not “coat-tail” on the success of others. Any advice on how to handle this situation in a respectful manner? —Kimberly
I would ignore the summer camp’s social-media post. However, I certainly would speak up about the “satellite” school. Consider having an attorney send a letter to the owner. Another option is to call the owner or write to her to say you believe her claim is untrue and that it is creating confusion within the community. Tell her you are asking her to cease and desist from associating her school with yours. Then wish her luck.
If you do decide to contact the school owner yourself, be kind. Choose words that show respect and indicate that you know she will agree with you. If the claims don’t stop, then you need legal advice. I wish you the best. —Rhee
A few new high school boys started dance at my school this session. Their classes are late in the evening, and they don’t seem to understand they should shower before coming to the studio. When they take their sneakers off, the smell is overpowering. The body odor of these young men is already strong before warm-up has started. Do you give your young male students information regarding etiquette and hygiene that you could share? Thank you! —Amanda
My approach would be to create an educational flyer about good hygiene to give to all studio dancers over a certain age. It is appropriate to do that, and the guys won’t know you are directing it at them. If you feel comfortable, you could lead a discussion about diet, health, and hygiene with your teenage students. Good luck! —Rhee
I recently let a teacher go who had been with me for seven years—someone I thought was a friend. The firing was due to several years of being late, not completing choreography for recital and competition, and talking about other teachers and (even worse) students. A group of senior dancers came to me with their grievances, and that was the last straw.
I let the teacher go, but unfortunately, it was four weeks after his mother passed away. He claims I am cold and questions how I could do this to him at this time. I told him I did indeed care about him as a friend but this was business, not personal. He insists a friend would not fire a friend.
I do care for him as a friend, but I feel very used and taken advantage of. I need to take responsibility for the years of manipulation, since I allowed him to get away with things I wouldn’t allow the other instructors to do. I have never had to fire a teacher before, but I knew the other teachers and staff were losing respect for me; they could see that I wasn’t holding him to the same standard as I did them. Do you have any advice? —Sandra
You have a kind heart, but you need to be confident that you did the right thing for your students and your business. I think you did.
It’s sad that the teacher lost his mom, but that has nothing to do with the actions that provoked your decision to fire him. If you can help him as a friend, do it. This is one of those times when you need to separate the emotional and business sides of your life. Let the guilt go; you are not guilty of anything. I wish you the best. —Rhee
How do most studios that have a competition team pay employees for attending competitions? Thank you! —Curious
From bonuses to covering future continuing education expenses, there are many options for compensating teachers for their efforts at dance competitions. My preferred option is to establish an administrative hourly wage for your faculty; for example, $12 or $15 per hour with a per-day cap of $100. That rate can be applied to any times when faculty members must work in a non-teaching capacity. When applicable, I think school owners should partially or fully reimburse the staff for hotel accommodations. I hope this helps. —Rhee
Advice for dance teachers
I have worked as an instructor at the same studio for seven years. A year ago I was promoted to manage our recreational department; it has suffered over the past few years. I raised the numbers a bit, but our studio’s company has always made up the bulk of our enrollment.
Now we have experienced a mass exodus. Since the company is small, when a few decided to leave, the rest wondered who they’d be grouped with for their numbers and they all went to a larger studio. I will be assuming the company director’s responsibilities if we have a new team at some point.
How do I rebuild? How do I cope with the loss of my beloved students? I also should mention that the studio is not a traditional one; we are part of a large facility that provides gymnastics and cheer on recreational and competitive levels. Many parents who bring their kids to our facility for gymnastics go elsewhere for dance. Our owners are frustrated with the loss of these accounts. I need their support to advertise and rebuild, and we are in a very oversaturated market, with three of the city’s most popular studios on our street. Thanks for any advice. —Defeated and Heartbroken
I am sorry you’re dealing with a mass exodus. Students and their parents don’t always realize that most dance teachers consider their students their “kids.” When they lose one student, let alone many, all kinds of emotions go along with it.
With that said, it is time to concentrate on building flourishing preschool and recreational programs. It’s a fact that when school owners focus the majority of their energy and time on the company or competitive dancers, inevitably they have a hard time maintaining the “bread and butter” enrollment, which consists of the once-a-week students who dance simply for the joy of it. Those students pay full tuition, unlike the company dancers at most schools, whose classes are discounted. In many cases, schools cannot sustain themselves when their most advanced students move on, which is exactly what you have described.
You need to rethink whether you want to rebuild what you had. If your market is oversaturated, it’s probably time to determine what you can offer the community that the other schools can’t.
Also, and this is important, let the students who left know that your door is always open if they want to return. Wishing them the best in whatever they do maintains a feeling of mutual respect. I wish you all the best. —Rhee
My 10-year-old daughter has been dancing at an amazing school and has been a company dancer for five years. She has always had solid spots in routines, but this year she was moved to the back in everything. Granted, she is the tallest in the class, but there is a definite difference in her placement. She was also removed from her small group and was not given anything in place of it. Every girl in the small group was given a special role (duo, trio, etc.) except her. Also, this year there was a switch in teachers.
My daughter has trouble lifting her leg and holding it and stretching, but all in all she’s a really good dancer. Every year there is solid improvement. She does not have that “kill or be killed attitude,” and I think she feels she let herself down. She became withdrawn from her class, as did I. I felt very hurt for her and removed myself from the studio, whereas before I was their biggest cheerleader.
With all the time, money, and energy my family puts into dance, I want to make sure everyone is happy. The teacher had promised me this would be a better year for my daughter. How can I approach her to ask about my daughter’s future in the class? —Rosanne
Class placement is one of the hardest tasks for dance teachers. The placement itself isn’t the problem; expertise guides those decisions. What’s difficult is dealing with the parents’ reactions, especially when a child doesn’t progress as much as her classmates.
If I were teaching a child who I believed would lose her joy for dance if the material was beyond her capabilities (at that time), I would keep her where she was. The goal would be to allow the child to keep up and still enjoy dance. Often, if we push children to do what they aren’t ready for or what is too difficult, they quit dancing altogether. Children gain confidence when they are on top of the class rather than struggling. However, if parents don’t accept a teacher’s decision, the children are caught in the middle. Who should they believe when their teacher and parents argue about what’s best for them?
You say you think your daughter feels she let herself down and became withdrawn, as you did. But is that what your daughter truly feels? Is it possible that she knows where she belongs? Could it be she knows she would have a hard time keeping up with the group if the choreography included “lifting her leg” or stretching? Kids know more than we give them credit for.
My advice is to have an honest talk with your daughter about where she believes she belongs, based on her capabilities. I hope this helps. —Rhee
I worked for a studio for seven years. I loved where I was and felt like an integral part of the studio, but things changed when the director gave more responsibilities to her daughter. Enrollment dropped drastically and morale was low, and the competition director resented me because I was often requested for private lessons. The studio became a haven for gossip instead of dance, divided between teachers who were structured and teachers who taught haphazardly.
When I quit (which I did in plenty of time for the owner to find new teachers), I got a few nasty emails and phone calls from her. I quit only after years of being called anorexic (because I don’t eat animal products), being harassed for my political beliefs, enduring sexual harassment by the owner’s husband, and being accused of favoring my students from another studio because they were “spoiled rich” like me.
That was a year ago. I love the studios I am currently with; they couldn’t be more different from teaching for my old boss. They’re professional, fair, and dedicated to the art of dance and the artistic growth of students and teachers alike. However, my former employer is still saying untrue things about me. She speaks negatively about almost everyone; if you are anything besides white, Christian, straight, and middle class, rest assured you’ve been trashed.
Because of that, I wasn’t taking her badmouthing personally, but now I’m moving. I feel dishonest not listing my employment at her studio on my resume, but I’m afraid of what she might say about me. Months back I asked her to stop saying untrue things about me and apologized for anything I could have handled better. I heard nothing except more gossip about myself and my husband.
I don’t understand this. I’m here to share my knowledge about dance and the wonderful values attached to it, as well as give kids a place to express themselves and accomplish artistic goals. I thought that’s what the studio was for. I never signed up for this type of nonsense. Please advise. —Glenda
It sounds like you have a level head on your shoulders. If this woman has time to waste on untruths and gossip regarding her former employees, then you have less to worry about than you think. Her unethical behavior will catch up with her.
You need to move on and ignore her negativity. She probably knows that what she is doing breaks your heart, and you can’t give her that satisfaction. Use her negativity as your motivation to be the best dance teacher you can be. In other words, turn her negativity into your reason for always being a positive dance teacher and person.
As far as your resume goes, list only the schools you’ve taught at since you left your former employer. If someone asks about your prior employment, speak positively about the students and how much you loved teaching there and say you had professional differences with the owner. It’s likely that potential employers will be more interested in your most recent experience. Good luck! —Rhee
Wisdom of Youth
I volunteer in a program that offers support to high school seniors—all the first in their families to attend college—as they write their college application essays. At our second meeting a recent high school graduate and program alum, who has been accepted to the University of California–Berkeley, spoke to the group of 50-odd coaches and students.
Wearing sneakers, jeans, and an oversized hoodie, the young woman leaned against a pillar in the high school cafeteria and offered advice to the students who were embarking on the essay-writing process.
First, she told them (and I paraphrase, but only slightly): “You’re young and you think you know everything. But you don’t. Your coach knows more, believe me. Listen to him.”
Her second piece of advice: “Don’t be afraid to throw something away. You have to do that to make room for something that’s really good. Trust that it will come. It will.”
Finally, she said: “Do not try to take the advice of too many people. It’s OK to show your essay to your English teacher, or one or two people, but if you listen to too many people, you’ll end up with a mess. Work on it until it’s good—until it’s yours—and then hold on to it.”
She’s only 18, but I haven’t heard smarter or more useful advice from anyone in a long time. We all need to remember that there are people out there who do know more and have a lot to offer, and that we should accept what they share openly and willingly. And that if something we’ve created isn’t working, we have to let it go. There are more clever paragraphs and beautiful steps left in us; we’re not going to run out.
Her wise words also reminded me that although sometimes it’s hard to have faith in our work, in the end it really is ours. We should trust it and be proud of it.
I only hope a kid in a sweatshirt will appear every so often to remind me of these things. —Lisa Okuhn, Associate Editor
One More Thing
As a leadership workshop for high school sophomores came to a close, the speaker raved about future opportunities for these soon-to-be alumni: volunteering with Special Olympics, training as group leaders, participating in a global congress.
It all sounded wonderful, one mother said. “But my son has soccer and baseball, plus he’s class president and runs the photography club, tutors, has piano on Tuesday, and works at the soup kitchen twice a month. How could he fit this in?”
The speaker immediately launched into a well-rehearsed explanation of how that already overbooked kid could squeeze in one more thing.
Just once I want to hear someone speak the truth: “Your kid? You mean Mr. Busy-Pants? If he wants to do this badly enough, he’ll have to give up something else.”
I’m not a meanie, just a dance teacher who would dearly love to have two rehearsals in a row with all of the dancers present. Last spring’s middle school production was the worst ever. Kids would show up for one rehearsal, miss three, then argue with me about the choreography. They’d come late (from softball), then leave early (for goodness-knows-what). With no irony whatsoever, two sweet fifth-graders asked if they could still be in the number even though they’d missed all the rehearsals.
I let them. With all the other absences, two more kids who only knew half the steps wouldn’t make a bit of difference. They were happy, their mom was happy—I was the only one with fingernails bitten to the nub.
We’re all busy. I get it. And as every dance school owner knows, the “best” kids tend to be the busiest of all. We can ask them to notify us of conflicts in advance. We can stay up until 2am sweating over schedules. We can say “No missed rehearsals,” in our firmest tones, but when Mrs. Jones mentions that Mari’s voice concert is the same night as dress rehearsal—and she has a solo—we’re helpless.
The only person who can help us is Mr. Busy-Pants himself, and I believe I see him signing up for another activity right now. —Karen White, Associate Editor
Advice for dance teachers
I recently learned that my landlord has leased the space next to my school to a tattoo parlor. I’m devastated. I recently expanded my school, but I’m sure future business for me will be grim because people will see what’s next door and drive down the street to the next dance school. Any advice would be greatly appreciated. —Donna
I’m not sure that the tattoo parlor will deter students from coming to your school. However, if you panic over the situation and tell everyone how upset you are, then you might find yourself living the grim future you fear. If I were you, I would ignore the fact that there will be a tattoo parlor next door to the school; instead, spread the word about how excited you are that you expanded your business and can offer more for your students.
Many years ago, a liquor store opened next door to my mother’s school, and my mom feared it would hurt her business. She assumed the store would attract shady characters; instead, the store became a convenient place for her clientele to pick up a gallon of milk, and the dance students often went there to buy candy. More than 20 years later, the liquor store has closed, and everyone misses the convenience.
My advice is to keep your concerns to yourself. Chances are everything will work out fine. I wish you all the best. —Rhee
I’m wondering where I could find more information concerning dance schools and going nonprofit. We are signing a new lease with our landlord and expanding into the space next to us. The landlord is a lawyer and has asked us if we would consider becoming a nonprofit in order to gain community support for the school.
I am a registered teacher with the Royal Academy of Dance, which is a nonprofit organization. I know some schools are nonprofit and some aren’t, or they have a company that is nonprofit and the school is not. I would appreciate any suggestions or guidance. —Rachel
Your question is timely, because our July 2013 issue has two stories that will give you plenty of information about nonprofits and a related topic, grantwriting (“Nonprofit Nuts and Bolts” and “The Fine Art of Finding Money.”)
A nonprofit organization associated with your school provides opportunities to do some wonderful things for your students and business. You would be able to help families who are unable to afford lessons by giving them full or partial tuition scholarships. One business-related benefit is that nonprofit schools often receive discounted rates on auditorium rentals, printing, and so on.
However, nonprofit status requires you to take on new responsibilities. You’ll need to establish a board of directors that meets at least annually. (I believe the minutes of those meetings must be recorded with your state.) You would have less control than you have with a for-profit business because decisions would be made by the multiple people involved in the organization. The IRS might scrutinize your tax returns more carefully than they would those of a for-profit business. If you establish scholarships, you may be required to offer those opportunities to children who dance at other schools.
I do think it is worth discussing the details with an attorney and an accountant to determine whether a nonprofit is the right move for you. Good luck! —Rhee
I have a teacher who works for me and at another school, which participates in competitions. My school doesn’t compete. This teacher announced on Facebook how proud she is that her sons are a part of this school because she believes in competition. (Her daughter is 3 and takes class with me.) I never respond to anything on Facebook, but I feel like saying in a separate comment, “I usually love Facebook, but I worry for our children because even I, a confident adult, can get hurt on Facebook.” What is your opinion? —Kelly
If we analyze posts on Facebook, we all could find ourselves hurt by someone’s comments. This teacher is entitled to her preferences and beliefs and probably had no idea that her post would bother you. I say ignore her comments and move on. Being a confident adult who has made the decision not to participate in dance competitions should give you the self-assurance that you have made the right decision for you and your students. I hope this helps. —Rhee
Recently my daughter was in her first recital. Cutest thing ever—except one of the dances done by the young teens was set to the song “Save a Horse (Ride a Cowboy).” I’m not a prude by any stretch; however, had my 12-year-old daughter been dancing to that song, I would have flipped my lid. Should I let it go, or should I bring up my concern with the dance studio owner?
If you think it’s appropriate to bring it up, how can I do it without causing problems? I don’t want my daughter labeled as the kid with the uptight parents. I loved 99 percent of the recital; I’d never been to one and was impressed with everything they did and how efficiently it was run. I figured you’d have some insight about how to handle this respectfully. —Dancing Dad
Dear Dancing Dad,
Good for you for noticing. The issue of inappropriate music comes up lot in our field. It’s one of my peeves, because I believe kids should be kids for as long as we can keep them that way. With literally millions of choices for music, I often wonder why some teachers make the choices they do.
You might want to drop a note to the school praising them for what you liked about the show and then mention that you felt uncomfortable with the “Save a Horse (Ride a Cowboy)” piece. If they appreciate your comments and say they will consider your opinion when determining appropriate music, then you have helped them out. If they become defensive or critical of your opinion, you might learn that the school is not the right place for your daughter. Good luck! —Rhee
The Healthy Dancer: ABT Guidelines for Dancer Health is a comprehensive, easy-to-follow manual that provides sound advice for dance teachers, parents, and students while addressing the needs of young dancers and athletes, both pre-professional and recreational.
Compiled by medical professionals from the fields of sports medicine, nutrition, physical therapy, and orthopedics, the focus is on ballet training, but the advice is applicable to all types of dance and sports.
• Part 1 presents an overview of anatomy and kinesiology with a particular focus on injury prevention and recovery. There are clear diagrams that relate anatomy to dance and illustrate common dance injuries. Turnout and introduction of pointe work is also discussed.
• Part 2 offers advice specific to the development and health of the young dancer, addressing phases of development; the role of the teacher and parent for each stage; psychological and emotional factors of dance training; nutrition; and recommendations for healthy strength and flexibility training.
• Part 3 focuses on risk management and recommendations for teachers to create a healthy training environment, outlining recommended safety policies and practices for dance studios.
The Healthy Dancer: ABT Guidelines for Dancer Health is published by Macfadden Performing Arts Media and is available for purchase for $19.95 at http://www.abtgiftshop.org/.
I am having a difficult time. I run a small studio with only one room and one teacher, with around 150 kids. About five years ago we were kicked out of a mall because the businesses didn’t like the noise; about a year later my studio burned down. It turned out that our insurance covered losses only if we were the cause of the fire, and since the furnace blew and it was ruled that no one was at fault, we were out of luck and money. Then, about a year ago, my mother (and business manager) passed away from breast cancer.
Now I feel pushed to the edge because some of my former dancers opened a studio in the town next to us. They come to my performances and recitals and take notes. I have tried not to say anything; however, now this studio harasses my dancers by saying they will beat them at competitions. At a recent competition they did receive higher awards, but the studio entered the students in a lower category. I knew they were being dishonest about the number of hours per week they dance because they copy my class schedule.
I read on Facebook about the competition and their recital, which also uses my ideas, and it’s very hard for me. I love my job, but I don’t know how to keep going. Any advice? —Rhonda
If you were to make up this story, no one would believe it. I know it’s hard to accept, but these obstacles will make you stronger. And remember, things will get better.
The last thing you should do is worry about the other school. No, they should not come to your shows to take notes; no, they shouldn’t cheat at dance competitions—but they will deal with the results of that unethical behavior themselves. Their students’ parents know how long their children are in class, and they will realize that a school that cheats is not a positive influence for their children.
Think of the positives: since you have a one-room school with about 150 students, you have much less overhead than the new school does. And all of your students and their parents know you and feel your passion for teaching. And you must put on a good show, because your competitors want to learn from you. You’ll probably scour your leases and insurance papers to be sure you never get yourself into those messes again.
The past is behind you; now focus on yourself and what you want to accomplish, and how to be the best mentor, leader, and teacher possible. Apply all the tough lessons you’ve learned to your teaching. Your experience makes you smarter and stronger than the competition. That’s all you have to think about.
I wish you the best. —Rhee
I implemented a “no compete” contract with my teachers, and since then three teachers have quit. They said I was keeping them from making money elsewhere since they didn’t work full time for me. Two of them were my studio managers, and they and another studio manager have joined forces to open a performing arts center in town, offering not only dance but music, voice, tumbling, pageant preparations, and musical theater, as well as the fringe things I offer, like ballroom and Zumba. They’ve even created a Mom ’n’ Me class for ages 1-plus. (Mine starts at age 2 and a half.)
Now the unethical things: they are contacting my students via email and Facebook, asking them to try their workshops. They tell my students’ parents how wonderful it would be for the dancers to “try something new” and that they offer so much more than I do. Several of my company dancers have unfriended them on Facebook. But what about new clients? I am in a military town and always lose a quarter to a third of my students yearly to military moves.
Also, the new school’s prices are extremely low—$40 for the first three classes, $5 discounts on more than three. These are 1990 prices! It’s taken me eight years to raise prices to $54 a month for one-hour classes, and I’ve been told I’m undervalued at these prices.
Do I lower my prices—not to match them, but to be competitive? Do I offer a discount to get current families to stay with me? (I have about 400 students.) Do I use group coupons to bring in new people? I know you say the next year’s attendance is only as good as the previous year’s recital, and this one is going to be fantastic!
I haven’t badmouthed these people, but it’s so hard to take the high road. Another local dance studio owner says to rely on my 40 years in the community to carry me through. My husband wants to lower our prices. My gut tells me not to, but instead to add value to my class offerings, combining tap and ballet classes into combo classes for our youngest students, to keep the bread-and-butter. Or limit costumes to save parents money. Any suggestions? —Lynn
Please stop worrying! Yes, you are dealing with a new school in your area, but you have a 40-year reputation in your community, and it will take years for your competitors to catch up. My guess is that you have a lot of community loyalty and will continue to attract students because so many people know you. Many parents who took lessons from you themselves probably would never think of taking their children to anyone else. It takes a long time to build what you have.
Please do not lower your tuition rates; doing so would jeopardize your financial security, and that might be what your competitors are hoping for. I suspect they will soon realize that they cannot afford to undercut your tuition costs. It has taken you years to raise your tuition to where it is today, and it will take your competitors a long time to gain the kind of financial stability you have. People get what they pay for, and they will certainly get less experience from the new school in town.
The fact that your students are unfriending these people on Facebook proves how loyal your clients are. Yes, your competitors might attract some of your students, but not in the numbers you fear; they will need time and money to build their credibility. More people in your community know about the controversy than you realize, and many will side with you.
Your concept of putting on a great show and adding value to your classes is the way to go. Giving your clientele more than they expect is the best approach, and you should have no problem doing that.
We all get a kick in the butt every once in a while; it’s how we handle the kicks that matters. Hold your head high, show the world how confident you are, and always be one step ahead of the competition. I do suggest that you continue to refrain from discussing this issue with your clients. Pretend that none of this matters, and good luck! —Rhee
I recently let a student go because of an abusive parent who was described as a toxic presence by other parents. My question is this: she prepaid some tuition and paid entry fees for a competition her child didn’t go to because she was taken off the team. The woman wants her money back. If I don’t refund it, she will sue me.
This woman verbally abused me and physically put her hands on me, so people tell me I should fight the lawsuit. I say write her a check and enjoy the peace we have because she’s gone, but my studio policies state that tuition and entry fees are nonrefundable. Would that open the door for future problems with my policies? —Wendy
Sorry to hear that you had to deal with this abusive parent. I am sure the people who tell you not to refund the money have good intentions, but I would advise you to do it. It doesn’t violate your policy of no refunds because in this case you asked her to leave the school; she didn’t choose not to return.
Be thankful that you have rid yourself of the negativity this woman brought to your school. Look at the refund as a small price to pay for your sanity. I wish you all the best. —Rhee
Words from our readers
I wanted to thank you for including me in the article on seniors [“Aging Boomers, Dance Boom,” May/June 2013]. I was so pleased to be interviewed with such an amazing group of instructors who have a passion for the same demographic. Thank you so much!
West Coast Movement Project
Laguna Hills, CA
I am a teacher at Backstage Performing Arts. I want to personally thank you for running the story about Ella [“Thinking Out Loud: Miracle Girl,” May/June 2013]. She truly amazes me each week. Thank you for sharing her story with everyone!
Jordan Dickey Allen
I have been a subscriber ever since I started dancing many years ago. I have looked to your magazine for advice and inspiration on hundreds of occasions. Rhee’s letters [“On My Mind”] are usually right on target with whatever is going on with my studio that month. I want to thank you for helping me through some difficult times!
Danceworks of Colorado Springs
Colorado Springs, CO
Advice for dance teachers
My sister and I own a studio in a very small town. We have attended your seminars and conferences, and we agree with your philosophy of studio ownership. Here is our situation.
One of our competitive dancers told me she overheard a group of other competitive dancers (all are that fabulous middle-school age) making fun of another competitive dancer while watching a video from a recent showcase. We have our first competition of the season this weekend and would like to avoid tons of drama. All of these girls are in several dances together, and we do not want the ones who are not involved to suffer. This town is so small that anything that happens is news!
How do you recommend handling this type of making fun/bullying behavior? We considered not allowing them to dance this weekend, but that punishes the entire group and this is an isolated incident. Or we could notify the parents after the competition and have them address this with their children before the next event.
Too bad we can’t put the students in detention like in a public education setting. Our competitive dancers are taught that we are a family and we act as a family. The dancer who told me about the incident said, “You teach us to help each other, treat each other like family, and that we are all equal, but what I saw and heard tonight did not represent our competitive dancers.”
Any advice would be great. —Randi
If this is the first time that you have witnessed this kind of behavior at your school, I wouldn’t punish anyone or call out a group of students. This situation is an opportunity to educate your students and their parents, and possibly, to spread positive vibes throughout your small community.
Schedule a mandatory team-building meeting with the competitive dancers and their parents. Ask the kids what they love most about dance. Ask the parents to describe the positive results their children have experienced because of their dance training. This is an opportunity to remind them what a cool thing the dance experience can be, and it will build camaraderie among the group.
My next question would be, “What makes a good dancer?” Some might respond that it’s the number of pirouettes or the awesome tricks a dancer can do. Others might bring up dancers they’ve seen on So You Think You Can Dance. There are no wrong answers; however, the dialogue opens the door for you to share what else might define the qualities of a good dancer.
Before the gathering, spend some time on YouTube looking for inspiring performances by dancers who don’t necessarily fit the mold you expect your students and their parents to identify as good. Share with them videos of dancers who have disabilities or a group of senior-citizen dancers. The point is to show them people of all kinds who can move an audience because their love for dance shows in their performance.
Explain that people who love dance are part of a special community that accepts anyone who shares that love, and that community includes your school. Emphasize the importance of encouraging and supporting each member of their dance family, regardless of their differences or ability level. Let your students know that you don’t care if they can do a simple shuffle or eight pirouettes—either way, you love them all the same.
My guess is that you will make your point without turning the situation into a “he said, she said,” and you will be teaching a life lesson that is so important for young people to understand. Good luck! —Rhee
I am a former dancer who grew up competing. I danced every day from the age of 3 until I graduated from high school. While I was in college, I went home every week to teach classes for my former teacher. But after a while I wanted out of dance; I was burned out. I had a boyfriend (now my husband) who introduced me to the “normal life,” and that’s what I thought I wanted. In my third year of college I quit teaching and have not stepped into a studio since.
I have had 13 years of living a “normal life.” I have two beautiful children and a very nice home. My husband is good to me and he makes a good living. But I am so missing the studio and I want to get involved again. Maybe I could teach or choreograph, but I don’t know where to begin.
My former teacher still has her school and I want to call her, but I burned a bridge when I quit teaching in the middle of the school year. She was very upset with me. Now I know I shouldn’t have done that and I am so sorry I did, but I can’t change it.
I don’t know where to go, but I do know that I need dance in my life. Do you have any advice? —Lynda
You are a good example of someone who has dance flowing through her veins and just can’t stop it. You have a couple of options.
First, you could begin to get yourself back in dance by finding a studio that offers adult classes. This will get you moving again without any pressure and will probably satisfy your urge to bring dance back into your life.
Another option is to call your former teacher to tell her you are sorry for leaving in the middle of the season. Let her know that you now see that your actions were wrong, but you didn’t see it at the time. However she reacts, I’ve got a feeling you should get it off your chest. My guess is that after 13 years she will forgive you—and she just might welcome you back to her school to teach or choreograph. You won’t know until you take the first step.
Whatever action you decide is right for you, get yourself moving again to fulfill that need to have dance in your life. I wish you the best. —Rhee
I co-own a studio that has three locations. My business partner and I have encountered a challenging situation that we need advice on.
For nearly 20 years, our faculty has been consistent, focused, and stable. We have never experienced major faculty turnover. We have an employee handbook and systems in place to simplify the teachers’ jobs, and we offer competitive wages based on performance and experience. However, in this last year some teachers have arrived late for class or not shown up (and as a result, we have had to replace them) and others have left mid-semester, sometimes forcing us to cycle three or more teachers through their classes.
Most of the teachers’ reasons for leaving have been valid and understandable—husbands get transferred, etc.; however, as educators, we see how difficult this is for the students. As business owners, we see it as devastating to our reputation, particularly at our newest location, which opened this season.
This is not how we like to run our business and we are mortified by the staffing situation. We recently hosted an online survey and the clientele are understandably upset. I am certain we will lose many of them because of this problem.
I know that some teachers will leave in the future, but what do you suggest we do to recover our business, halt any further damage, and rebuild our reputation? Thank you. —Carolyn
This doesn’t sound like an easy situation, and I’m sorry you have to deal with it. If I were in your position, I would do everything possible to find teachers who are willing to finish out this season and commit to next year too. If you can end the season on a positive note—by allowing the students and their parents to build new relationships with a teacher who’s there consistently—your clientele will be more likely to return.
If you are unable to hire permanent teachers by the end of the year, stay in touch with your students’ families over the summer. Keep them updated on any new faculty and offer them an incentive to return by waiving the registration fee or offering a tuition-free first month. Do anything you can to get your clients back through the door feeling secure that their teacher will be there for the year.
On another note, sometimes it is time to clean house, make a fresh start, and rejuvenate the business in general. I know the situation you’re in is probably not the best way to go about it, but you might find that your new faculty is what you need to take your business to the next level. Good luck! —Rhee
Words from the publisher
Recently I got a phone call from a frantic school-owner friend looking for advice. She had started a business selling dancewear to her students and the community, and she was panicking because she was still losing money after four years. She told me how she had worked so hard to make the business a success. And then she said, “I can’t stand the thought of failure.” She was worried about what her family or friends would think of her if she couldn’t pull it off.
She explained that the dancewear shop had a large inventory, a rental space separate from the school, and two employees. She was concerned about her employees losing their jobs if she closed the store. Because of her loyalty to them she couldn’t give herself any credit for spending the last four years working and worrying.
Never did my friend mention what this business was doing for her. Never did she say she loved the business. Never did she say anything positive about it. Yet she couldn’t let go because of what people might say or because she didn’t want to let anyone down.
As we discussed her options, she calmed down. When the conversation ended, she thanked me over and over for helping her. But she was the one who had come up with a solution; all she needed was someone to ask the right questions to help her figure it out. And most important was her decision to take care of herself and her needs without worrying about what others would think.
The day after that conversation, after almost 20 years in the same office, I had to tackle cleaning the attic to prepare for a move. I found some cool memorabilia and pictures from my American Dance Awards days all the way through the launch of Project Motivate and Dance Studio Life. It felt great to look back to see how far my company has come.
One of the toughest jobs was sorting through boxes of paperwork that included two decades of tax returns. I found papers from the New England Ballet Festival, a side business I had launched that was a competition for ballet schools only. That event lasted two years before two or three other national ballet competitions were doing a better job, so I stopped producing the event.
I had another company called The Rhinestone Dancer, a short-lived business that sold rhinestones to dancers and teachers. Another business was The Dance Teacher Store, which was profitable but not worth the time for my employees or me.
There were more, but you get the point. Each time I let one of those businesses go, I felt insecure because I couldn’t make them work. Yet I always knew it was time to move on.
Today I can confidently say that each of those failures led to something better, and if I had not learned from the experiences I would not have the knowledge I do today. Looking back, I wouldn’t change a thing, nor do I worry about what others think, because I know what is right for me.
Now here’s the happy ending for my dance-teacher friend: she moved her store into her school, where it is now making a profit. And her school is growing because she’s not focused on making her dancewear store a success.
3 later-in-life teachers offer a long view of teaching
By Holly Derville-Teer
Have you ever wondered what it would be like to be on the far end of a 40-year dance career? How do teachers over the age of 60 adjust their teaching style? What lessons did they learn? To gain some insight and advice from people who have danced into their 60s or 70s, we asked three longtime teachers, all in the Oregon dance community, to share their thoughts.
Julane Stites, 62
Julane Stites is the dance director at Arts and Communication Magnet Academy, a public performing-arts school in Beaverton, Oregon. She grew up dancing in her mother’s studio, Stites Center of Performing Arts in Gresham, Oregon. At 16 she embarked on a Broadway career, appearing first as Gillie Bonnard in Happy Time and then as Miss Polanski in Promises, Promises. She also played Vivien Della Hoya in Promises, Promises—a role originated by Donna McKechnie—and was featured on The Ed Sullivan Show in an excerpt from the show.
After living in Los Angeles for several years and transitioning into teaching, Stites, then 29, returned to Oregon, settling in Portland. She joined the faculty of Jefferson Performing Arts High School, teaching there for 17 years and eventually directing the program.
At age 49 she took the position of dance director of the Arts and Communication Magnet Academy, which serves children in grades 6 through 12. When Stites started, in September 1999, she began the transformation of the existing program into one with multiple levels and a pre-professional company. It became so popular that dance department enrollment skyrocketed from 6 students to 90 in one year. By the end of the third year the department had reached capacity (230 students), and it has turned students away every year since. In addition to overseeing the department, Stites teaches ballet, tap, modern jazz, and repertoire.
Stites prefers working in a public school because she loves teaching dance to children who otherwise would not have the opportunity. “Children need something that they care about,” she says. “They need structure. They need a safe environment where they can take risks.”
At 62, Stites has several strategies that have helped her achieve longevity as a dance teacher. At age 55 her body began demanding that she change her daily teaching routine. “Parts of my body were saying, ‘Don’t stretch me.’ Injuries didn’t heal as quickly and I got strange injuries from doing the littlest things.”
To pace herself, she warns students that she will show a step only three times. Instead of demonstrating repeatedly, she talks about how a step should feel. “Sometimes verbalizing is more effective than showing something 20 times,” Stites says.
“Parts of my body were saying, ‘Don’t stretch me.’ Injuries didn’t heal as quickly and I got strange injuries from doing the littlest things.” —Julane Stites
“It’s a different game when you get older, but there is a place for us,” she adds. And with age comes wisdom. Stites works hard to help young women be more forgiving and accepting of themselves. “I see so many girls spending so much energy hating their bodies, and I remember feeling that way about myself as a young woman. As you get older, you become more accepting and forgiving and learn to do the best with what you’ve got.”
For Stites, the most important aspect of teaching is to make the effort to truly reach the dancers. “You can have a million wonderful credits behind your name. It doesn’t mean a thing to those kids unless you connect with them. You have to pick and choose the moments when you let them know you really care. I’ve learned that every child has a story.”
And never, she says, underestimate a student. “Never say, ‘You’ll never do this’ or ‘You’ll never do that.’ I have seen the most amazing things.”
Carla Webber, 72
Carla Webber, former owner of Portland Gymnastics Center/Carla Webber Studio of Dance, opened her school in 1961. She grew up studying dance with her parents in their school, The Drumm Studio, in Bridgeport, Ohio. At age 18 she moved to New York City, where she studied at the American Academy of Dramatic Arts; from 1958 to 1961, she performed as a Rockette.
At 21 she married and moved to Portland, Oregon. She opened a studio that grew from 50 to 200 students in a single year. After 12 successful years, she had a new facility built, which included a fully equipped gym and four studios. By the time she was ready to sell the business at age 41, the school’s student enrollment had grown to 1,600.
Webber continued to teach group classes at Westside Dance & Gymnastics Academy (her former studio’s new name) until she was 62. She now teaches private lessons there and at Innovative Dance, another Portland-area studio.
Webber advises studio owners to guard against growing too fast. “Make sure there is quality in every department,” she says, particularly during periods of explosive growth. Beginner students need strong, highly qualified teachers who have proven they are great with children; however, during periods of rapid expansion, she says, owners are often forced to hire quickly.
Teaching, says Webber, “is about how you help develop a child as a person, into what they are going to be like as an adult. Are they going to be fair? Are they going to be kind? Are they going to be just? Are they going to be examples? When you lose control of that, you sacrifice some of your own ethics.”
She warns against allowing a studio to become too parent-driven. “You want the students to be the reason you do what you do. It’s hard to put [parental influence] in its proper place so you can be the best person you can be for their child. If you set very high standards for yourself, you will do just fine. Follow the things you know are the right things to do.”
As for the nuts-and-bolts aspects of running a studio, Webber advises new studio owners to enroll in business classes and to ask seasoned studio owners for advice. “Everyone you talk to will teach you something. Bookkeeping, roll charts—there’s someone out there who can teach you to do it better.”
She also cautions studio owners about prioritizing the artistic side of the studio at the expense of its organizational health. “If you don’t want to focus on the business side of things, hire someone who will,” she says.
And, Webber says, aging teachers need to take good care of their bodies. “The problem with teachers is that they love to dance,” she says. “They want to give the best class they can, so they dance every class full out, stretching their body to the limit every time.” She advocates icing after teaching and getting regular massages.
Although older teachers may need to stop dancing, they can still enjoy teaching and choreographing. “You can have a fulfilling career as a choreographer even if you can’t demonstrate,” says Webber. “The quality of your work doesn’t have to diminish with age. Your skills are never the same, but that doesn’t mean you have to drop off the face of the earth.”
Above all, she has learned that it’s best not to overvalue perfection. “That’s the biggest thing about aging. I’m very happy and satisfied when a child is trying their best.”
John Gardner, 72
John Gardner, the former owner/director of Portland Dance Academy, graduated from Portland State University and studied at San Francisco Ballet School on a Ford Foundation scholarship. Two years later, at 23, he relocated to the East Coast, dancing with American Ballet Theatre and Pennsylvania Ballet. Gardner also appeared in the chorus of Here’s Where I Belong and as a replacement dancer in Hello, Dolly! on Broadway. He spent five years in Germany dancing with Hamburg Ballet, and then returned to Portland at 45 to begin his teaching career.
After teaching ballet and directing the dance program at Portland Park and Recreation for five years, the 50-year-old Gardner opened a nonprofit studio, Oregon Festival Ballet Company, in Sellwood, Oregon. A few years later he moved the school to Portland, renaming it Portland Dance Academy. The school grew from 15 dancers to 300, eventually expanding to include 10 teachers and 4 studios. Gardner retired as a studio owner at age 68 and now teaches 12 hours per week at three Portland-area schools.
Several elements are needed to build a successful ballet school, says Gardner. “You have to have a fabulous product, enthusiastic teachers, a clientele that can pay the bills, and nice facilities.” Diversity, he adds, is also important. Gardner’s school offered everything from Irish step dancing to flamenco, and he advises ballet school owners to expand their curriculums. “Ballet schools have a hard time making it, especially if there’s competition,” he says. “Even though ballet was my focus, a studio with a lot of disciplines is the way to go in the suburbs.”
Ballet schools, he says, need a good strategy to encourage a healthy influx of new dancers. For his studio, “Nutcracker was the gimmick that worked.” His annual show, with professional dancers in the lead roles, performed to 12 full houses each season. Gardner kept the show fresh by changing the choreography and some of the costumes each year.
Performances at local schools proved to be another excellent marketing tool. However, Gardner believes a good reputation is the real key to success. “You can advertise until you’re blue in the face, but it’s word of mouth that really builds a studio,” he says.
As for teaching later in life, Gardner has several strategies. He uses both sides of his body evenly during class and gets acupuncture regularly. He often marks steps and asks students to demonstrate. He also brings in videos to illustrate how steps are supposed to look and insists that his students know ballet terminology.
Gardner most likes “to watch potential develop. I like to see it grow. That’s the most exciting thing.” In addition to teaching, choreographing, and coaching (which he plans to do indefinitely), he is working to chronicle the history of dance in Portland. While not yet sure what form the project will take, he is gathering materials and conducting interviews to record living histories.
Teaching at 72 isn’t for everyone, Gardner says. “If you can’t deal with not being able to dance, you should retire.” However, he advises retiring teachers to find a new creative project. “Getting rid of teaching totally is not a good idea unless you have something new.”
Advice for dance teachers
I have a dedicated 14-year-old student who shows up for every class and rehearsal by walking or taking the bus to the studio. Her life has been one tragedy after another. Her mom died when she was 8. For a while relatives dropped her off and picked her up at the studio. They were always late with tuition and other payments, but I let it go. About three years ago her older brother was killed and recently her father had a mental breakdown. Now no one drives her to dance or pays her tuition, but she manages to get to the studio almost every day.
A few weeks ago she showed up at my house asking if she could stay the night because she was locked out of her house. I invited her in, fed her, and called the uncle she was staying with. He didn’t respond until the next morning, when he told me that the girl knows the house key is in a secret place. He seemed angry and didn’t offer to pick her up. He said he had to go to work and that she could get in the house if she needed to.
Ever since then I have felt the need to check in on this girl. She has stayed overnight with me a few times, and no one seems concerned when she is not in her own bed at night. I asked her if she wanted me to call the authorities or another relative to get her some help, but she cries and tells me that she doesn’t want to go to a foster home and that all she wants is to dance.
I am not sure what to do. I don’t want to cause her more trauma. Do I continue to help and keep quiet? Do I contact Child Protective Services? I am willing to have her move in with me, but I don’t want her to be put in a foster home or have to stop dancing.
Dance seems to be her thing, and it might be the key to keeping her on track. Please let me know your thoughts. —Concerned Teacher
Wow, what a story! Thank you so much for being a concerned teacher. Often I tell teachers that dance involves a lot more than classroom instruction, and you have proven that point vividly.
Please know that I am not a professional and can only offer you advice from my heart. I think I would contact Child Protective Services anonymously to find out what the possibilities are. You might be able to become her foster parent or guardian if her uncle or other relatives welcome the idea. It doesn’t hurt to inquire.
Try to speak with the uncle soon to learn more about the girl’s circumstances. Does the father show any concern for his daughter? Is he still her legal guardian or is he out of the picture? These questions might help you decide what to do to help the child.
It is obvious that she looks up to or feels safe with you, because she sought your help even though she has a home. That means that you have made a positive impact on her life already. Be proud of yourself for that.
I am assuming that you have provided this child with costumes, shoes, and other dance-related needs, so you have already taken on more responsibility for her than would be expected. Pursue your options for continuing to help, because this could turn into the most rewarding experience of your teaching career. I wish you all the best. —Rhee
My heart is broken at the loss of one of my longtime teachers and friends who taught for my studio since it opened more than nine years ago. It all came out of left field when I got an email telling me she could not return to her employment with me because her new husband felt that I have been ripping her off all these years. He thinks I should have made her a partner in the school or at least offered her a percentage of the profits because she had been with me for so long.
I wanted this teacher to be my partner when I opened, but she didn’t accept at the time and never mentioned it again until this email. She started at a rate of $15 an hour and it rose to $44. As the school grew, I gave her raises and bonuses, and I took her to conventions, covering all of her expenses.
She was one of my best friends until about six months ago, when the man she married came into her life. I accepted that our friendship had changed but never expected that she would quit without talking to me. I am willing to talk this out with her and her husband, but she doesn’t return my calls or respond to my emails.
The kids and parents are asking about her, and I have a hard time explaining what happened. Do I just move on, or should I continue to try to reach her? —Heartbroken
My instinct tells me that you should move on. Your pain seems to be more about losing a friend than an employee. It’s time to move forward knowing that you have done the best you could. It is she who won’t return your calls, and it is she who chose not to become your partner when the option was offered.
This is not the first time I have heard this story. Apparently some non-dancing husbands believe their dance-teacher wives are being ripped off by rich school owners. Forty-four dollars per hour is actually above the standard rate for dance teachers—which most often runs $25 to $35—and you went beyond that by covering her expenses for continuing education and giving her bonuses. And I get the feeling that if she had asked for a raise you would have given it to her. But she never gave you that opportunity.
My guess is that your former employee will come to realize she didn’t have it so bad, especially if she pursues another teaching job. You made the choice nine years ago to invest in your business and to work hard to establish it; obviously you have done something right. Pat yourself on the back—and know that this probably won’t be the last time you will be dumbfounded by one of your employees.
As for what to tell the students and parents, explain that the teacher has decided to leave and that you will miss her. Don’t reveal any hard feelings on your part. Show the respect for her that she didn’t show for you. Good luck! —Rhee
As far as I know, dance studios traditionally run their schedules on an academic school-year calendar. However, more and more people want to register halfway into the season, in January. It’s a great problem to have, but it does raise other issues, such as students missing the groundwork of technique from prior months and late recital costume orders. Should I run semesters/sessions or keep our traditional schedule? The way we are set up now gives me the advantage of knowing what my income is for nine consecutive months. Any suggestions? —Diane
Maybe you should consider running a separate 10-week (or longer) session for the new, mid-season students. They would not participate in the recital, but you could give them two complimentary tickets so that they can attend and get excited about it. Then, if they want to continue with classes, register them in the regular program for the following fall. You won’t be turning them away, and you’ll avoid some of the issues you mentioned. All the best to you. —Rhee
Advice for dance teachers
I own a school that was founded by my grandmother. I grew up knowing that someday I would take the reins and I always looked forward to it. I am proud of what we have built, but my children have their own interests, and they don’t include directing the family school.
After 30 years of running the school, I plan to retire with my husband and move to our house in Florida within the next couple of years. The responsibility to carry on the family legacy has turned into a burden for me because we have come to the end of the line.
My dilemma is that my mother and my grandmother each turned over the school to the next in line, but never thought of retiring; both taught until they died. I think they expected me to do the same, but my husband and I have worked very hard to save enough money to retire.
I have thought about selling the school to one of our teachers, but a friend of mine would like to purchase the building to open a restaurant. At first I was against doing anything that would hinder the school from continuing, but now I think it would be easier to sell the building and let the business end. My problem is that I can’t get over the guilt of ending the family legacy. I am hoping you can offer me some insight. —Carol
My family’s school is now owned and directed by my brother Rennie, but I do relate to your feelings about keeping the legacy going. When my mom died I had my own businesses and made a good living, but I took over the school for a couple of years because Rennie was unable to at the time. Like you, I felt guilty at the thought that the legacy might end. But I worked so hard that I was completely burned out. When Rennie was ready to take over the school two years later, I was thrilled.
For many years after my mom’s death, I thought the school had to continue no matter what; it seemed like letting it go would, somehow, be letting my mother and her memory down. But I don’t think that way anymore. As I’ve grown older I have realized that life is all about change, and we have the choice to accept that or not. However, if we choose not to accept it, we will end up unhappy because we will always mourn what was instead of accepting what is. Embracing change makes for a life that is always filled with exciting opportunities to grow and discover.
I can honestly say at this point that if my brother were to close or sell the school it would be OK with me. Each of us has continued our mother’s legacy in our own way, just like your own children will do with the choices they make for their future. They might not have chosen teaching dance as their profession, but through your hard work you have influenced their work ethic and pursuit of their dreams, just like your mom and grandmother did for you.
Please let go of the guilt and do what’s best for you and your future. If selling the building to your friend will make this transition easier, then do it. And you could sell the business itself to one of your teachers, who could move it to a new location, or maybe one of them will open a school of their own and you’ll know that your legacy continues in a new way. You have the right to retire and spend time with your husband. And who knows—you just might end up teaching dance in Florida! —Rhee
It has always been a policy at our school that students who want to take non-ballet classes must also take ballet. Until the last couple of years that policy has gone unchallenged, but now I feel like we are losing out on new students because nearby schools let students take whatever they want, and ballet is not required.
The problem started when we added hip-hop to the curriculum, because those students don’t want to take anything else. As a result of our ballet requirement, the hip-hop classes have four or five students, while other schools in the area have 20 students in their hip-hop classes. A side of me wants to get rid of hip-hop altogether, but I worry that we would lose even more potential students.
I have always felt that all students need ballet as a base, and I have a hard time letting that belief go. Any suggestions? —Jeannie
I too believe that ballet is the foundation for all solid dance training, but I would make an exception for those who take only hip-hop, Zumba, or adult classes. You are right when you say that most hip-hop dancers don’t want to take other dance forms. But in my experience, that’s when they are first starting to dance. Many hip-hop students move into other styles of dance once they are exposed to them.
The key is to get those new hip-hop students into your school so that you have the opportunity to show them all the options dance has to offer. At this point, that’s exactly what the schools in your area are doing. So eliminate the ballet requirement for hip-hop students, but do keep it for those who take jazz, tap, modern, and contemporary. Good luck! —Rhee
Last year I went to one of your seminars, where I learned that I needed to run my school more professionally, especially from a business perspective. I knew I had to hire an office manager to help me with the day-to-day operations and lift some of the pressure of the business off me. I was so excited when my office manager first started working for me because I felt like I had done something for myself. Before I went to the seminar, I wasn’t sure I deserved that.
Now we are into our third month of working together, and I am feeling a new pressure. My office manager is late for work almost every day. At first she would apologize and come up with an excuse, but now she doesn’t say anything and ignores the fact that I had to take attendance and collect tuition before starting my classes for the day. She lets things go until the last minute or until I say that they need to be done immediately.
I feel like I need to start doing some of the things I hired her to do in order to feel confident that they are getting done. I am also afraid she will be mad if I let her know I am disappointed.
I need help in developing the skills needed to be a good boss. How do I let her know that I want her here on time and that she needs to follow through on her responsibilities? —Tricia
You deserve to have help, and good for you for making it happen. Being a boss is not an easy job. Sometimes it takes several tries before you find an employee who understands your needs and her responsibilities. But I have learned that it is OK to let someone go who is not performing as expected.
One of the things I have discovered is that I need to be better about communicating my needs. For instance, if an employee is late more than a couple of times, I need to speak up before it becomes the norm. Most likely your silence about your office manager’s lateness has made her complacent about it, especially if she senses that you’re uncomfortable discussing it. And if you are worried about making her angry, maybe she isn’t the right fit for the job, or for you.
A good way to keep her on her toes is to change her start time. Tell her she needs to be on the job 30 minutes before classes start, to meet with you regarding your needs for the day and update you on the happenings in the office. Make the commitment to be really organized for the daily meeting, with your notes for discussion written out and a copy for her. That will minimize the chance for misunderstandings about her duties and your expectations.
If this method doesn’t work, then it’s probably time to start looking for a new office manager. That’s OK. You deserve to have an employee who will satisfy your needs rather than add to the daily stress of owning a business. I wish you all the best. —Rhee
Advice for dance teachers
Do you have any advice about working with competition kids and determining who is in the front row, back row, etc.? These are 7- and 8-year-old kids in their second year of competing. It is only a group of 10, so the majority of times they’re in either the first or second row. I try to rotate them as much as I can, but there are always the stronger ones I need at that age. It bothers me because I always try to make sure they all feel important and a part of the routine. How should I base which dancers are in the front row—do I assess them or give preference to the kids who have been with the studio longer than the others?
I want to have a talk with the parents, and I get tired of explaining the same thing over and over about all kids excelling at different times. Help! —Gina
I never predetermine who will be in the front row, nor do I use two lines very much. It’s better to make all the dancers look good by creating many formations and patterns, as well as being so imaginative with the choreography that no one can determine who the strongest or weakest dancers are. Also, it’s best to avoid creating pieces that are loaded with tricks that some of the dancers may not be able to do properly.
By telling parents that children excel at different times in their training and development, you are confirming that you do in fact place the stronger dancers in the front. And that means you are subliminally telling the parents of the second-row kids that their children are not good enough to be in the front.
Also, the judges can tell when a teacher has created a piece that features the best dancers and tries to hide the weaker ones in the back, which in the long run never helps the dancers (or the choreographer) receive a higher score. Actually, once the judges figure it out, they score the piece lower because they know you are hiding something.
Instead of creating another competition piece that uses the standard tricks of the trade, consider your choreography a work of art. Make it so creative and moving to the audience (and the judges) that they never think about how strong the dancers are—that becomes secondary to the fact that in viewing your work they felt or saw something that impressed them. When you put thought into making every dancer look good, you give your students the confidence that they are all good enough. That confidence gives the kids the freedom to love being onstage. Audiences and judges can see that joy and respond to it.
The competition experience shouldn’t be about putting the best dancers in front; it should be about helping all students gain self-confidence, which in turn inspires them to be the best they can be. And that happens when their teacher believes in them. When you do that, the parents will stop asking questions and you will have classrooms filled with happy children. Good luck! —Rhee
I am a studio owner, and I recently had the awesome opportunity to host a master class. I want to pay this talented professional, but I am unsure of the proper etiquette regarding payment. Are there guidelines? Does it vary from instructor to instructor? Thanks for your time! —Tom
There are lots of variables, but the majority of master teachers are paid by the hour. The rates vary based on experience; for example, $200 to $500 per hour for someone who is performing on Broadway or in a major company, and $1,000 to $1,500 per hour for some of the hot dancers or choreographers from national TV. Some teachers might require a deposit up front to reserve the dates for you, while others might ask for a contract that states that they will be compensated in case of cancellation. It is the norm to cover round-trip transportation and hotel accommodations as well.
Consider inviting dancers and teachers from neighboring schools to help defray your costs and to build camaraderie within your dance community. I wish you all the best. —Rhee
I am a single mother of 2, recently separated. My dream has always been to open a dance school of my own. I have studied dance for many years throughout my life (not consistently) and I am going into my third year of Teachers Training School with DMA. I also am working toward CDTA accreditation for ballroom and I’m continuing my ballet studies.
I don’t have a lot of money to open a studio, but I have thought many times about turning one room in my house into a studio and starting out small with private lessons. What would your advice be on how to get started? —Ashley
You deserve a pat on the back for seeking out the best training to prepare to be a well-rounded dance educator. Certainly you could launch a school in your home. That is what my mom did to start her business, which after several years grew to the point when she could afford to purchase her own building.
If you choose that route, be sure that your town will allow you to run a business from your home. Also, think ahead about the available parking for your students and their parents. If you’re teaching only private lessons, parking won’t affect your neighbors, but if you decide to expand to group lessons, it could have an impact.
An alternative to operating a school at your home is renting space in a church hall or community center, which usually offers more affordable rents than commercial spaces. The catch is that you probably wouldn’t have permanent mirrors and barres because you’d be in a multi-use space.
Here’s another idea: years ago I taught classes at a low-income housing project. I did not pay rent for the space, but I did offer a discount to the children who lived there. I was allowed to enroll students from the surrounding communities, which was gravy in an already successful rent-free situation. This location was a win–win for me and the children who might never have had the chance to dance if it hadn’t been brought to them.
With some creative thinking you will be able to follow your dream in a way that will allow you to ease your way into the major expenses associated with owning a school. Never stop dreaming! —Rhee
What is the best way to handle a class of 5- to 7-year-olds when the parents are observing and the kids are out of control? Some parents do not approve of my teachers saying, “If you continue, you will be sitting with your parents,” or “Please act in a respectful manner,” or “If you continue to act in this manner, you will need to go to the baby class.” What is so wrong with these statements? What would be a better way? —Brenda
This is a case where the delivery really matters. Put yourself in the place of the parent (or the child) who hears the teacher say something like, “Behave or you will go into the baby class.” Are they hearing a mature adult speak, someone who is considering the implication of her words on the self-esteem or well-being of the student? No. The message is demeaning, even threatening, rather than a constructive comment delivered in a way that encourages the child to engage.
I believe in discipline in the classroom, but it can be achieved by gaining the respect of the students and their observing parents. First, teachers must keep in mind that they are mature mentors who choose their words wisely. With a disruptive child, the teacher might smile and take her hand, leading her to the front of the class while saying, “Boy, you have a lot of energy today, Susie! Come to the front of the class with me so you can share it with everyone else.” My guess is that those words and actions would be met with a smile instead of with concern from the parents.
Also, telling unruly students that they should behave or they’ll be sent out of class to their parents is risky because that might be exactly what the children were hoping for. Instead, have the disruptive child sit down at the front of the classroom for a few minutes.
Although there are exceptions, often when a group of 5- to 7-year-old students is out of control the reason has as much to do with the teacher as it does with the children. Why are they feeling comfortable enough to misbehave? In this or previous classes, have they been led to believe that such behavior is OK? Is the pace of the class giving them enough time to get out of control, and if so, why?
I suggest that you do an evaluation with your faculty to identify better language and actions to use when dealing with behavior issues. Most important, discuss how the teachers can improve the structure or pace of their classes to maintain control. Good luck! —Rhee
Words from our readers
I can’t begin to express what a beautiful job you did capturing the essence of our ballet scholarship competition [“Classical in Connecticut,” September 2012]. Thank you for bringing such exposure to the dance community and beyond. It also brought recognition to our CDA [Connecticut Dance Alliance] organization. I appreciate your quoting me on the educational aspect and opportunity it provides for growth. We want to continue to deliver that each year.
Hartford Stage Education Programs Manager
On behalf of all of us in Chapter 8 of Dance Masters, I want to thank you for publishing such a wonderful article [“Strength in Numbers”] in the October issue. We were very excited to see it. Our president, Marlene Merritt, was beaming at our workshop as she showed it to everyone.
Secretary, Chapter 8, Dance Masters of Western New York
Let me inform you of how much I enjoy the columns in your magazine. I especially continue to be amazed at the quality of advice in the “Ask Rhee Gold” columns. The man knows his stuff. (And the fact that I know the man has nothing to do with the high praise I accord him.)
Advice for dance teachers
I need some advice on an extremely sad, unfortunate situation. As a member of Dance Masters of America, I uphold a code of ethics. I respect my colleagues and do my best to maintain a professional working relationship with everyone. Recently, though, a full-time teacher of four years at a local dance studio got arrested for multiple instances of lewd and lascivious acts with minors. One incident occurred at a dance convention. The studio owner knew about it and still kept this teacher on staff for several months. When the owner finally let her go, she still planned to have the teacher choreograph privately for the school’s competition team. My problem is that this has lowered morale and trust in dance studios and teachers.
Do you have any suggestions for how to handle this professionally and ethically? My first instinct is to ignore the situation, but I cannot sit back when children have been affected and people are talking. Any advice you have would be greatly appreciated. —Valerie
As teachers and school owners it is our responsibility to protect the minors in our care. Once we are made aware of any potential danger it is our obligation to take appropriate action.
With that said, I did some investigation into this matter and it appears that the authorities are on top of this case. According to the reports, the director of the school was questioned prior to the arrest but was not made privy to the charges being investigated, and she was told not to inform parents. Since the investigation is ongoing, the school owner’s role in this situation has yet to be determined. If that report is false, I am sure that the investigation will reveal that fact and the authorities will take the appropriate action.
My concern is that the director of the school is considered guilty by her peers based on hearsay. Imagine how you would feel if one of your faculty members was accused of a similar crime, yet you knew nothing about it. I wouldn’t speculate on anyone’s involvement because I wouldn’t want them to speculate about me in a similar circumstance. I would hope that teachers would offer each other the benefit of the doubt out of respect for their profession and each other.
My advice for handling this situation professionally and ethically is to leave the investigation to the authorities and avoid speculation or gossip. I would remain focused on making my school the best it can be and creating the safest environment possible. All the best to you. —Rhee
I am currently in my 30th year as a studio owner, and I would love to see some dialogue in your magazine about the issue I’m raising. I think it’s time for a conversation about when a student should be considered a professional and should not be competing or eligible for scholarships at conventions. At a recent competition some competing dancers had won on Paula Abdul’s Live to Dance; they have also been on America’s Got Talent, where they made it very far in a group competition. Yes, these children are 11 or 12 years old, but I feel that they have crossed a line into another realm of the dance world.
Also at this competition were dancers who have been on Lifetime TV in a couple of dance-related shows. I only had one soloist compete, and she was that top score, so these dancers were not up against mine. I do plan on talking to the owner of this event since we have a great relationship, and he will understand that I’m looking for a dialogue, not really complaining.
I believe there should be guidelines in the competition world regarding professional status. Even with these televised dance competitions, it’s almost like the difference between a pro golf tour and an amateur tour. Once you turn pro, you can’t do some extra tournaments at the amateur level. Thank you for all you do for the dance world! —Cameron
I’m a little sensitive to this issue because when I was a young dancer participating in dance competitions, there were teachers who wanted my brother Rennie and me kicked out of events because we had been paid to perform in a Nutcracker with a well-known Boston dance company. Rennie’s eligibility to compete was also questioned when he was 10 because he had been paid for performing at a dinner theater. I remember being devastated at the thought that we would not be allowed to compete. I knew that our experiences could be interpreted as professional, but I also understood that we both had a lot to learn in becoming proficient dancers.
Other questions come to mind regarding this subject. Would a young dancer who had performed a tap piece on a professional stage be considered a professional if she performed a contemporary piece at a competition? What about a girl who lands a professional gig at 10 but never gets another job—is she still considered a pro at age 16? Would someone who dances on national TV but wasn’t paid be considered a professional? Would someone who sings or acts at a professional venue be considered a professional in a dance competition?
Through the years I have seen many dancers who have had a great deal of professional experience who are not as technically advanced as others at competitions. If the dancer who has no professional experience is better (from a judge’s viewpoint), then it becomes hard to draw the line between amateur and professional.
Certainly there should be dialogue about the subject, but what we all need to keep in mind is that we are dealing with children. Keeping kids out of a competition simply because they have had some professional experience could hurt those who need the competition experience in order to grow and learn as dancers. I hope this gives you some food for thought about the dancers’ perspective. —Rhee
I am a dance teacher/studio owner, and I have come across the most persistent parents I have ever met in all my years of teaching dance (20-plus)—or school, for that matter. (I taught kindergarten for 12 years.)
These parents have a daughter who turned 4 last spring. They are angry with me and some of my teachers because I will not allow them to enroll their daughter in the beginning ballet class for 6- to 8-year-olds. My teachers and I have tried to explain that although the child is coordinated for a 4-year-old, she is not ready for the rigors of a class with 6- to 8-year-olds. She is not developmentally ready, emotionally or physically, even though she follows directions and is a good listener. Not to mention that there are eight parents with kids in the beginning ballet class who would not be happy if a 4-year-old were in there.
I am a strong believer in developmentally appropriate teaching and training. I pride myself on my school’s strong reputation in the community for having a quality preschool dance program. The 3- to 6-year-old age range is definitely my specialty.
These parents are convinced that their child is leaps and bounds above the other 4-year-olds in the ballet/jazz combo class, both in maturity and ability. They have been clients since their daughter was a year old, in the Mommy and Me classes, but I’m at the point where I want to tell them that my philosophy doesn’t fit with their attitude and that maybe my school isn’t a good fit for them. However, I always try to make things right for my clients and I want to educate them on proper dance training. And I don’t want their daughter to get hurt or learn bad habits that are hard to break.
I have spoken with the parents several times, as have my teachers. Is there an article or anything you can recommend that I can share with them? I know these parents want what is best for their daughter, and so do I.
Thank you for all your inspirational dance sayings and for all the fantastic ideas and information in the magazine each month. —Barbara
Teachers often have to deal with parents who believe that their children should be moved to a higher-level class, but it isn’t often that the request comes from the parents of a 4-year-old. Exposure to movement that is physically inappropriate could damage her young body, not to mention how important it is to build a strong foundation if in fact dance turns out to be this child’s thing. You hit the nail on the head when you said you want what is developmentally appropriate for this child. Moving her up is out of the question.
It may be time to accept that your school can’t offer these parents what they are looking for, especially since you and your faculty have respectfully discussed their concerns without success. You point out that your school is well respected in your community for its successful preschool program. One student or her parents should not deter you from continuing to maintain your quality standards. Your integrity, ethics, and expertise have helped you gain the respect of your community, which is more valuable to your success than any single student. I know it is hard, but your instinct is speaking loud and clear. I wish you all the best. —Rhee
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Advice for dance teachers
Today one of my teen students told me that she has to leave the school where I teach because her parents can’t afford the lessons, shoes, and costumes. She is such a good dancer, with a personality that cannot be beat. She’s at the studio all the time and I look forward to seeing her because she fills the room with joy.
I want to ask the school’s owner to give the girl a scholarship, but I know he is having a hard time financially too. I was thinking of paying for part of the tuition myself, but I can’t afford to cover all her expenses. I am looking for advice on how I can keep this student in the classroom. Do you have any ideas? —Jill
It is so cool that you are willing to help this dancer! I’ve got a feeling that you could get some help from your boss. Simply bring your passion for this child to him and go for it. He may be able to cover the tuition, or at least part of it. Would other students’ parents be willing to sponsor the child in some way, maybe by covering the cost of the costumes or shoes? Or you could ask a local dancewear store if they might be willing to donate the needed dancewear.
You might be surprised by the response you receive. I knew a child whose parents died in a car accident, and the parents at the studio did all they could to keep the child dancing. This little girl dreamed of becoming a professional dancer, and she achieved her dream as a result of the kindness of others.
We live in a world where many people are in financial crisis, but there are those who want to help because they have managed to hang on. I suggest that you share the story with as many people as you can. And I’ll bet this student will always remember the kindness of her dance teacher. Good luck! —Rhee
My school is starting its ninth season, and I want to take a couple of small groups to a competition this year. I have no idea where to start. I have always said that I would never do competitions, but TV has done them up big and now everyone wants to do them.
My reason for not wanting to compete is that in my area the studios are so focused on the competition kids that the recreational kids get left behind. It drives me nuts! As far as I’m concerned, if a comp kid knows what a rond de jambe and piqué are, then a rec kid should as well. You would not believe the number of older kids who come to me from other schools and don’t know what a simple port de bras or chassé is! It’s sad, really.
Anyway, after eight years of molding and reshaping, I think I might like to give competing a try. I would like to start out small and slow—where would be a good place to start?
I suggest looking for a competition that has a pre-competitive category so that your students can enjoy the experience without competing with dancers who have been at it for years. The pre-competitive dancers are all in the same boat, and it is the perfect way for a new group to begin its competitive journey.
Also, I would lower the dancers’ (and their parents’) expectations by explaining that you will be happy simply to get them out onstage and see them finish their routines. Don’t allow them to expect anything more than that or they could be disappointed.
After the event, have a talk with the dancers and their parents about the experience. Ask them what they enjoyed and what they didn’t. Do also ask about performances they saw that they liked and why; this will help them to appreciate talent rather than thinking of those dancers as competitors. That lesson, taught right from the start, will serve you well if your school continues to compete.
When it comes to choreography, make it short and sweet, leaving the judges wanting more. Don’t include tricks that your dancers cannot do properly, and be creative with your concept and movement. The judges are sitting for at least a couple of days, and they notice when something unique, or different from the same thing they have watched for hours, is presented.
I wish you and your students luck. —Rhee
I have been in the dance business for 15 years and have never had a problem until this year and would like your professional advice. I’m sure you or someone at your conferences has gone through this.
I had an instructor who opened her own studio five miles down the road, and I recently learned that a student at my school has been teaching at the new studio while still taking classes at mine. I didn’t do anything about it because of my friendship with her grandparents, who are very involved in her dance career. I didn’t like it, but I let it go. I thought it was a done deal.
Well, it wasn’t. The owner of this new studio approached another one of my school’s older dancers to teach for her when one of her own teachers didn’t show up. This student asked me how I felt about her teaching at the new studio and I told her I didn’t like it. She still took the job. I then told her she would have to choose: stay with us as a dancer or teach at the new studio. Of course she said, “You let so-and-so do it.” I then told the other student that I’d changed my mind and she had to choose too. I cannot have two of my dancers teaching at the new studio.
They have now brought lawyers into the situation. They are saying I’m wrong (breach of contract) and that I should allow them to teach at the new studio while still training at mine, which means I’m training my competitor’s instructors. And who knows what else they are taking from us to the new studio? I feel this is wrong. Any advice would be greatly appreciated. —Mary Beth
Hello Mary Beth,
The lawyers can say what they want to, and they will; however, that does not mean they have a leg to stand on. My advice is to get your own attorney. I am not a legal expert, but I can offer you some food for thought to present to your attorney.
Dance studios are private schools with the right to accept or deny a student’s enrollment. You have the right to create standards or policies by which you run your business. One of those policies certainly can be that a student may not teach for a nearby school, not only because of the business conflict of interest, but also because you are aware that your students are not properly trained as teachers.
If a student’s entire background in dance is derived from training at your school, then that is the only reference she has that she can draw on as a novice teacher. Unless she has also been trained in how to teach the material, then she is not qualified to do so.
I think you are being bullied by the students and their parents, as well as by the other school owner. Please take any correspondence from their lawyers to a professional. Also, have no discussions over the phone; be sure that there is a paper trail of all contact. That said, if the parents have told you they contacted an attorney but you have not heard from that person, the parents may be bluffing. Stick to your guns, hold your head high, and do what you know is right. Good luck, and let me know what happens. —Rhee
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Advice for dance teachers
I teach for an amazing woman who built a big school with the help of her mother, who worked in the office until she died over a year ago, at a young age. It was stunning to all of us involved in the school because she really was the one who prepared and had everything organized for everything that happens outside of the classes. She died in the spring, so all the teachers and friends jumped in to help get through the rest of the year. It worked out fine and everyone bonded, feeling like they were part of the team. It was very rewarding. When the next season started my boss had hired a new studio manager to replace her mother.
When I met her I knew that it was going to be a big change because she didn’t have much personality or enthusiasm about her new role. As the year went on, I started to hear the other teachers say they didn’t like her either—she never smiles and she isn’t nice to our customers. Then a mother of a student told me she was leaving the studio because she couldn’t handle the new secretary. She had just been yelled at because her daughter was loud in the lobby area. She said three other people had not come back this year because of how they were treated last year.
I asked the mother to talk to my boss, but no one seems to want to speak up. I want to say something to her. Is it my place to do it, or should I let her figure it out for herself? —Anita
As far as I am concerned the office manager plays one of the most important roles in a successful school. Often that person has more contact with the students and their parents, and the faculty, than the owner does. She must be friendly and always treat the customers with respect; otherwise it is better to have no one at the desk at all.
Your boss is lucky to have you on her team because it is obvious that you have a great deal of respect for her and her business. I would want to speak up if I were in your position. I advise you to do so, not only for your boss’ sake but because this situation is obviously troubling you. I would do a little research to determine which clients left because of the office manager, and then document that, along with your own observations and anything else you’ve heard.
Go to your boss with your thoughts and then back them up with the research. Yes, she might get upset, but my guess is that it will be because of the situation her office manager has put her in, not because you spoke up. Chances are good that she will appreciate you for being honest. You may find that she is already aware of the problem but hasn’t had the confidence to do something about it. Your input might be the motivation she needs in order to make a change.
Whatever happens, you should feel confident that you did what you could. You just might be the catalyst to get someone with a better demeanor sitting in that office chair. Good luck, and hold your head high for being such an awesome employee. —Rhee
For the past five years I have taught six days a week at three studios, and for the most part my employers have been very good to me financially and seem to respect my work.
I can’t keep going six days a week and I keep telling myself that I will make a change, but after things slow down during the summer, I end up repeating the same cycle the next year. I planned to cut my schedule down by quitting teaching for the studio that is more than an hour away from me, but when I approached the owner she was very upset. She said she couldn’t replace me and offered me a raise; plus she started paying for my gas. I felt like I couldn’t walk out on her because she is so generous. So I am still going, but the money isn’t worth my sanity, and I don’t feel like I am giving my best to my students. I am feeling burned out.
I can’t let someone down who has been so kind to me without feeling guilty. Got any advice? —Marla
Yes I do have advice for you! It is time for you to put yourself first, forget about feeling guilty, and have the confidence to speak up about what you know is best for you and your students. The generosity of the school owner is commendable, but if you have told her that you can’t continue working six days a week and her only solution is to pay you more, then she’s thinking more about herself than you. To show that you respect her generosity, you could ask to cut your schedule down to one day for the rest of the season and offer to help her to find a replacement for you. However, you have to let her disappointment be secondary on your list of priorities right now.
Teaching dance must be something that you love to do in every class, otherwise you shouldn’t be teaching. My guess is that you will suffer exhaustion and end up losing your passion for teaching. It’s time to do all you can to leave this school owner in a good place while taking the time you need to rejuvenate your dance spirit. I wish you all the best. —Rhee
I own a school that has never competed because I don’t want my students to focus on winning trophies. We perform at community benefits, produce a Nutcracker, and have performed at Disney many times. I have always thought my way works for the type of studio that I want to run, but I just lost one of my best students because she wants to compete. I am so distraught that she’s gone and now I am not sure if I have made the right choice by not competing. I worry that other students will follow her and I can picture this huge exodus from my school to all the competition schools around me.
I thought all the parents and students were behind me because we have talked about competing, and they told me that they do not want the commitments or expenses that go with it. Now I am not sure if they have changed their minds, but I am afraid to bring it up because I know they will ask me about the student who left and I am too embarrassed to discuss it. What should I do? —Elaine
I appreciate the sentiment behind your letter, but I feel like you need more confidence in yourself. All of our readers have lost students to other schools, for many reasons. Of course it hurts, but we can’t let such occurrences change our philosophy and practices. You are fearful about things that haven’t happened yet. Think about this: you may have the clientele you do because you have chosen not to compete. Also, how will you find out what’s on your clients’ minds if you are embarrassed or afraid to talk to them? With the performance opportunities you offer, you are already doing a lot for your dancers. If you can overcome your fears, you might discover that the majority of your students and their parents really appreciate the fact that you don’t compete. If anyone brings up the student who left, say, “I wish her all the best,” and leave it at that. Attack your fears head-on. I have a feeling you’ll learn that you have less to worry about than you think. I wish you all the best. —Rhee
Advice for dance teachers
I have the chance to buy a building that has been foreclosed on. Is someone who is closer to age 60 than 50 nuts to buy? I couldn’t teach for three weeks this spring when I had surgery, and I discovered that there is no way I am ready to retire. I still love it too, too much!
From my estimates, it looks like it would cost $200 to $300 more per month to own rather than rent, but I’d build up equity while doing so. I’m thinking I would have a semi-viable dance studio and building to sell when I do retire (about 30 years from now!). Otherwise, all I have is a class list that is worth about nothing in a small town. —Mary Ann
Hello Mary Ann,
No, I don’t think “closer to 60 than 50” is too old to purchase a building. There is no age limit on improving your circumstances or doing something you’ve dreamed of for a long time. And since the sale is a foreclosure, it’s probably a good deal. I do think the economy will recover (ever so slowly) and you just might be making a great investment in some retirement money if the value of the property goes up. (I don’t think it would drop lower at this point.) If the difference between rent and mortgage payments is only a few hundred dollars, I say go for it.
But before you do, have someone inspect the property to give you a realistic concept of the cost you’ll incur in making repairs and remodeling this space into what you need it to be. Also, do inquire about an estimated monthly cost for utilities, insurance, and any other potential costs. I wish you all the best. —Rhee
My entire life has been all about dance. In my early 20s I opened the school of my dreams, and with the help of a loyal faculty and staff I have built a successful business with more than 500 students. Now I am 37 and beginning to see that I have missed out on some things because my focal point has always been dance and my students.
The father of one of my students has asked me out. He is single, but I turned him down because it has been 15 years since I’ve dated. I just haven’t had that on my mind because I am committed to my school, and I don’t know if it is appropriate to date a parent of a student. He has sent me cards and flowers for the recital, my birthday, and the first day of classes. Sometimes when he is at the studio he takes out the trash and helps my office staff.
I was uncomfortable with it at first, but he is so nice and sincere that I have grown to appreciate his kindness. My staff knows that he would like to take me out and they are always telling me that I am nuts not to do it, but I’m scared of what people will say if they know I’m dating a dad from my school. Also, I wonder what his daughter would think. Another thing that makes me nervous is that everyone who works for me knows about this and I’d like to keep my personal life private.
I am thinking of saying yes to the date, because I would like a life outside of the studio. This man’s attention has opened my mind to the things that I have missed out on. Is it appropriate for me to do this, or is it out of line? —Happy But Confused
This is the first time I’ve felt like “Dear Abby,” but I’m going to tackle it with my honest opinion. Your dedication to your studio and students is a testament to your passion for dance, but we all need a life outside of dance and you deserve the chance to explore the world outside of your business. Although I would be discreet about it, I think you should go out with this guy.
You can determine how much you want to share with your employees. I do think you should keep your personal life separate from the business, but don’t let that stop you in this situation. This guy obviously appreciates who you are and what you do, and that tells me he is sincere in his respect for you.
Speaking of his daughter, there is no reason that your proper teacher–student relationship should change unless things get more serious. And if that becomes the case, I have a feeling you can handle it.
Stop coming up with excuses and do this for yourself. You have worked hard, and that dedication has obviously worked to your benefit and the benefit of your dancers. Pat yourself on the back for that, but don’t eliminate the outside possibilities that could also make you happy. Go on the date and have a blast. Good luck! —Rhee
I teach many children who love to dance but who will probably never get past an intermediate level because of all the other commitments they have or because they just like to dance for fun and exercise, which is totally fine with me. But about two years ago a student entered our school with something special. She always picks up the movement really quickly and instinctively knows body lines and technique. I see an innate quality that shouts out that she could be a great dancer.
My problem is that she is in classes with students who are not that serious or who do not have a similar level of natural talent. I’m feeling like my school is holding her back and that I need to send her to a more serious school. However, when I discuss this with her other teachers at my school, they all tell me that it would be embarrassing to send her somewhere else. They think I would be making it clear to the parents at our school that we can’t offer training to really good students.
I see the teachers’ side of the argument, but I feel guilty that I am not pushing this student to the next level, which I can’t give her at my school. She loves to dance and works very hard, and I try to give her special attention after class is over—but I know she could do so much more.
I don’t want my students or their parents to believe that I am not offering them the best training I can, but I know they are getting from my school what they need. And I know this girl should move on. Are my teachers right? —Lori
You are an admirable teacher and school owner, and the teachers who are telling you that you should be embarrassed need to think long and hard about what is right for this child and not their egos. Please send this child to a school that can give her what she needs, and stay in touch with her so you can proudly follow her on the dance journey you inspired.
Don’t ever second-guess yourself when you know you are doing what’s right for a child. Your heart is in the right place. Brava to you for having the confidence to know what you do best and the understanding that we all must do the right thing. —Rhee
I am working as assistant director at a good-sized studio and I will soon become the owner, which I am very excited about. I am a huge fan of Dance Studio Life and your postings on Facebook and would love any advice you can offer as I transform myself into an owner (a dream I’ve had since I was 8 years old). Your philosophies on teaching truly inspire me and motivate me to continue to do what I do, the way I do it. —Mandy
Your question is short and simple but an excellent one. As you transition from teacher to owner, your main focus should be to offer the best dance education possible. First and foremost, continue your own education and require your faculty to do the same. Dance education is consistently evolving, and fine-tuning your own and your staff’s knowledge to best serve your students is critical to your success. In the 21st century school owners need to be on top of the business side, too, including marketing, customer service, organization, and the other non-dance aspects of any small business that help it grow.
I always emphasize to school owners that financial success in the average studio is tied to the quality of the programs offered to 4- to 12-year-old children. A solid preschool and recreational program is the key. Once those programs are strong, you will be able to afford to put the needed time, energy, and financial resources into creating a strong intensive program. Many school owners have started the other way around and are no longer in business.
Your website and print promotional materials should always include pictures of young children experiencing the joy of dance. Too much focus on the stronger dancers can intimidate the parents of young children.
Also, and most important in my opinion, is that you look at every child as an opportunity to make a positive impact on her future. The words, actions, and atmosphere your students experience at your school will have a lasting impression on all of them—young or old, big or small, talented or not.
I could go on, but I’ll close by saying that if you do what you’re doing for the right reasons, and appreciate the gift, everything will be just fine. Good luck! —Rhee
I have been teaching for 13 years at a school owned by my best friend. We have been friends since middle school. She has devoted herself to her business and dance forever. Her dream was to own a school and my dream was to teach without the pressures of a business. The relationship has been pretty much perfect for many years.
Four years ago I married the man of my dreams, and we have two children. My best friend was my maid of honor and is the godmother of my first child. But in the last few months she has made several unflattering remarks about what she refers to as my “perfect family” and often says things like, “Go home and enjoy your normal life,” as though my normal life is not as important as her life.
Then she got a nasty note from a disgruntled parent. She called me to talk about it and then turned on me, yelling and telling me that I have no idea about real problems. I was quiet as I listened to her hurtful comments, but I am really offended that she would treat me this way. I have stood by her through good and bad—I was there for her when she was sick and couldn’t teach and I have defended her actions when I thought she should have handled a situation differently.
I don’t want to say anything that could jeopardize our longtime friendship, especially because of my daughter, who loves her godmother. But I’m uncomfortable and I’m hurt. I hope you’ll have some words to help me out. —Rosanne
I found your question very interesting for a couple of reasons. First, I’m questioning whether I might offend my friends when I make comments about a “normal life.” I appreciate my friends who have managed that “normal life” and are happy, but it does raise the question of how our words sound to others.
The second reason is that I recognize something I see in people who are extraordinarily dedicated to one thing. I’m speaking from experience here: when you have spent the majority of your life focused on what you want and need to accomplish, you can lose sight of what you need to nourish your spirit. That can be personal relationships, time with family, the ability to stop for a minute because that’s what your body is telling you to do, or simply putting yourself first once in a while.
For 13 years your friend has been building her business, with you by her side as reflection of where she comes from. When she’s stressed or feeling burned out, she probably wonders if she’d be happier if she were living a life like yours.
If I were your friend I would want you to speak up about how you’re feeling. Your friendship is important, and she probably values the opportunity to be a good godparent and might not realize she’s jeopardizing that. It sounds to me like she needs your normalcy in her life.
Go hang out with her in a place where you both have a lot of history. In the kindest way possible, express how you’re feeling. My guess is that she’ll appreciate your words. —Rhee
A former student of mine came back to class after having been gone for a year when she moved out of town. She has since graduated from high school. She joined the class with the same kids she was in class with before. They have danced together for four or five years; the rest of the class are mostly seniors.
This week only half the class showed up and one of the moms and her daughter stayed afterward to talk to me. It seems the reason no one showed up is because this girl who is back in class supposedly just got out of jail and is on probation for assisting in a robbery. Of course this is all hearsay. She did not come to class this week and I am praying that she has decided not to come back and the problem is solved.
I told the mom to give me a couple of weeks to check things out. I don’t want to lose an entire class because of this girl, but unless I have concrete evidence I cannot kick her out. And I really like this young lady. I do know she has had problems in the past, but nothing like this. If she was in jail it would have been as a juvenile, so the records would be closed. What do I do? —Lauren
This is a tricky situation. Bear in mind that you might already have had a student or parent in your school who has a juvenile criminal record and were unaware of it. What you’re facing is a rumor, and it’s important not to take any action that shows that you’re judging this girl. That said, the happiness and comfort of the other students in the class are important considerations.
Consider meeting with the student (and her parents, if they’ve involved in her life) to discuss what you’ve heard. Understand that you risk hurting her feelings; she may not be aware of the talk about her. And if the rumor isn’t true, she will probably be offended. Don’t judge her; just tell her you’d like to know the real story so that you can speak to the concerns of the other students and their parents with a complete understanding of the situation.
If she agrees to discuss it and the rumor is true, you’ll need to ask her for permission to discuss her past. If she grants it, explain to the others that dance may be the thing that helps this girl make good things happen in her life. Parents might be able to relate if they realized that any child can get into trouble and be forgiven. Instead of shunning her, maybe they could encourage her to be a success.
If she denies the rumor, you’ll have to accept that as the truth and do everything you can to get the others to accept her. Without any evidence that the girl is a danger to anyone at your school, it would be unethical to judge her by forcing her out.
Good luck! —Rhee
I am teaching for the instructor I studied with for 15 years. The parents request me for a teacher and I get letters from former students thanking me for the confidence I’ve given them through dance—and in return I get snide comments and what I now recognize as jealousy from my employer. For nine years my instruction, choreography, and methods have been scrutinized by her. (Her daughter is also a teacher.)
I don’t want to bash my employer since I learned a lot from her, but I also learned from many other teachers over the years. My dilemma is that I feel creatively and emotionally drained. I don’t want to desert the students, but when every dance I choreograph, every plié I do, or even every costume I look at is said to be stale or boring, I just want to move on. Judges always say my pieces are creative and innovative, but my employer told me that I need to change my style. I represent her studio! I do this for her!
I feel loyalty and tried to tell her I need to leave before bad blood is created. I’m scared to teach the way I like to and I am creatively depleted. Please help. —Unhappy
Your frustration is coming through loud and clear. It sounds like you are teaching in a toxic environment that has to change, but given your long history with your former teacher/boss it is worth the effort to make one more attempt to clear the air.
Make an appointment to meet with her, maybe outside of the studio so that you both can be on neutral territory. Make it a public place so that you both will have to present yourselves in a professional manner.
Start by expressing your loyalty to her for all that she has taught you and for the opportunity to teach at her school. Let her know that you really enjoy teaching but that based on her constant criticism you feel like you are not giving her what she wants.
Instead of referring to her snide remarks, put your concerns in question form. For instance, “You are asking me to change my style; can you give me an example of what you think is wrong with my current style?” Let her answer without interruption, and listen closely to determine if there is any validity to her opinion. Also, ask her why judges call your work creative or innovative and why she doesn’t see it that way.
Don’t bring up her daughter or the jealousy you perceive. It’s better to make this about you and your employer so that she doesn’t become defensive about her child.
It is important that she know that you cannot continue to work where you feel creatively or emotionally drained, in a setting where you are constantly criticized or discouraged. Explain that you don’t want to leave but that you need to feel appreciated and encouraged to grow as a teacher.
If things don’t change, then I would advise you to move on to a school that will let you work with confidence in who you are and what you believe to be solid teaching practices. I wish you the best. —Rhee
More than a year ago, I was teaching a class when a student broke her ankle. I called 911 immediately and grabbed an ice pack. The child was hysterical. Because her parents weren’t at the school I rode in the ambulance with her. Her parents met us at the emergency room, where they thanked me for taking good care of their daughter. I stayed there for hours to be sure that the student was OK. She was out of dance for several weeks.
While she was recovering, she observed her classes because we were heavy into choreography and she didn’t want to miss it. When her cast was removed and she had finished physical therapy she came back to class and danced for the rest of the year before leaving for college.
Last week I received a letter from the family’s attorney asking me to come in for a deposition because the parents had filed a lawsuit against me personally and my business. They feel that I was negligent in caring for the injured child and that I encouraged her to return to class before the injury had healed. Therefore, they say, the child is now suffering from a permanent injury that I am responsible for.
I have hired an attorney I cannot afford, and my insurance company has an attorney as well. I am doing my best to recall the things that happened and were said that night so that I can be prepared for the deposition. I am nervous that this situation is going to cost me a fortune and that my insurance is going to be canceled. The hardest part about all of this is that the child seemed completely healed before she returned to dancing. She brought me a note from the physical therapist that said she was cleared to return to class.
Do you have advice on how to handle this? I am completely lost. —Karen
I have dealt with this kind of situation before, and the attorney did cost a lot of money, but in the end I was cleared of all negligence. Here’s what I learned along the way.
When an injury takes place, either at the studio or at a performance, you need to make an accident report. This means that you write down everything that happened in great detail, including what the injured party was doing when the accident occurred and everything the injured party says and does. In this case, I would have written down what the parents said at the hospital as well.
Next, you should ask all witnesses to write down what they observed. Another important thing to do is to have a camera available to take pictures of the child, her injury, and the surroundings. That way you have a much easier time recalling what took place long after the incident. These actions also give the lawyers the impression that you are organized and responsible, which could discourage the lawsuit in the first place.
At this point, I suggest writing down everything you can remember. Ask your students or anyone else involved to write down what they recall, too. It’s very important to bring to your attorney’s attention the letter from the physical therapist clearing the child to dance. If there’s a video of the injured child performing or taking class after she was cleared to return, it could help you prove that the child did not appear to have any signs of a permanent injury after the fact.
When I went through this situation, I discovered that a large percentage of these types of lawsuits are dismissed and that the lawyers are really looking for a payoff from your insurance company and not you. Obviously I am not an attorney and you need to follow the advice of yours in this matter, but do provide as much information as you can that defends your actions.
It is easier said than done, but try not to panic. Let the professionals handle the legalities and you do the best that you can to behave professionally during the deposition. In the long run you will be smarter and stronger for this experience. Good luck. —Rhee
All of my life I have danced or taught dance, but today I am dealing with serious health issues that are going to cause me to stop teaching. I don’t know what I will do without dance in my life because it is all that I know and it is my passion. My family keeps telling me not to worry because I will be able to collect disability and not have to worry about anything, but what they don’t understand is that dance is not about money for me, it’s who I am. No one around me understands what I am going through and I’m hoping you might offer me some words of wisdom. —Katherine
I am sorry that you are dealing with this illness. You are not alone when it comes to your passion for dance and the fear of giving it up. My responsibilities as a publisher and speaker now keep me from teaching, but I still think of myself as a dancer. That’s because dance is in my blood and nothing can take that away from me—nor you.
If your health permits it, look for new ways to be involved in the dance world. You could consider writing about your experiences as a dancer and teacher. You might be able to consult for other teachers or work in a management position for a school. You could create a curriculum based on your years of experience and knowledge. I see a dance world that has endless possibilities for everyone who “knows the passion.”
Take care of your health, but don’t think that you can’t continue to share your expertise and love for dance unless you teach. You have many options to continue in the world you love so much. I wish you all the best. —Rhee
In “Ask Rhee Gold” this month (page 116), there’s a letter that’s given me lots to think about. People write to me for advice on an enormous range of issues, and I usually feel that I can offer something useful because I’ve been in the dance field for a long time in a lot of different roles. But some letters, especially the ones that make me really feel someone’s pain, leave me asking myself: What do I say to this person?
The letter is from a woman who’s gone into partnership with her son and opened a dance studio in a small town. The school is doing well and everything seems to be fine until she hears a couple of moms gossiping about her son, who is gay. They’re worried about the “perversion” he’s supposedly bringing to their community.
The woman who wrote to me handled this situation admirably. She didn’t say a word and didn’t even acknowledge that she’d heard their gossip. She could have challenged them, taking them to task for their narrow-mindedness, and the encounter might have ended with her saying a permanent goodbye to two (now former) customers. Telling those women what she thought about them would have felt great—for a little while.
But then, once she cooled down, she might realize that every one of her customers would be sure to hear about the harsh exchange of words. Many would probably feel the need to take sides, and by raising a fuss in public, the school owner would have made that choice harder for them. She would have put them in a position of having to take sides—and siding with her might mean going against the beliefs of women they see at church or at work or at their kids’ school. A public outburst like that would likely make it harder for her other clients to do what they know, deep down, is right.
Attitudes about sexual orientation across the country are changing. People are becoming more tolerant. When they learn that their gay neighbor worries about the same things they do—the crabgrass, the missed garbage pickup, the foreclosed houses down the street—suddenly gay people don’t seem so foreign and threatening. But when we make choosing tolerance harder to do, for no good reason, nobody benefits.
Don’t get me wrong: I’m not suggesting that gay people (or their moms) should put up with insults or injustice without complaint. Nobody wins respect by being a doormat. But between the bigots on one side and the nonjudgmental people on the other, there are a lot of others who aren’t sure what to do. They can be won to the side of tolerance. Sometimes all they need is a nudge.
You can provide that nudge, by practicing tolerance, hiring with diversity in mind, and making sure that everyone—everyone—feels welcome in your school and in your classrooms. It’s that “lead by example” thing. And little by little, slowly but surely, it works.
Those preschool classes are your future. Give them (and their moms) experienced teachers who are passionate about the age group to create a future of consistent growth and positive word of mouth. Give them an inexperienced 16 year-old teacher and you will always wonder why your enrollment never increases. Just a thought . . . have a great day—Rhee Gold
Make it your goal is to instill a passion for the art of dance in every child . . . what’s really cool about this objective is that the “passion” isn’t limited to those who can do five pirouettes, it’s something that once-a-week student can accomplish, too. That’s what teaching dance is all about! Have a great day–Rhee[ad#Store]
A parent signed her kid up for a 4:00 p.m. jazz class for 5- to 8-year-olds. We didn’t have enough children to run the class, so the secretary asked the parents if the children could move to the 4:45 p.m. jazz class and told me that all three moms said yes. I sent an email confirming the change before winter break, since we were ordering costumes. No one contacted me to say they were not interested in the change, so I ordered the costumes. After the break the class met, and one mom claimed her daughter left in tears and hated it (which didn’t happen because I was there to see how it went), and she wants a refund for her costume.
The woman claims that she had said that they would try the class but it isn’t working, so she wants a refund. I told her I was there and no one was crying, nor did anyone say that the class was not going to work when they were asked to make the change. She then went on about how driving home later was a traffic issue and her daughter can’t get her homework done. So I told her that the costume was already ordered and paid for. She signed a form that said “No refunds,” but she is complaining that the change in class is the issue.
I offered to ask the students’ parents if the class could move to an earlier time, but she said that wouldn’t work. Then I suggested that her daughter be a helper in the class and that the student teacher could spend some extra time with the girl so she would feel more comfortable, and she said it wasn’t going to work. She thanked me for all the suggestions but still wants a refund for her daughter’s costume. I don’t know what more to say to her. Can you help me? —Joan
It is obvious that this mom doesn’t want to abide by your policy on refunds, which you’ve made clear to her. My usual reaction to this kind of situation would be to explain that the costume payment has already been sent to the manufacturer and the only option is to mail the costume to the child when it arrives. However, in this case, the mom registered her daughter for a class on a certain day and time and you changed that commitment. You don’t have any confirmation in writing or verbally that this mom had agreed to the change, which could put you in a bind legally. I’m sure, if an attorney asked her why she wants a refund, her response would be that you made a change in the class time that does not work for her or her daughter.
For me, the mess of fighting the mom would not be worth the cost of the costume. I would try telling her that you’ll send the costume to her when it arrives, but if she argues, I would give her a refund and put the incident behind me. Then I would create a form that notifies parents of any changes in times or days of classes and states that in signing the form, the parents agree to the change.
We all learn through experience and this is one of those lessons you won’t forget. Good luck. —Rhee
I am in negotiations to purchase a dance studio where I have been employed for six years. I am nervous in this economy and feel their asking price is way too high. I have read articles in your magazine about being able to pay for your business purchase in three to five years. I would need to apply to take over the lease and there are many needed repairs. When purchasing the business, should income generated remain in the business account, or should the previous owners get to keep it? I don’t have the financial stability to support the business through the summer months, and the changeover would occur during the summer.
I also am curious about what is reasonable regarding a non-compete clause. The current owner has no desire to open another studio but wishes to continue to teach at various nursery school, churches, and YMCA-type programs. I feel that this is a conflict to the operation of a business I would be purchasing. —Concerned, Confused, and Eager
I am not sure that you are in the financial place to purchase this business, especially if you think the asking price is too high and you don’t have the funds to get through the summer months. I also sense that you don’t trust the current owner and that you think she is trying to take advantage of you. Whether or not your perception is correct, that is not a good way to start these negotiations.
With that said, if I were planning to purchase a school and needed to get through the summer months, I would come up with a way to generate income during that time. My reasons would be twofold: to sustain the business through the summer and to increase fall enrollment by offering summer activities or classes that would bring in new students.
When you purchase a business, it’s not typical to receive the cash assets (cash in the business account), unless such a transfer is specified in the sales agreement.
As for the non-compete agreement, I would definitely put one in place that specifies that the former owner could not open a school or teach for another school within a certain time period and distance. However, I would not try to keep the teacher from working in places like nursery schools because her students would have to move on (perhaps to your school) if they want to continue with dance. If you maintain a good relationship with the previous owner, I would think that she would recommend your school to the children’s parents. As for the YMCA, church programs, or other options, you could include a clause that allows her to teach in those venues for a specified number of hours or if they are distant enough from your school.
Pursue professional legal advice and hire an accountant to help you evaluate this business and to offer you advice on the negotiations, value of the business, and any other concerns. Regarding the asking price being too high, you need to understand that the current owner has built this business and she is selling you her investment in time, money, and energy to make it what it is. You are purchasing her current student base as well as her goodwill within the community and among her clientele. Sometimes the value of the business isn’t measured only in the asking price; it also takes into account the potential for future income.
The school’s continued success also depends on the new owner being creative and attentive to what the clientele needs. You must make this purchase because you are enthusiastic about building the business and with the understanding that you, not the previous owner, will be responsible for its future. I wish you good luck! —Rhee
I do a bunhead contest for all my ballet classes for 6-year-olds and up. If they wear a bun for 10 classes, they get a small prize like a tattoo or button. I’ve done this for the past six years.
Recently, a new student who has short hair went home crying, and her mom called to complain about the contest. What do I say to her? It’s not a short-hair contest, it’s ballet class. I want to encourage buns and pulled-back hair and the kids love the contest. Also, I don’t believe in giving everyone a prize just to be fair. Thanks! —Raquel
I agree that students should wear their hair in a bun for ballet class; after all, that is one of the ways they learn the discipline of ballet, not to mention the lesson of respect. But in my mind, it should be a policy, not something students get rewarded for.
I also agree that it’s not good to give every child a prize just to be fair. So if you are going to have a contest, it should be something that every child can participate in. Your contest excludes children who have short hair, and you’ve already seen the kind of problems that creates. Hope that helps. —Rhee
Advice for dance teachers
At the start of last year I hired a well-respected ballet teacher. She is a good teacher who is well prepared for her classes and I have noticed a big difference in my students’ technical skills. They are taking their ballet classes seriously, wearing the proper attire, with their hair in a bun, all of which I hoped for when I hired this teacher.
My problem is that she thinks the other genres of dance we offer are not as respectable as her ballet classes. She is always running overtime, making the students late for other classes. When another teacher asked her to end on time, she said, “These kids don’t need a jazz class; they need the real dance training that they are getting in my ballet classes.” I respect her opinion, but she makes comments like this in front of the students and their parents, which I consider demeaning to my faculty members and to the many styles of dance we offer.
I asked her to end her classes on time and refrain from making negative comments about other forms of dance. She said I should appreciate the fact that she is giving my students and me more than their money’s worth. I explained that the parents are paying for ballet, tap, and jazz and that I was cheating the students out of a full jazz and tap class. She responded that jazz and tap would not make a dancer but that ballet would, then stormed out of the room.
I appreciate the technical qualities that my students are gaining from this teacher, but the conflict in my mind is driving me crazy. Do I keep her and live with the fact that she dislikes what my school offers, replace her, or is there something else I can do? Thanks. —Sabrina
It sounds like this teacher has more going on in her head than you know. Maybe she lost out on jobs or performance opportunities to dancers who were not trained in ballet, or her own teachers may have told her that ballet was the only true form of dance. Regardless of the reason for her prejudice, she needs to respect the way your school runs and the curriculum or she needs to move on. Hopefully she will have the opportunity to see a performance or sit in on jazz or tap classes to better appreciate the students and qualified teachers who have passion for those forms of dance.
Have one more talk with her to say that refraining from making negative comments about any other dance forms is a condition of her continued employment with you. If she can’t abide by your request, then start looking for a new teacher.
Regarding the time issue, you could schedule a 15-minute window between her classes and the next. That would give her a reasonable window for overtime and still let the kids get to their full jazz and tap classes. I wish you all the best. —Rhee
I run a small school in a town with a population of 1,500. I chose the location because there were no dance studios within a 40-mile radius. For many years I have been pulling students from the surrounding towns, bringing my enrollment to 150. That number has allowed me to make a decent living, pay my rent, and employ a secretary and one teacher. The school is a four-days-a-week operation, giving me time to raise my children. Frankly, I loved my life.
Last fall two schools opened within five miles of my location. At first I concentrated on my own business and students. All went well for the first couple of months, and my enrollment was up by 10 percent.
Then one of the schools that opened got hold of my list of students. The owner has been contacting the parents of my students (on the phone and by mailing them postcards with coupons), offering them a two-month free trial at her school. She tells them that they will see a big difference in the training that she offers compared to my school. If they register with her after the trial, they will also receive a free summer session.
I have students who are taking classes from me one day and going to the other school for free lessons on other days. What is making her plan work so well is that she is offering her classes for my students on the days my school is closed, so my students are free to take them. One side of me thinks she is smart to do this and another side believes that this is completely unethical.
In speaking with some of the parents who are taking advantage of the free classes, I’ve learned that this school is very different from mine in terms of discipline and what it offers. There are no ballet classes and the students can wear whatever they want to class. The parents tell me that the kids are enjoying the classes and the teacher. They all mention that the kids love the hip-hop classes, which I do not offer. This school is also going to take its students to dance competitions, and I am not interested in becoming a competitive school.
Two of my students’ moms have told me that their children are not going to return to my school. They have chosen the new school because it is less expensive and the kids love the hip-hop classes and are looking forward to performing at competitions. I am devastated and can’t sleep because I fear that I am going to continue to lose my students. I can’t afford to offer free classes or summer programs, nor do I want to start bringing my students to competition. Do I get out before I lose my shirt, or do you have some suggestions on how to deal with this? —Small-Town Teacher
Dear Small-Town Teacher,
I am sorry to hear about your situation. I have to agree with you that this teacher’s behavior is unethical. No law prevents a teacher from opening a school, and I understand that people are free to operate their businesses anywhere they choose. But because you are in a small town, this teacher had to have known that her success would rely on pulling students from your school. If she didn’t know that when she opened, her actions indicate that she is well aware of it now. Targeting your students with offers of free classes is another indication that ethics don’t matter to her.
You have some decisions to make. Are you willing to invest more time in your school? I’m not talking about teaching more days; I mean spending time strategizing about how to take your business to a new level. Could you find a hip-hop teacher? Would you consider bringing some of your students to a dance competition? If the answer to any of these questions is yes, then I would stop losing sleep (I know it is easier said than done) and look at this as an opportunity to refresh your curriculum and learn how to stay one step ahead of the other school.
You’ve been at this a lot longer than the new school owner, so you have more loyalty and name recognition within your community than she has. Use those to your advantage by marketing how long you have been teaching the community’s children. Start to educate your clientele on the importance of the ballet training that you offer and the other school doesn’t. In addition to hip-hop, consider other curriculum that might add to your appeal. It could be anything from Zumba to lyrical or contemporary, as long as it is fresh and new to your clients. Some of what you try might not work, but the fact that you are expanding your offerings could be very enticing to your current and future clientele.
One thing is for sure: This teacher cannot afford to offer free classes for long and stay in business. My guess is that the “new kid on the block” appeal will wear off and that you will remain on top because of your longtime experience. Look at this as your kick in the butt to move on to new things and expand your horizons. Focus on the possibilities in front of you instead of worrying about the other school. Good luck! —Rhee
Advice for dance teachers
I am interested in selling my studio and am willing to stay on as a teacher. (My older girls would likely leave rather than stay for the new teacher; this way we could transition them over a few seasons to the new program while the younger girls build their loyalty to the new regime.) Do you have any suggestions for how to sell or find a buyer without broadcasting to my competitors (or clients) that I’m looking to sell? I have no staff or teachers. I have almost two years before my next lease renewal and figure the process will probably take a year.
Also, I’m struggling with the feeling that closing equals failure, which is why I keep going. I can’t get past that association, even though moving on is the right thing. I am in my 18th season. —Stuck in Maryland
Please don’t allow yourself to feel like a failure. I have built and sold businesses myself, and in my experience, the decision to sell or close a business is usually prompted by an inner voice that is saying there is more to accomplish in life. It might sound like a cliché to say, “Once one door closes, another opens,” but for me that is exactly what has happened each time. Once you get over the fear that the next door won’t open and feel comfortable enough to dance your way through it when it does, I’ll bet you’ll have no regrets. Chances are you’ll realize that your new place in life is just what you needed.
One route you could go in selling your school is to find a business broker who might be able to help find a buyer. Usually a broker will ask potential buyers to sign a confidentiality agreement before revealing any information about the business. Once they sign the agreement, it is illegal for them to share the information with anyone (usually for a designated period of time). The catch to using business brokers is that they require a percentage of the sale price, just like a real estate agent. In a quick Internet search of “business brokers,” I found businessbroker.net, which will give you a concept of the procedure. (Note: I am not endorsing this site.) There are many options out there and you probably want to find a broker who is based in your state.
You could bypass the broker idea and come up with a list of potential buyers on your own. Look for successful schools in the area whose owners might be interested in expanding their operations. Also, former students who are teaching somewhere else or have the desire to teach might be interested in purchasing your business. Also consider parents of former or current students. They might be interested in investing in your business and might want you to continue teaching until they better understand the business process.
Another possibility is to take an ad in the newspaper or on a site like Craiglist.com, where you can solicit inquiries without including details about the actual location or the business. (But do mention which state the school is located in.) Once potential buyers contact you, require them to sign a confidentiality agreement before you reveal the school’s location or financial details.
I wish you all the best. —Rhee
Some parents of our competitive students are complaining because we are using a big sheet of material for a piece of choreography and we have billed them for it. The material is being used by all the dancers and not being worn. Who should keep the material? One parent said she wants one-eighth of it when the dance is done. Others say that the studio should cover the cost. What do you think? Thank you! —Macey
My thought is that the school should purchase the material and keep it for future use. It is hard to charge the students for a single item because they cannot each take it home with them. Consider it a prop that you will be able to use again, either in the same way or in some other fashion down the road. —Rhee
My studio has students from many surrounding communities. We love it that our students can balance school, dance, and other activities in their schools and community, and we encourage them to do so.
A new issue I am dealing with is donations. I average three or four requests a week for support, donations, or the purchase of ads for the students’ other activities, including Scouts, Nutcracker performances, and church, sport, and drama groups. Now multiply that by the number of communities our students come from. Where, when, and how do we limit it?
I am not talking about a $25 advertisement in a program book. I am dealing with people requesting $400 banners, $250 advertisements, donations of scholarships, and birthday party giveaways. I know it is a sign of the economic times and that fund-raising is a way that some of these programs can stay running, but it is hurting my business. I don’t want to exclude anyone or appear to support one particular group or town, so how do we tame this? —Paulette
I have experience with this situation. My thought is to come up with one charity or group that your school supports—something that benefits children is the best way to go. Explain to those who seek donations that you support a charity and that is the only group you donate to.
Bear in mind that the more donations you make that include an ad for your school (with your contact info), the more calls you will receive from groups seeking donations. Organizations contact people and companies that have a proven record of making contributions. Every once in a while I do give in and make a donation, but I always ask that the gift be anonymous so that I do not receive donation requests from others. I wish you all the best. —Rhee
The economy has done a great job on my dance studio here in Texas—people are keeping their kids at home and saving their money, plus there are other factors such as other dance studios opening. Most of my students love to do things in groups, so if one decides not to dance, then five of them don’t. I love what I do but it needs to pay the bills like it used to. This is my 20th year and sometimes I want to look for another job because of the money situation, and then I read Dance Studio Life and I get back that hope.
I think I need to reach new customers, but I’m not sure how to do it. I have a large Hispanic population in my school. I normally don’t advertise because word of mouth used to work fine for me. I’m trying Facebook and MySpace since they’re free, but I am not that computer savvy. I need to make ends meet and of course make some profit. Thanks! —Tonya
It is time for you to get new faces into your school as quickly as possible. You have nothing to lose by offering a “bring a friend” week. Allow your students to invite their non-dancer friends to join them in class. (Teach at an elementary level during this week.) Make some sort of an offer to the enrolled students (a discount of 10 percent on tuition or something similar) if their friend registers for classes. You could also offer a discount to any of their friends who enroll.
Another way to bring in new students is to diversify your curriculum. Start to offer hip-hop (if you do not already) or social dance classes. You could do these classes in six- or eight-week increments to determine what’s popular in your area. It also might be a good idea to cater to the Hispanic population by offering dance traditions and folk dances of Mexico, South America, and Spain. Learn all you can about Hispanic culture and dance history so that you will be well educated in areas that will interest the potential clientele within your community. I believe many parents would be interested in exposing their children to dance that has origins in their culture.
Get out of the studio and do performances within your community to expose what your school is all about. At these performances be sure to hand out coupons for a free class in any style of dance. Build mailing and email lists by having a drawing for a month of free classes.
This is a time when you need to be creative by trying new things and overcoming any fears of stepping out of your comfort zone. Sometimes we find ourselves in the type of situation that you are experiencing because it is time to move in a new direction. You have nothing to lose, and this could be a learning experience that sets you on a new path that will lead to much success down the road. Good luck to you. —Rhee
By Mignon Furman
A child who disrupts a class obviously wants attention. If the child is young, explain that you need to have someone hold your hand; then firmly and kindly hold that child’s hand. Or give the child a special place in the front of the class, along with the responsibility of being the class model. It usually works well.
An older student who always pushes to be in center front can be very discouraging to the rest of the class. To avoid this, assign the students to specific places in line and then rotate the lines so that all students have the chance to be in front during each class.
Feeling overwhelmed? Here’s how to say no to others and yes to yourself.
By Suzanne Martin, PT, DPT
Everyone would agree that the year’s end is a difficult time. It usually involves frantic list making, wrapping up the fall season’s dance programs, and facing increased family and social commitments. And then there’s coming to terms with what did and did not happen in the business plan for the year. If that isn’t a recipe for hyperventilating and an impending sense of doom, I don’t know what is.
“Just say no” is a familiar mantra against drug use, yet how many of us are addicted to the adrenaline surge of deadlines and the endorphin rush of people-pleasing? As a businessperson, my goal has been to always give lagniappe to my clients. I learned this French concept from business owners in my native New Orleans. Lagniappe means “a little extra something.” That means giving your clients more service, more friendliness—to dote on them in a sincere manner. It’s a sure-fire win in business. But where does it stop? Here are some ideas on how to tend to business and still enjoy a rewarding holiday time. We’ll boil it down into boundaries and self-sabotage issues.
Boundaries typically fall into two categories: personal and work related. Unfortunately, in the arts world, where what I call “dual relationships” are common, these two often become intertwined. Dual relationships happen when we become friends with or emotionally attached to our employees, colleagues, and clients. We want to provide meals, rides, and chore relief for sick co-workers, or help with carpools and babysitting for special students.
The key here is to differentiate lagniappe from charity and responsibility so that a shift of dependence in others doesn’t become a burden to you. Learn to recognize potential conflicts of interest before the relationship starts. Know the limits of what you can realistically deliver, and if possible, make a written policy to avoid disappointing those who need your help as well as yourself. Email lists are helpful in keeping everyone posted about health news or when organizing an assistance network for a sick or heartbroken person. I admire the preschool rules I hear about from my clients, which fine parents for every minute they’re late to pick up a child. Preschools know boundaries.
Feeling guilty about not coming through for someone is like putting on boots of lead—sure to slow you down. Of course, in extreme circumstances, such as a death in the family or catastrophic illness, letting others into the loop can lessen your load enough that you can do those labors of love. For those non-catastrophic times, decide what your boundaries will be.
For instance, in my practice, I allow limited email and phone consultations outside of office times when necessary. However, sometimes a client doesn’t understand that I cannot be responsible for wakeup calls and hour-by-hour physical meltdown consultations. So I have a protocol: I often use practice advisors—friends and colleagues in similar private practice settings, or former clients who were mentors in my life and can offer me objective viewpoints—to decide how to approach clients who have unrealistic expectations of personalized medical care.
I encourage small business owners to use business advisors. They can lessen the frustration of dealing with needy clients and give a third-party perspective about what is feasible in terms of service. (A nonprofit, national organization that specializes in small business advising is SCORE—Service Corps of Retired Executives.) Sometimes just talking to an advisor can create a dynamic change that will then allow you to move into the next phase of untangling a mess.
Often the most misunderstood boundaries are the ones we hold with ourselves. We may prefer to follow the path of least resistance, avoiding unpleasant confrontations; consequently we do not set limits on what we will tolerate and take on. This behavior often leads to resentment because we fail to identify the true source of our distress. The perpetrators are not the “others” who force us to take on more and more responsibilities, but ourselves, when we refuse to set limits.
Often the most misunderstood boundaries are the ones we hold with ourselves. We may prefer to follow the path of least resistance; consequently we do not set limits on what we will tolerate.
And sometimes we are enthusiastic and exuberant, wanting to be everything to all people, which often leads to “time-debt.” Time-debting behavior is seen in people who constantly run late or don’t show up after making many promises to too many people. What starts as a promise turns into a series of disappointments. This is a potential career-limiting move, since others will move away from an unreliable you.
Both of these scenarios point to lack of understanding of how long things take to get done as well as the inability to acknowledge our own limits.
Take heart—putting the reins on runaway overbooking doesn’t have to squelch your productivity and joie de vivre. I surprised even myself when I added writing books, producing DVDs, and earning a doctorate to my already busy life. But I did have to learn tricks. Learning the limits of self-discipline requires trial and error. No one is perfect, so give yourself a break.
Look in the mirror and repeat after me: “I can change only myself, not others.” But to change a behavior, first you have to identify it. This is the idea behind mindfulness. Spend a week—OK, four days since you’re pressed for time—noticing all the times you add to your to-do list without really being invested in those activities. The idea isn’t to promote the “I/me/mine” movement, it’s to fully engage in and commit to what we’re agreeing to do.
Being overwhelmed scatters us. It keeps us from focusing on what we need to do to achieve the success we seek. Getting a grip on overbooking behavior can mean the difference in coping in the short term and achieving our goals over the long term.
Once we’ve decided what is meaningful to us, prioritized our interest areas, examined our motives, and resolved to forgo the unnecessary, the question becomes “What’s stopping me?” In his recent book, Excuses Begone! How to Change Lifelong, Self-Defeating Thinking Habits, Wayne Dyer offers ideas to help put less-than-useful behavior in perspective and plant the seed of change. He lists 18 excuses that keep us from doing all that we can for a fulfilling life.
One technique he recommends is to recite affirmations to yourself just before you go to sleep, allowing the brain to assimilate the desired effect during sleep. We are often overwhelmed by fears of not accomplishing everything we’d like to and frustrated when we can’t find time for the things that are important to us. Dyer recommends identifying your excuses and reversing them with a positive affirmation. Stir up as much feeling as you can muster for best effect.
Going a step farther is author Noah St. John, in Permission to Succeed. He believes that success is more naturally driven than failure because in nature success is crucial to ensure the continuation of the species. He says the brain responds better to questions than to statements (the usual format for affirmations) and that the brain is very good at negative self-talk (“Why am I so dumb?”). He advises “re-forming” the brain through positive self-talk in the form of “why” questions, which he calls “afformations.” He states that “Why?” is a motivating question to the brain, a command to seek an answer. His afformations concentrate on strengths, even if imagined, rather than deficits, using questions such as “Why am I so attractive?” or “Why am I presented with so many opportunities?”
Examining and working on your boundaries and practicing positive self-talk may take some practice, but why not start now? By January 1, 2010, you could be A Better You.
I have faith in you.
Advice for dance teachers
I am a studio owner who is starting to see the effects of the economy in my area, and I’m worried that this will be my last year due to financial pressures. I have been in business for seven years. I just took 17 kids to Dance the Magic in California and had a great time. My clients are happy, but the numbers are just not there. If I can’t get out of this debt, then I will have to close, and I really don’t want to do that. I’m doing everything I can, but with seven dance studios in a five-minute driving radius, I just don’t think I will survive.
I have asked my landlord for a rent reduction, and I did get a little reduction but not enough to really help. My rent for 2,356 square feet is $7,000 a month. I can’t afford to buy a lot and build, as land here is $2 million and up.
What sets me apart from my competitors is that I have 20-plus preschool classes every week. I have only 185 students, and the classes that usually fill are not filling this year. We offer preschool classes for ages 2 to 5 years, classes for kids 6 to 18 years, competitive opportunities, and 12-week programs for those who don’t want to take class for a full year. I think I have a nice variety of classes for all ages and commitment levels.
I’m disheartened because I have goals for my studio and it has been a success, but with $12,000 of debt last year and possibly more for the upcoming year, I don’t know what to do. I have no idea how the other studios nearby are making ends meet.
I love my students and my studio, but my heart is breaking because I don’t see how the school is going to be open a year from now. Thank you for helping me figure out a solution. —Jacqueline
Thanks for sharing your story. Your love of teaching dance comes through in your email. You write about the many participation options that you offer, which is good, but one thing that stands out is that you have so many preschool classes. You also know that those classes set you apart from your competitors. It sounds to me like the path you need to follow is already there: the preschool market, especially during this economic downturn.
Some school owners want to emulate the school up the street because that’s what they think they need to do to stay in business. Knowing what sets you apart from the other schools in your area is a grand realization. The real secret is to be unique among all the others who are the same. Preschool dance is a huge market, and it’s the base for a school owner’s future success. Keep all those preschool students loving dance and they’ll stay with you for several years. And just imagine how many students you will have five years from now.
I realize that the Disney trip and the competition aspect of the school are important for you (and for many school owners), but look at it this way: If you are focused on 17 of your 185 students, that’s a little less than 10 percent of your school’s population. If all your energy is directed at ways to bring in the preschool population and keep them for years, and you are a success, then you can afford to focus on the minority population. But right now that is not the case.
One way to begin to build your enrollment is to offer your current preschool parents coupons for free classes that they can distribute to their families, friends, and neighbors. This is an inexpensive way to attract new faces to your preschool program.
Also, as a follow-up to your September registration, think about adding a mid-October or November registration that focuses on bringing in a new crop of preschool students. The holidays are also a good time to offer special promotions for preschool options—and they’re an excellent time to market to the grandparents who would love to see their grandchildren in a dance class.
Bottom line: Go nuts coming up with concepts to attract the entire preschool market in your area. Don’t stop until you’ve reached your goal. Gaining 50 new preschool students this year would probably get you out of the hole; working to keep at least 30 of them next year and then bringing in 50 more would set you ahead by 80 students. Think about the possibilities if you could accomplish this goal every year for the next five years!
Don’t spend another minute worrying about what is going to happen down the road. Take that energy, along with your passion and creativity, and use it to make your secret weapon—your preschool program—and then your school one of the largest in the area. All the best to you. —Rhee
I want to ask your advice. We have master teachers coming out to choreograph some competition routines for us, which we do every year. Last year one of our choreographers set the same dance on another studio. At this year’s DanceLife Teacher Conference, we asked Joe Tremaine if it would be offensive to ask them to sign a contract this year saying that they will not teach the dance they make for us to any other studio. Not having one is very risky, considering that we go to nationals and could run into one of those schools and find out their competition entry is the same number we are doing. How do I word the contract and present it to them without offending them? Thanks so much! —Becky
My best advice is to simply go for it without any fears and with confidence. It is not unreasonable to let the choreographers know that you don’t want the choreography set on your students used at another school. In my mind, you are paying them for their creativity for your students. Don’t think about whether you’re being offensive; this is really you standing up for yourself and your students. You have nothing to feel guilty about. I wish you all the best. —Rhee
I am going on my seventh year in business. I started in July of 2003 with a friend as my business partner. She controlled more of the business side and I did the majority of the classes. This past year, she decided to leave and sold her portion to another friend/teacher who I was more than happy to take on as a partner.
Now things have spiraled out of control. The studio has grown and continues to grow; however, I am only making enough money to cover the cost of running the business and have not been able to receive a steady paycheck. I don’t feel knowledgeable enough to take over the entire business part of the studio, but how can I afford to get an accountant to take care of it when I can’t pay my partner or myself?
I also feel that there are things that my past partner did that might come back to haunt me. I do not want to lose my business or my sanity and I am scared that I might end up doing both if I don’t do something.
I feel like I need time to stop and fix the problem, but of course that can’t happen. And I feel that things are getting worse. I don’t know where to start to get control and how to do it without putting myself in a hole (which I already feel I’m in). Do you have any suggestions? —Tory
You can’t afford not to go to an accountant. The issues that you are concerned about are far beyond what you can fix without the advice of a professional. If you see your business growing, yet you cannot draw a paycheck and you don’t know why, then you need and deserve answers right away. Living in fear that actions taken by your former business partner may come back to haunt you is all the more reason to get the help you need. It’s time to put yourself and your future first and get to an accountant right away. If you are worried about financing the accountant, tell your business partner that you want this to be an expense for the school and don’t take no for an answer. Good luck! —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
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
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
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
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
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
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
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
Advice for dance teachers
I recently discovered that one of my students, Joanne (not her real name), who is 15 and has been with me since she was 3, is having issues with drug addiction. This young lady is talented, sweet, and focused when she is at my school. I have taken her under my wing because her parents have had their own problems with drugs and alcohol. Sometimes I see her sitting outside, waiting for her ride home, and it never comes. Her parents forget to pick her up, so I give her a ride. A couple of times she has cried all the way home because she’s embarrassed. I assure her that I don’t judge her by her parents’ actions and that I will be there for her if she needs anything.
I had no idea, but Joanne was also taking drugs, which she was stealing from her parents, and she went into a drug rehabilitation center for 30 days. I visited her right away and I would have been there every day, but the center limited her visitors at first.
Joanne’s predicament threw a monkey wrench into several pieces of competition choreography. We fixed the choreography and, in some cases, replaced Joanne with another dancer. Joanne’s classmates at the school have been very supportive and have sent her cards. I am moved by their kindness and sensitivity. They amaze me with their nonjudgmental attitude toward Joanne, but I know it is because she is such a good kid; you can’t help but love her despite her problems.
Then I received an email from a parent who told me that she would not bring her daughter back to my school next year if I accepted Joanne back in the fall. She says she thinks Joanne is a bad influence on the other children and doesn’t want her daughter in the same room with her. Throughout her email she degrades Joanne, calling her a loser, and I cannot write what she wrote about Joanne’s parents. I felt hatred in her correspondence.
I don’t think Joanne is a loser; she is a victim of her circumstances, and I feel that she needs the support and normalcy that dance gives her. Her studio family is much more supportive of her than her parents are. She needs dance in her life.
I feel an obligation to do what I can to help her, but the mom who sent me the email tells me she is not alone in her belief that Joanne should not return to my school. There is no way I am going to give up on Joanne. Can you help me with some advice on how to respond to this mom and the other parents who feel the same way? —Anonymous
You are to be commended for being what I think is a true teacher—one who does not judge her students and who is there when a student needs help and support. Some teachers, out of fear of losing students, would give up on the child because of the risk involved. I admire your determination to do what is best for Joanne.
I always tell dance teachers that they have much more responsibility than teaching steps or enlisting new students. The most important gifts they can offer to their students are self-esteem and a sense of belonging. If Joanne develops a passion for dance, I believe it will have more influence on her future than all the negative stuff that her parents are throwing her way. Every child is in your classroom for a reason, and regardless of what happens in Joanne’s future, I am sure that she will never forget the dance teacher who believed in her.
So what to do about the email? Call the parents together for a meeting to discuss how you feel. Explain that you wouldn’t give up on their children if they found themselves in the same circumstance. I have a feeling that the mom who sent you the email will realize that her attitude is wrong and that the majority of the other parents will stand behind you. If she does pull her child from your school, then it will be her loss—and her child’s. It sounds to me like your school is the perfect place for young people to grow up in and that you are a special teacher.
Another thought: Look through your roster of students to see if one of them has a parent who is a counselor or psychologist who might offer you some advice on dealing with the parents. Better yet, maybe you could ask that person to come to your meeting to support you and offer input.
Bravo to you for setting an example for all of us. —Rhee
I am wondering what your opinion is on newspaper advertising for registration. I have done very little print advertising in the past, but some of my competitors are taking full-page ads in the local newspaper and I am not sure if I should be doing the same thing. Do you think they are gaining students whom I will never get because I don’t advertise in the newspaper? —Laura
Good question! Recently I did a survey of dance school owners to determine their advertising strategies. It turns out that more than 67 percent of respondents are advertising in local newspapers. The only form of marketing that came in higher is a website, at a little more than 71 percent, but many of those with websites are also doing newspaper advertising.
In my research I have discovered that it takes 13 views of a logo for it to sink into a reader’s mind. So my strategy would not be to run full-page ads, because the majority of school owners could not afford 13 or more ads of that size. Instead, I would go with a series of smaller ads, run more often. I think ads that are one-sixth or one-quarter page, running over a series of weeks, would be more effective than a couple of full-page ads.
A few more statistics from our survey: Almost 53 percent of school owners are marketing with direct mail and postcards, but Internet marketing is on the rise. Email blasts are up 15 percent from our last survey at almost 26 percent, and social networking sites (which didn’t even show up in past surveys) are at almost 13 percent.
The bottom line for all school owners is to experiment to determine what works best for their business. Always ask those who inquire about your school how they heard about you to determine which marketing strategies are working best for you.
By the way, my brother’s school is still doing newspaper advertising, but his ads are much smaller than they were several years ago and he has gradually incorporated more Internet marketing to cover all the bases. If you can afford it, I think diversity in marketing is the key. Good luck! —Rhee
I am currently employed at the school I grew up at. Three years ago, I was offered $12 per hour for my classes and I was thrilled to be paid for doing something that I love. Now I am headed into my fourth year of teaching and I am taking on more classes and some of the office work (which I am not paid for). After four years, I feel that I should receive a raise, but the subject never comes up from the school owner.
When I started, the owner taught about 30 hours a week and I did about 5 hours myself. Now I am doing the 30 and she is doing about 5 hours. Frankly, I feel like I am being taken advantage of, but I don’t have the guts to speak up. This school has become my entire life, but I can’t afford to move out of my parents’ house, nor do I have time to take on another job. What are your thoughts? —Michelle
I’m not sure why the owner of the school has not taken it upon herself to discuss your compensation, especially after you have been working at the same rate for three years. She may believe that the increased hours she has given you are compensation enough, but that is just a guess on my part.
Obviously, you have the confidence and the passion to be a good teacher, otherwise you would not be handed more classes each year. It is time for you to grab on to that confidence and speak up to the school owner (in a kind way). Let her know how much you love what you do and that you are willing to take on whatever she needs from you, but also explain that you would like to be able to afford your own place and make a living by teaching for her.
Hopefully she will understand your position and appreciate that you are standing up for yourself. If not, you may have to do some thinking about whether this is the right place for you to be employed. I wish you good luck. —Rhee
Advice for dance teachers
I am a ballet school owner who has been in business for 21 years. Recently a student’s mother told me that her daughter would not be returning in the fall because they feel that I am old-fashioned. (I am 44 years old.) The mom said that requiring my students to wear a black leotard and pink tights to ballet class was “out of style” and that her daughter wanted to wear colors that would look better with her complexion. She also told me that it was ridiculous to require my students to wear their hair pulled back.
Students sometimes quit because ballet isn’t right for them or because they want to try something else, but I’ve never lost a student because I was “old-fashioned.” My dress code has been in place since I opened my school and I have never had a complaint about it.
What really concerns me is that this student is very popular at school and among my other students. She and her mother are badmouthing me, and I am afraid I will lose other students because of the dress code. I am so upset that someone would leave my school because of something that has nothing to do with the quality of my training. Should I eliminate my dress code? Please help! —Mariah
Please don’t give in to this ridiculous mom and student. There are parents and kids who don’t understand or appreciate dance like those who have the passion do. It’s OK; we will not win everyone over all the time. But we are the spark that lights the fire for those who choose to discover the dance in their soul! It’s sad, and hard to understand, but some students look in the mirror and notice their complexion and not the dance spirit that is looking them in the face.
If you don’t already do it, I suggest that you include a statement about why you have a dress code in your literature or handbooks. When students and parents understand that there’s a reason for the dress code, they are more likely to accept it without question.
If you are “old-fashioned,” so am I and so are thousands of other dance educators who read Dance Studio Life. I will wear that badge proudly, and I’m sure others would too. You are to be applauded and appreciated! —Rhee
My dance studio is in its tenth year of business. It is fairly small, but I keep trying new things to attract more students since two other studios are nearby. Since I am older than most studio owners just starting out, I have younger teachers working for me. All of them were my students.
One of them, whom I have known since she was a baby, is in her early 20s, and her mother is my receptionist. Occasionally I get complaints that she is too strict with the students, and I have to defuse the situation with the parents so as not to lose a student. Then there are students whom this teacher gets really close to—she babysits them, drives them to and from the dance studio and competitions, and takes them on outings.
At a competition this teacher told one of my students that she was getting too close to one of the team members and needed to be friends with all of the members. The girl was devastated and her mother complained to me. We have had some clique-type trouble at the studio, but I felt that a competition was not the place to take care of this. When I told the teacher that she should have let me deal with this situation, she went crying to her mother. Every time I try to discuss problems with her, this is what happens, and then her mother becomes angry with me.
I can sit down and discuss problems with my other teachers like adults. Is it a problem that this teacher and her mother get so close to the students? I feel it compromises the student–teacher relationship and that other students might see the behavior as favoritism. How should I handle this? —Ashlee
The first thing that comes to mind is that this teacher is not mature enough to be teaching. If she were, she would understand that a proper teacher–student (or teacher–parent) relationship should be professional at all times. That means that teachers don’t hang out with their students. This teacher should baby-sit only children who are not her students, and she should not be taking her students on outings.
There is another conflict here: the teacher’s mom works for you and gets mad at you for telling her daughter (one of your employees) what you expect as boss and owner. This teacher and her mom don’t understand the professional side of the relationship.
The fact that you have to deal with one ounce of stress when speaking your mind to an employee is a situation that you need to change. Employees who cry when they are told how they can improve or what is expected of them are not emotionally ready to be teaching.
Yes, you are the one who should be handling the clique issues you described and a competition is not the place to do it. Have one last talk with this teacher and her mom, and if things don’t change, then it’s time for you to initiate the change that has to happen. I wish you luck. —Rhee
We are having a big problem at the school where I teach. It is early registration time for next year, and suddenly people don’t want their children to be in the same class as some other students. The owner of the school is very good at letting the students know that that they belong in the class she has put them in. I know parents want their children to be in a more advanced level, but that isn’t so much the problem. It seems like people think they are better than one another and don’t want to be in class with them.
This idea is so far from the studio culture the owner has created. Our students are diverse—all ages, races, religions, and sizes. It is truly a melting pot and everyone is accepted for who they are. The philosophy of the school is making sure that every student who walks through the door feels loved and accepted. The owner is always on her game and nips any gossip or negativity in the bud, so we can’t figure out where this is coming from.
Any advice you have would be greatly appreciated. If I learn nothing else from this experience, I am learning how, if I ever become a parent myself, not to behave. —Annabelle
Although the behavior of these parents goes against your school’s philosophy, it’s obvious that they feel comfortable enough to express their opinions. So in order to solve this problem, you and the school owner need to figure out why this has happened. Has one mom spread her opinion to other parents, causing them to jump on the bandwagon? Could it be that the parents have been allowed to express their opinions on similar things in the past and so they feel perfectly comfortable telling you who should or should not be in their child’s class?
The parents need to be told that the school owner is the only decision maker regarding class placement and that their input will not be considered. She is the person who knows which students need a challenge and which are not ready for it, and she is a professional when it comes to those decisions.
It’s time for her to make changes so that parents don’t feel comfortable enough to tell her how to run her school. My first instinct is to say something along the lines of, “I appreciate your opinions, but decisions on class placement are based on my professional knowledge. I’m sure you wouldn’t want me to listen to an inexperienced parent who thinks your child isn’t capable of being in a particular class.”
Talk to your boss about how you can keep fighting for what you believe is the right culture for the school, and tell her I said not to let anyone tell her how to do things. All the best to you. —Rhee
By Mignon Furman
What age to start pointe work? This is a question frequently asked by teachers, and my advice is not before 10 or 11 years of age. But the most important criterion is not the age of the dancer but her strength. Are the ankles strong? Are the muscles around the knee stable? Can the child hold her body correctly with the weight over the three points of the foot (big toe, little toe, and heel)?
An important factor in developing strength is how many lessons the child takes per week. My preference is to put on pointe only those children who take a minimum of three classes per week.
Once a child is ready to start pointe work, the teacher must make certain that the pointe shoes fit correctly: too big, and friction can cause blisters; too tight, and dancing with cramped toes (instead of relaxed toes that lie flat in the shoe) can cause injury to the Achilles tendon. A good, knowledgeable shoe fitter is a necessity.
By Mignon Furman
Hyperextended (or swayback) legs create a beautiful line but present problems with strength and stability in some areas, including pointe work. When working on pointe, the weight needs to be well forward and the knees must be in line over the toes, not pushed back.
Teachers often ask whether it is better to tell students to get the knees straight and allow the heels to be slightly apart in first position or to stand with the heels together and the knees slightly relaxed. I recommend standing with the heels together and the weight more forward than normal. The knees should be as straight as possible and one knee must not be in front of the other. A therapist once advised me to put a small, soft lift in the heels of the shoes; it certainly helped to get the weight forward.
Advice for dance teachers
For more than 25 years I have been teaching at the studio where I trained as a student. I loved working for the school owner, who was my teacher and a tremendous mentor. Last year she had a stroke and has been in a nursing home for several months. It does not look like she is going to become well enough to return home or back to the school.
For the last several months I have been working for the school owner’s son, who has been put in charge of his mother’s estate. The problem is that he knows nothing about dance, the business, or the people who have been loyally working for his mother all these years. He arrives every night to collect the day’s deposits and continually makes remarks about how he doesn’t trust those who are working for him.
Last week, he told our studio manager (who has been working there longer than I have) that he suspected her of stealing from the business. He said this to a woman who is closer to his mom than anyone in the world; they are best friends. That was her last night at the studio. After he had expressed his views she walked out, never to return. I have spoken with her several times and she is devastated over losing her best friend and the fact that anyone would accuse her of stealing. She just isn’t that kind of person.
Now our studio manager is the owner’s daughter-in-law, who had only been to the school once in her entire life. She is not friendly to the staff or the clientele, and the atmosphere of the school is very dark. There is no more camaraderie or laughter. Everything is serious and the focus seems to be on how much money is coming in.
It is hard for me because I know that the school owner would be humiliated to know what has happened to the school she loved so much and that her faculty is being treated the way it is. I believe that it is time for me to leave. I taught all these years for the joy of it, not because I needed the money. My issue is that I don’t want to let my teacher-mentor down. I have tried to hang in there, but each day at the school has become heartbreaking to me. I don’t want to work for the son and daughter-in-law any longer. Can you offer some words of wisdom? —Melody
What a unique situation! I can’t help but think that your circumstance is really about how life changes and nothing stays the same. It took me until my early 30s to accept that change is inevitable and that we can’t live our lives wishing things could be the way they used to be. All we can do is cherish the memories and move on to making new ones.
For more than 25 years you have been a loyal employee to your former teacher and boss. Let go of any guilt that you may have over making a decision about your own future. If this school is not the same as the one you started working for, then this is your curve in the road that leads you in a new direction. That is not something that should cause you guilt. Everything happens for a reason, and that means that there is a new door for you to dance through. All you have to do is look for it.
Get yourself out of the toxic work atmosphere and let the studio owner’s son and daughter-in-law do things their way. They will learn that loyal employees are vital to running a successful business or they will fail. But whatever happens, you will have nothing to do with it. All you need to remember are the good experiences you had working for such an awesome teacher. And realize that you will always have her with you in your heart, because you have those memories of the good times. Let go of the old and get ready for the new. I wish you all the best. —Rhee
Thank you for being such an inspiration and role model for dance teachers everywhere. I have a question about studio managers: What should the wages be? I recently moved to a new location, and my studio manager/bookkeeper (who used to work out of my home) now has a full presence at the studio. She works the desk while doing the books. We also have senior girls who work the desk and get paid minimum wage. My husband (who handles the budget) is concerned that my studio manager/bookkeeper is getting paid $25 per hour to work the desk, compared to the senior girls who get paid minimum wage. Thank you! —Karen
My thought is that you are right on track with how you’re handling the wages for both the students and the studio manager. Your husband needs to take into account the fact that your studio manager is doing more than merely staffing the desk; you are paying her for her bookkeeping work, too. The average studio manager makes $15 to 20 per hour, so you are above average on that one. I think minimum wage is right for the students. If they were to work outside of the school, in many cases, they would receive the same compensation you are offering them. By the way, many school owners do not pay students to work the desk but instead exchange lessons for their work time. I wish you all the best. —Rhee
What are your thoughts on joining one of the organizations for dance teachers? I have been avoiding becoming a member because I have heard that there is a lot of petty jealousy and politics in the groups in my area. I have a friend who was expelled from one of the organizations because another member lost a student to my friend’s school. The organization accused my friend of soliciting the student, which wasn’t true.
I am interested in joining because I want to take the classes and workshops they offer. I know I need to stay on top of my teaching skills and going to the big city to take class is not an option for me. I also think I would enjoy networking with other teachers, but I want no stress in my life. And I don’t want any part of the politics. Is it possible to be a member without getting involved in the pettiness that I hear about? Thanks for your input. —Jane
I am a second-generation member of a few of the dance teacher organizations and I have witnessed and experienced the politics you describe. However, I feel that I have benefited from being a member. The classes and workshops offered have enriched my teaching skills, and the lifelong friendships I have made with other teachers (even my competitors) are something I wouldn’t trade for anything.
One of the things I discovered a long time ago is that much of the politics has its roots in the competition end of the organizations. My suggestion is that you join with a focus on continuing your education and not getting involved in the competition side of things. The original intent of the organizations was to bring teachers together to share and learn. If enough of us join with this as our philosophy, we will eventually get back to a place of respect and camaraderie among dance educators. Who needs the politics when we all share the same passion for our art? So yes, I do recommend that you join for the right reasons and I am sure you will benefit tremendously. Good luck! —Rhee
A parent at my studio has been talking in the lobby about how she can’t wait for next year, when her daughter will do the dance team at school and take dance at my competitor’s studio. (My competitor coaches the local middle and high school dance teams and requires the dance team kids to take class at her studio, which I feel is a conflict of interest.)
I would like to give this parent a refund and tell her that she can just go to that studio right now. Is that wrong? And what should I do if she backtracks and says she doesn’t want to leave, and then next fall she is gone? I would love to know what you would do in this situation. —Denise
Any negativity being expressed in your lobby needs to be confronted as soon as you know it’s happening. I would have no problem sitting down with this parent in my office and letting her know that it is time to move on. As for the possibility of her backtracking and telling you that she wants to stay, explain that she needs to go to the competitor’s studio now because it is |obvious to you (and other parents at your school) that she is not happy with your school, and let it go at that. Wish her and her child all the best, and then focus on all the other students who do appreciate your school. Good luck! —Rhee
By Mignon Furman
How do you get students to keep straight lines when dancing in a group or ensemble for a competition or recital? It’s simple: Teach them to look directly at the back of the head of the dancer in front of them (right at the bun, if it’s a girl).
When turning and moving the lines in a sideways direction (i.e., toward the wings), the focus of each dancer’s eyes needs to be on the side of the head of the dancer in front of her.
When dancers are moving in a circle, often the circle becomes smaller or elongated, like an egg shape. To maintain a good shape of the proper size, the dancers must keep their eyes on the outside shoulder of the dancer in front of them.
Advice for dance teachers
This year a family left our studio, which was expected and is really better for the studio as a whole. The problem is this: They convinced six other families to go with them and have been harassing the studio since they left. They continue to solicit other families in our studio to leave and have posted nasty comments on Yahoo yellow pages. I would like to stop the nonsense, but I have run out of solutions. I also found out that they are planning to use some of the choreography that my daughter, the director of the studio, choreographed with one of the students who left. I am going to copyright all of our dances, but I wondered if there is anything else you can suggest. Thanks for your help. —Colleen
Become a pacifist! The best way to eliminate this problem is to drop your weapons and refuse to fight. Yes, watch out for the Internet postings and take care of them when you can, but each moment that you spend thinking about or strategizing on how to fight back, you are diverted from your own school’s success. If these traitors are able to distract you or cause you stress, then they are winning the battle.
You must be a successful school owner who has built a reputation that is respected by your community or you wouldn’t be in business. Give yourself a pat on the back for your accomplishments, hold your head high, and think of ways to give your clientele the best dance experience possible. Refusing to allow yourself to be distracted by pettiness is a win–win strategy for you and your students, because you stay fresh and your clients benefit from your ever-growing enthusiasm.
On the other hand, if you fight back and talk about this with everyone around you, including your clientele and faculty, you are simply lobbing fuel onto the fire. If everyone around you knows about the situation, people are probably gossiping about it and some of them might be talking with your former clients. Realize that that kind of behavior is beneath you. The next time someone brings it up, say something like “You know, I’ve decided to wish them the best and forget about it; I’ve got too much good stuff that I need to do here to be distracted anymore.” You’ll flip out the gossipers, who won’t know how to react, and the others will respect your professionalism. And forget about the choreography—you’ll be moving on to bigger and better dances!
Becoming a pacifist doesn’t mean that circumstances like this won’t hurt. But sometimes that pain is your kick in the butt to make changes, because you’ll be dealing with the same situations many times over the life of your school. Good luck! —Rhee
This year I purchased the studio where I had taught for a long time. The transaction happened quickly because the previous owner had financial problems and could not continue past her last recital. I assumed the lease and reopened with the previous owner and her faculty as my staff—so far, so good. The previous owner seems thankful to be rid of the school responsibilities.
However, I am going to face a big problem after my recital because I will lose most of my faculty. Two teachers are getting married; one is moving out west; another has opened a school in a different area. The one person who will remain is the previous owner, but she wants to teach only one day a week, with no other responsibilities.
At age 48, with 31 years of teaching experience, I don’t want to be the only teacher pounding the boards every day. I’ve added a second room to the school, so I have double availability all week, but no faculty. Can you offer any advice for finding new teachers? —Annie
First I want to congratulate you on your new school! Although the previous owner obviously assembled a successful faculty, consider this your opportunity to infuse your personal influence on the future of your school. I suggest that you don’t think of this situation as a problem; instead, think of it as a new beginning for you and your school.
Another thing that’s very positive about your circumstance is that you have a lot of time to find good teachers. More often than not, school owners don’t find out that they need to hire new faculty members until the last moment.
I do have some suggestions for you. First, add an “employment opportunities” page to your website. Describe what you are looking for and encourage potential candidates to send you their resumes and maybe a sample of their choreography. Not only will you find potential regular staff members, but you might find some teachers who can sub, too. I suggest that you keep the page up on your site all the time; you never know when you will need a new teacher, and by keeping resumes coming in, you’ll be on top of who’s available in your area.
Second, post an employment ad on craigslist.com. It’s a community bulletin board that is widely used by businesses for hiring purposes. I have had luck with it in the past.
Third, create a flyer to send to universities, colleges, and professional dance schools in your area. Specify what kind of teachers you’re looking for, along with basic requirements and responsibilities, and include your contact information.
Fourth, contact the dance teacher organizations in your state. They may be willing to tell their members that you are looking for teachers.
And fifth, check with other school owners. They might have faculty members who are looking for additional work.
Once you’ve screened the candidates, ask them to teach a class so that you can determine whether they’re a good fit for your students. If they would be teaching all levels of students, give them a class of recreational students first. If they are capable of teaching the rec students (the lifeblood of your school), then try them out with the more advanced students. I wish you all the best. —Rhee
I have an assistant teacher who is 16 years old and has been with the studio for nine years. She has been very dedicated to the studio and says that she wants a career in dance. Recently I learned that she is taking classes at another studio on a day when she does not assist or have classes at my school. I know it is important to take a lot of classes to better yourself as a dancer, but since she is an assistant, is there any reason for me to be cautious? Should I set any limits on assistants taking classes outside of my studio? Should I make them sign a contract saying that they cannot open a studio for a certain amount of years or assist at another school while they are assisting for me? I want to make sure that I handle a situation like this correctly if it is a problem. I have a meeting with assistants before each session about what is expected, but I have nothing in writing in regard to this. I would appreciate any advice you could offer. —Robin
Good question, but not an easy one to answer. On one hand, I would want my assistant teachers to take every class that they could because doing so would only make them better in my classroom. If they were motivated to enhance their teaching skills or to become a stronger dancer, then I couldn’t help but encourage them to be the best they could be. On the other hand, if your assistant’s motivation might be to teach for your competitor eventually, then I probably would speak up in an effort to head off any future conflicts with both the assistant teacher and the other school.
I think you need to have a heart-to-heart talk with your assistant to discover what she’s thinking and where she sees herself in the future. Do it in a mentor-to-student way, not in a confrontational way. That way you will know whether you have anything to worry about. If all is well, then it’s probably time for you to guide your assistant in the direction that best suits her desires, instead of letting her try to figure it out on her own.
As for the assistant teacher contract, I had not heard about anything like it until my last conference, when a couple of school owners said that they have one with their assistants. But you would need legal advice on that topic, because with assistants you are usually dealing with teens who can’t sign a legally binding contract. That might be more trouble than it’s worth. But it is definitely time to talk with your assistant. Good luck! —Rhee
I have a student who has a mischievous side that seems to come out when she is at my school and, from what I understand, at public school too. She does things like drop mean notes in the other students’ dance bags. Sometimes she calls them fat or ugly and is always just plain mean. She never signs her name to the notes, but we have determined that it is her because of the handwriting.
On the other hand, she is a model student in class and is always respectful of the teachers. I feel like I’m dealing with a Jekyll-and-Hyde personality. I’ve never run into anything like this before—it’s a scary situation!
My solution was to have my students leave their dance bags in the school office. Now they are receiving anonymous emails with basically the same messages they got in their dance bags. When the kids write back, they get a message that says, “Undeliverable; no such email address.” I feel like I need to speak to the student and her mom, but this mom volunteers to help with anything we need and is always praising the positive impact our school has on her daughter. I think she would be shocked to hear this about her daughter, and I don’t want to hurt her feelings. Please offer me some ideas on how to handle this. Thanks. —Frustrated Teacher
You are right that her feelings will be hurt, and she shouldn’t blame you. But don’t be surprised if she does get angry; as often happens when people get upsetting news, they “shoot the messenger.” Once she has time to process what she’s learned, I’ll bet that she will realize that her daughter, not you, is the problem and do what is necessary to get the girl the help she needs.
Remember that this child might have a lot of insecurities that have nothing to do with dance class or your school. This could be her way of telling the world about those insecurities. She is probably hoping to get caught because she needs help and this is the only way she knows how to get it.
Most likely this is a child who needs dance and the confidence that it can build. Do your best to let her know how much you appreciate how well she does in class and that you want the best for her. Believe it or not, I dealt with the “notes in the dance bag thing” myself, and the student who wrote those notes is now a professional dancer and choreographer who really has her “stuff” together. I hope that’s how this turns out for you. —Rhee
I’m curious about your opinion on opening a second school. Our school is completely filled and now we are turning away students. We can either open a second location or expand at the space we have right now, but I’m not sure which direction to go. Any suggestions would be appreciated. —Kaylynn
This is a good problem to have! From a business perspective, I recommend expanding at the location that you already have. Although I know many school owners who have more than one location, some tell me that they have a hard time giving both equal attention. You will have more control managing a business that is all under one roof than you would have traveling from one location to the other.
Expense-wise, it would be cheaper to simply expand your current school. With two locations you need two of everything, from telephones to office staff to maintenance to equipment. It’s better to expand with lower overhead than to double your expenses. —Rhee
I started my studio at age 20 (10 years ago), and in that time the studio has expanded and I have gotten married. Over the past five years I have struggled with the studio, business, and family life. Knowing that my lease was up in five years, I have tried everything—delegating, not teaching as much, and being home at night, then still not being happy and going back to teaching full time on top of dealing with the business end. It’s an endless cycle.
Here we are five years later, and in May I have to sign a lease to continue if I want to. Then here comes the economy—enrollment has dropped a tad and my rent is well over $5,000 a month. I know that in order to keep paying my rent I’ll have to keep raising my tuition prices. So I think, “Move, downsize,” but I have done that already. Now I want to spend time on my house. But my family members say, “How can you let down 300 kids?” And my response is, “What about me? Can’t I spend my Saturday with my family like they can?” (And please keep in mind that there are 15 dance studios in my town.)
I can’t stop thinking about what will happen to the 300 kids that I will disappoint. My husband says I need to be happy and live for me. I am just afraid of what will happen afterward! Please tell me that you have some success stories on this issue. —Sheila
It is admirable that you wonder what will happen to your students if you decide to close your school. However, with 15 other schools in the area, I have a feeling that your students will find a place that they can call their “dance home.” And maybe you can find yourself a teaching position at one of those schools that will offer you the personal time that you need.
School ownership can be very rewarding if you can manage a sense of normalcy, but when you feel overwhelmed or don’t have time to be with your family or work on your house, then it just might be too much. And that’s OK. An alternative to closing might be to hire additional staff to take on some of your responsibilities; however, if that would add a financial strain to the pressure you are already feeling, then don’t go in that direction.
I recently met a dance teacher who had owned a school for nine years but eventually found herself in the same place you’ve described. She closed her school, raised her kids, spent time living a “normal life,” and then opened a new school 10 years later. She managed to have it all and has a much larger school the second time around. I guess you could say that she had the best of both worlds, and so can you. Put yourself first—I think that’s a good thing! —Rhee
This is my 30th year of owning a school and I’ve loved every minute of it. Believe it or not, I have had the same office manager for the entire time that I’ve owned the school. She is part of the reason that I enjoy what I do so much—she’s always smiling, supportive, and looking out for my best interests. Last week she told me that she is moving out of the state to live with her daughter and grandchildren at the end of this season. Although I understand her decision, I feel like I will be lost without her. I fear that I will never have a person like her again. Where do I look for someone to replace her? And how will this new person be able to fill her shoes? —Joanne
How lucky you are to have had the same studio manager for 30 years! Be thankful that she has lasted as long as she has—but you must understand that life changes constantly and this is her change (and yours). My suggestion is to look for a former student’s mom who knows the history of your school and is familiar with how your office manager does things. I don’t recommend hiring the parent of a current student, because that can turn into a conflict of interest.
Pull out your old roll books and look back at some of the moms who loved bringing their children to your school and who would feel nostalgic about returning to the source of such fond memories. They make the best office managers for dance schools.
You need to realize that you will not find a replica of your current studio manager, but in time you will discover that your new manager will bring something fresh to the office. It’s a good idea to bring the new person in to work with your current manager for a couple of weeks before the end of the season; that will give her a better understanding of the school and your needs. And be sure to let your longtime employee know how much you appreciate all that she has done for you. I wish you all good things in this transition. —Rhee