Posts Tagged ‘advise’

Hi Rhee,
I have an interesting question for you. I am a former studio owner, now teaching again for others. Just yesterday the studio owner of one of the studios I teach at called and informed me that, due to financial reasons, she can no longer keep me on. I’m not an employee (she 1099′s me) but also I do not have a formal contract. Believe it or not, that’s not my question! I am the person who has taught all the comp pieces – I taught the classes and did the choreography. She intends on still bringing these dances to competition, has said she will give me full credit. But, I feel the choreography is mine and I don’t wish it used anymore. I am not there to see to it that the choreography is done correctly, etc., and don’t feel she should profit from this. Besides the obvious lesson learned for the future (!), do you know who is right in this? Can she use this choreography because she paid me to teach the classes? Or does the choreography belong to me?
~ Anonymous

Hello Anonymous,
Sorry you have to deal with this circumstance, but this is a good topic for discussion. My opinion is that a teacher is hired by the hour. If in that hour it is verbally or contractually agreed that part of the job description includes choreography for a performance, recital or competition, then the school owns the right to utilize the choreography . . . unless otherwise specified in an initial agreement or contract.

With that said, the choreographer (teacher) should always receive credit for her work . . . if she wants it .

Contracts which include a job description, choreography rights, etc. should be on the top of your priority list when you agree to teach somewhere else. Let this one go as a learning experience . . . a new door will open quickly and it will be a better one. Good luck—Rhee

Let’s see what our readers think? Feel free to comment.

Advice for dance teachers

Dear Rhee, 
After returning from a dance convention, I feel old and out of place. When I was a kid, we went to dance conventions to learn from the masters who would inspire us with their movement, words of wisdom, and sometimes personal attention. I still carry with me today a few words of encouragement from one of them.

Yesterday my students and I returned from what I’ll call a two-day party, also known as a convention. There was no personal touch; the teachers entered through a kitchen door for classes and were escorted out that same door after class by bodyguards who kept the dancers and the teachers at bay. There were loud music and lights flashing in a dark room that reminded me of a barroom atmosphere, and the teacher was maybe 22 years old. He was on one of the reality TV shows—and that’s what made him a master? But he couldn’t count music and had no inclination to actually teach the students; instead he kept telling them to watch him do the combination over and over.

I get that things have changed, but my students paid a couple hundred dollars to learn new techniques and what they got was a two-day show of 20-somethings who loved themselves a whole lot more than the students in the classrooms. Do we really need all the lights and screaming and yelling by both the teachers and the students at a dance convention? And what happened to ballet classes? If the conventions are not offering them, how do we convince our students of the importance of training in ballet? 

I thought I was bringing my students to take from masters who would teach them something to improve their technique and their understanding of the art form, and also inspire them. That is not what they got. What happened to mature teachers with credentials as professional teachers or choreographers? How does a 22-year-old with no teaching experience become a master teacher? 

Although I felt completely out of place, several hundred students were slammed into ballrooms with no room to actually move. That indicates to me that this is what the future is all about, and I am so sad to see what it’s all turned into.

Any words of advice for a teacher who will not be taking her students to a convention anytime soon? —Old Lady 

Dear Old Lady, 
I too grew up attending dance conventions that would be considered old-fashioned by today’s standards, and like you, I was inspired by the master teachers who passed on their experience and wealth of knowledge to students who were hungry to learn. I remember taking from Luigi, Gus Giordano, Beverly Fletcher, Frank Hatchett, Robert Joffrey—and the list goes on and on. As for the atmosphere, it was a big old ballroom, fully lit with no flashing lights or hype. It was simple; you went to a convention to take class, to learn, and to go back to your hometown school with new knowledge.

In defense of today’s conventions, the dance world is evolving in ways that make it far different than it was 25 or 30 years ago, when most students’ goals were to become the best dancers they could be and maybe land on Broadway or in Los Angeles as professionals. But the reality TV shows you mention have produced a different mind-set in younger dancers now. Today, young dancers hope to be on one of those shows, and they strive to make that happen any way they can. Attending these conventions and having the chance to see those who have succeeded at their goal is what they want to do. Maybe, if the reality shows had been around in our day, we would have done the same thing. My brother Rennie and I were on Star Search, and I look at that show as the predecessor of what we see today.

Don’t give up on exposing your students to the dance conventions. Instead, become a little more particular with your choices. There are still many events where the masters of today teach and where you will find ballet classes. Look for the conventions that reflect your values and those you want to instill in your students.

Also, instead of thinking that conventions have changed so much, look at them as offering many more options. There are conventions that focus on hip-hop, complete tap events, and everything in between. The diversity in conventions of today reflects the range of opportunities that dancers have in the new dance world. We wanted more opportunities in our day; today’s options are what we were dreaming of. Though different than we might have imagined, they are there, and the passion for dance is growing like never before. All the best to you. —Rhee

Dear Rhee,
I am struggling with my moral duties as a studio owner. I feel like I try to do the right thing, but this generation of “need it now” students doesn’t understand. Of course, when some of these people don’t get what they want, what do they do? They walk. It seems like it gets harder and harder to stay true to teaching dance the correct way vs having to satisfy every crazy request to be on pointe, every kid (or mom) who wants to move up when they clearly aren’t ready, etc. I even dread picking competition kids because if they don’t make the team, they travel up the road until they do. Everyone says to be patient and my hard work will pay off in the end and my reputation will take over. It just seems like with this generation it will never happen. Thank you for any advice you can give. —Sarah 

Hi Sarah, 
Everyone who reads this column has felt your frustration at one point. What becomes important is staying true to your values. Let go of the worry that some students (or parents) will choose to leave because you have values that don’t match theirs. You know what is right for your students and you’re doing it, instead of simply giving them or their parents whatever they want.

You are teaching more than dance; you are educating children about life. And one of those lessons is simple: You can’t move to step #2 before you’ve accomplished step #1. The fact that you have a standard—that hard work and physical readiness are what get you into a pointe class—teaches children that effort, dedication, and focus pay off.

No, not every parent or student will appreciate that you have integrity, and it will be frustrating at times—but you can go to bed at night knowing you are doing the right thing. That is more valuable than becoming rich by teaching dance. A reputation for honesty, quality, and integrity will pay off in the long run. You need to stick to your beliefs and forget about what others are doing. Be different in your area by becoming the teacher known for doing it right, and you will attract the clientele that is looking for that. I wish you all the best. —Rhee 

Hi Rhee,
I have owned a dance studio for 36 years, which has had a competition team for 34 years. At a workshop this summer, several teachers mentioned that in addition to class fees, they charge a monthly fee for their team members to offset time spent on paperwork, extra rehearsals, costume ordering, master workshops, faculty time, hotel rooms, and gas mileage (all pertaining to competitions). My faculty and I tossed around ideas—perhaps a small yearly fee as opposed to monthly? I have never charged a fee and would love your input on this. —Tory  

Hello Tory,
In my travels I have heard of a couple of options. First is to charge a one-time separate fee that covers the studio’s costs to participate. This could be charged at the beginning of the season in one lump sum or over the first few months. The fees seem to range from $50 to $100 per dancer. The other option is to add a surcharge to the actual entry fees; for example, a $25 fee might be increased to $28.

The key to making this work is to be honest with your clientele. Once you rattle off the list of expenses you described above, there will be little for the parents to question. It is when we charge fees without explanation that problems arise. In most cases, the parents appreciate the honesty. Good luck! —Rhee

By Mignon Furman

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

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

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

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

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

Advice for dance teachers

Dear Rhee,
I read in your Q&A section about studio owners expanding locations. I was thinking about expansion two years ago myself and am glad I didn’t do it. Many homes are in foreclosure and people are losing their jobs—and this is a more affluent area that seemed to be stable. I had 485 students in 2006 and now I have 235, the number I had my first year in business, six years ago.

The students we do have are dedicated and happy, as is my staff. But I am out of money. My expenses in payroll, accounting, advertising, and rent have all increased since my first year. I just had a baby and my 16 instructors and office manager are running the studio beautifully while I recover. I have subs for the six classes I teach. I know I will teach more classes next season, but I am actually considering lowering my rates in order to stimulate an interest in dance and make it accessible to the population again. Any thoughts? —Affected by Economy

Dear Affected,
I am sorry to hear about your circumstance, and I want to assure you that you are not alone. Many school owners across the United States and Canada are feeling the strain of the economy. They too are losing enrollment and finding that the unemployment rate in their area is making it impossible for parents to afford to keep their children dancing.

Although we can’t predict what will happen down the road, I’m finding that dance schools in pockets of North America are feeling the pinch, while other areas have not been hit as hard. The latter group is maintaining their enrollment numbers, and I have spoken with some school owners whose enrollment is actually up this season.

Overall it seems that though many households are forced to cut back on expenses, parents want to keep their children dancing or in their other activities. Keeping your children active is a good thing in today’s society, and many parents are doing what they can to make that happen.

The most important thing you can do is be realistic and start eliminating expenses right away. In your situation, I would think about the possibility of combining some of the smaller classes and reevaluating whether a school with 235 students needs to maintain a faculty of 16. One of the keys to making it through this period is consistent, realistic self-evaluation of your status and what steps you need to take to make it to the other side of this major bump in the road.

Regarding lowering the cost of tuition, I feel conflicted. My instinct says not to do it. I believe that if you do, once the economy improves you will have a hard time increasing your rates to where they are today. And that could make your own economic slump last longer than it has to. If you cut your rates to encourage new enrollment, your current clients will want the discounted rate as well. And if you do not get new enrollment, your business will be bringing in less income than it does today.

That said, if your instinct tells you that you can bring in a good enrollment with this move, then I can’t advise against it. But please look at the numbers first. Know how much your income from your current clientele will decrease and how many new students you must enroll to make up for that loss. Target the additional number of students that you need to acquire to increase your profits, and then do everything in your power to make it happen.

It’s also important to keep your cool and understand that this is about the state of the economy and not about you. Lately I have met school owners who believe that they are experiencing a downturn because they have done something wrong or because they are not good enough. It’s not about the quality of their work or a lack of passion; it is about an economy that is far beyond any school owner’s control. This is a time when dance school owners need to be as creative with their business strategies as they are with their choreography and curriculum. Evaluate where the income is really coming in and know that you must focus on what you do best to stay ahead in the economic game. Let go of your ego and emotions that can keep you from doing what you know is best for your future. Try new things, and look at this as a time when we all need to get back to the basics in life, our classrooms, and our schools.

I wish you all good things. —Rhee

Dear Rhee,
I own a dance studio in a small shopping center with four stores. I am in my third year of running the studio and on the last term of my lease. After attending the DanceLife Teacher Conference last summer, I was ready to get back into the swing of things. But as soon as I got back I found out that one store that was in my center had moved and my landlord had rented the space to a young girl who is starting a ballet academy.

Since then I have not been myself. I am so worried about this ballet studio that it is consuming me. I feel betrayed by my landlord and, most of all, lost. Parents are already asking me if I know who this girl is. And since my lease is up in August, I am scared that my landlord might throw me out, since he knows this girl’s father.

I had asked the landlord to let me know if any space opened in this center. When I found out about the opening and asked him about it, he told me that parking was an issue since my studio uses the bulk of the center’s lot. Then he told me they didn’t want to rent two buildings to one person. I explained to him that I teach ballet too and that we would be competing with each other, and he said that he would have this girl call me to discuss the situation, which she never did.

So my question is, should I resign my lease there and look for another space? Sometimes I feel like quitting, but when I focus on teaching my classes, especially the little ones, I know I love it. I know that right now, especially with the economy, getting a new space might be hard, but I see the benefits of it also. When I go to the studio now, the first thing I do is look at her studio, because she is in the storefront and my studio is in the back. I could use your advice and guidance. —Janine

Hello Janine,
Coincidentally, I recently spoke with a woman who had opened a dance school next door to another. I asked her, “Why did you make the choice that you did?” Before she could answer, I added, “Did it cross your mind that the move would be perceived as unethical?” Her response: “This is America; capitalism is alive and well, and I am taking advantage of the situation, even if it puts the other school out of business.” It’s not very often that I want to smack a person, but I did at that moment.

I relate your tale to that conversation. Yes, America is based on capitalism, but I do believe that there must have been a time when we mixed integrity, ethics, and just plain old respect into the recipe for success.

With all that said, from what you’ve described, it’s time for you to start looking for a new location. Get a lawyer to scan your current lease to be sure that your landlord has the right to rent to a competing business. If there is not a clause in the lease that he is unaware of, then ask the lawyer to get you out of the lease. And while he’s working on that, find a new location. Make your move as soon as possible so that your clientele will be familiar with your new home before the end of this season. That should keep them from entertaining the thought of going to the new ballet school in your former location.

I understand that you are not yourself and that this dilemma is consuming you, but you have to whip yourself into shape to carry on with your dream. You will discover that this is a kick in the butt that will force you to take a leap into something new. Chances are you will be smarter, better, and stronger when this situation is behind you. Don’t allow it to get you down; see it as motivation to make yourself the best you can be, and hold your head high. As corny as it sounds, what goes around comes around. Carry on with your ethical capitalism intact. —Rhee

Hi Rhee,
I have been an owner/director of a studio for 16 years. I have had a group of teens for a while now, my competition team, who are pretty dedicated, good kids. One of them is the daughter of one of my teachers. That teacher told me that a girl who is very negative and disrespectful is upsetting her daughter, and she mentioned going to another studio if her daughter is not happy here. I love this teacher and her daughter; they are very loyal and hardworking. I would hate to see them leave because one girl is upsetting them. Then I heard of two other girls who are not happy and may go to another studio next year, and I don’t know why.

I called the mother of the girl who is negative to see if she could talk to her daughter about being more positive and having more respect for her teachers and fellow dancers. She told me she has not been happy. So five people are not happy, and my competition team is small, only 20 kids. I know at this age the girls can be very cliquey.

How do I handle this? I would say I run a disciplined school, but I have to admit that I can be a pushover. It seems like when the kids get in high school a lot of them leave for some reason or another. I would like to stop this and keep at least most of them at the studio until graduation. Do you have any advice? —Confused and Upset

Hello Confused and Upset,
I would have a rap session with the five girls who seem to be disgruntled. Start out with something like, “I’ve called you all together because I feel that you’re not happy in my classroom, which is causing tension that I can feel while I am teaching. Please take this opportunity to let me know what’s on your mind, because I love what I do and I love you guys, but I can’t deal with the tension.” Stay totally calm. Don’t allow yourself to get upset by anything they say, and be sure that they act respectfully toward each other. Use this talk as a learning experience to give you more insight on how situations like this arise. (There’s a lot to be learned from our students.)

If you discover that the problem leads back to the one dancer that you describe as negative and disrespectful, it may be time to give her directions to some of the other schools in the area. That may seem harsh, but her negativity will continue to impact the attitudes of the dancers she encounters.

Overall, I would not sit back and wonder what’s going on. It’s better to confront the problems now rather than letting them fester throughout the rest of the season. That usually leads to students ending the season on a negative note, which means that they would be less likely to return to your school. Make the changes needed to bring harmony back. Good luck! —Rhee

 Hi Rhee,
I’m in terrible distress and feel I have nowhere else to turn. I’m a 24-year-old studio owner who bought an existing business with the help of my parents last year. I graduated as a dance pedagogy major from a major university a couple of years ago, so when this opportunity presented itself I was thrilled. But I’m feeling very alone. I didn’t realize what a lonely business this is, or maybe I just need to make friends with other studio owners who have the same weird work hours that I do.

I have almost 250 students, employ 4 people, and teach 36 hours a week. Running this business, preparing to teach classes, ordering costumes, etc. is exhausting. I feel drained of all the passion I ever had for dance. I need to choreograph for the end-of-the-year show, but I’m bogged down in negative thoughts about life and dance and the pressure I feel to keep the standards as high as they were with the previous owner.

I’m overwhelmed and searching for any kind of inspiration I can get. I’m heartbroken that my dream of having my own studio has left me depressed, stressed, anxious, and lonely. I can’t do anything without thinking about the studio. It has completely taken over my mind, like an obsession. I want so badly to run the business perfectly and be an amazing teacher and choreographer, but the stress is eating me alive. I guess I just want someone to tell me it will get easier with experience. How can I pull myself out of this rut? —Sasha

Hello Sasha,
Most school owners will tell you that they are happiest when they’re in the classroom with the kids. The perfect scenario is a shut door with no disruptions or phone—just the teacher and the students doing what they love most. Unfortunately, most of them don’t get enough of that “behind closed doors” time. Instead they’re dealing with all the non-dance stuff that must be accomplished to keep the school rolling. And that’s not always easy.

When you own a school you usually wake up wondering what to do first. Should you focus on the choreography that should have been finished last week, or is it more important to call the mom who wants to know why her daughter isn’t in a higher-level class? Maybe you should fill out that rental application for the recital—but that needs a copy of your insurance policy and you have no idea where that is. When you do decide what you can accomplish that day, you have to keep in mind that you must open the school at 3:00 and teach until 9:30 that night.

So why do people do this job? Because they just can’t help themselves; somewhere in their early journey a teacher instilled that “dance passion” in their blood, and it can’t be disregarded. Sharing that passion with their own students becomes a mission.

After you’ve owned your school for a few years you’ll discover other rewards. For instance, you know that 6-year-old who spent her first couple of classes in the back of the room crying for her mother? Twelve years from now she will be a confident young lady who has learned things like discipline, commitment, and the value of working hard to accomplish her goals. Eventually, if she does something cool like land a scholarship at an Ivy League school, it will be due, at least in part, to the ethics you helped to instill in her. She and her parents will credit your school as the place that gave her some of the tools she needed to become a successful adult. What could be more rewarding? This scenario will play out over and over again, guaranteed.

You write that it can be a lonely life and I agree with you. Part of it has to do with the hours and part of it to the fact that friends often don’t understand the kind of commitment this job takes. The best thing to do is to find some “dance friends.” Check out the dance teacher organizations or attend conventions, conferences, and workshops where you will meet others who live the life you do. There is nothing better than just hanging out with people who understand what your passion is all about!

The struggles you are having now do become easier because owning a school is a live-and-learn process. Though we can pursue a degree or certification to make us the best teachers we can be, there is no educational program that teaches us how to run a dance school. Think of the first few years of school ownership as continuing that education you started in college. This time you’re going for your “master’s” in running a dance school. You won’t get a diploma, but you will go through a process that will make you a much smarter businessperson, and along the way you will develop organizational skills that make all that non-dance stuff easier.

You are not alone. You’ve chosen one of the most exciting professions in the world, and I have a feeling that you’ll agree once you’ve been through the learning curve. —Rhee

Rhee,
I offer incentives to my customers to pay tuition for a full season (September to June) at the start of the year. Recently I have had to give refunds to several customers who chose not to complete the season. I would prefer not to offer refunds on tuition, but I’m afraid that if I don’t, fewer customers will pay for the season up front. What should I do? —Robin

Dear Robin,
I think you are doing the right thing by giving refunds to those who request them. If you do not you probably will find, as you suspect, that your customers are apprehensive about paying for the year up front. But you might consider initiating a policy that states that there are no refunds past a certain date in the season or that a partial refund will be given in some cases. For example, if a child withdraws after you have completed choreography for the year-end performance (in which the child was included), I think you would be justified in not offering that family a refund. Or if you used studio funds to pay for costumes for the child, it is reasonable to deduct the costume fees from the refund. And if the child were to withdraw in late spring, I would have to contemplate whether I would offer a refund.

However, if a child stops dancing within the first few months of the season, I would give a refund because I would want that customer to speak positively about my school. And maybe the child will decide to dance again, and I would want my school to be their first choice—which it probably would be if they didn’t leave on a sour note. It’s not easy to offer refunds when you’re barely keeping up with expenses, but there are times when it is better for business to just do it! Good luck! —Rhee