IBISWorld, which compiles business industry reports based on market analysis and research of areas such as growth and revenue, reports that the dance studios industry is expected to generate $2.1 billion in revenue during 2013.
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.
There are countless intangible benefits to being a dance teacher, including being a mentor, having a positive influence on students, creating, expressing yourself through movement, and introducing children to the joy of dance. But there are practical issues to contend with when choosing this path—a traditionally low-paying one that offers few full-time, benefited opportunities—as a career.
In a dance studio at the University of Wisconsin–Stevens Point (UWSP), enthusiastic voices call and respond in a rhythmic scat-singing pattern. Sounds like these are more often heard in a music class, but these voices emanate from a Jump Rhythm® Technique (JRT) class taught by associate professor Jeannie Hill. She is one of a handful of college-level teachers in the country instructing young movers in this unique method.
A typical dance school year provides a feast of opportunities for images that you can use to convey the personality and professionalism of your school. And who’s better positioned to record them than yourself? Because you’re a familiar face, your young subjects may be less self-conscious than if they were being photographed by an outsider. Also, you’re there every day, which improves your chances of recording the kind of wonderful, unscripted events that arise around the studio or the beauty captured in a formal photo shot.
Once the cabinet has been fully refurbished, it will await a buyer in one of four adjacent studios, alongside antique dressers, lighting fixtures, credenzas, and trunks. In the meantime, it will be admired by a steady stream of dance students. What? A dance studio/furniture store? In Manhattan? Yes and yes.
As it so happens, there is a little bird that can help keep your customers informed and do much more—Twitter. As you probably know, it’s a micro-blogging social network whose logo is a bird, and the messages exchanged are called “tweets.” But have you thought about it as a marketing tool for your dance studio? Twitter can reach your customer base and beyond, giving your school a connection to prospective customers, your customers’ family members and friends, and other dance organizations.
My children have learned to embrace dance and how to put it to use in their everyday life. The studio is their second home. I am happy knowing that is where they want to be in their free time; that is all because of her. She is dramatic—aren’t all dance teachers?—but at the same time she recognizes when a child needs to be given a hug because maybe her day did not go so well. She knows each and every child and all of their quirks.”
This month we zero in on creativity, which immediately brings to mind the artistic aspects of dance education. But creativity is a state of mind that can flow into all areas of life, including our attitudes toward our businesses. Being creative means being open to possibilities and exploring options. So let’s look at how that mind-set can play out in these imaginary scenarios involving two studio owners.
It was another inspirational weekend at the DanceLife Retreat Center in Norton, Massachusetts, when dance studio owners from across the country learned how to make their studio’s competition experience a positive, enriching, and educational experience for all involved.
Teachers and studio owners who have had the pleasure of attending one or more of Rhee Gold’s motivational and informational events—the DanceLife Teacher Conference, perhaps, or a Project Motivate—recognize the knowledgeable and experienced dance educators who play such a big role in making these events a success.
Dance Studio Life magazine wouldn’t be filled with all the insightful and inspirational stories it is without the generosity of teachers and studio owners from across the country who agree to share their stories with DSL and its readers.
Hurricane Sandy swamped Christine Mignone’s Midland Beach dance studio on Staten Island, New York, warping floors, waterlogging equipment, and rendering it a total loss. Mignone is among countless Staten Islanders trying to pick up the pieces of their battered businesses in the wake of the devastating storm. To aid in the recovery, the U.S. Small Business Administration is making low-interest disaster loans of up to $2 million available to borough businesses.
The $32 million renovation project that transformed Union Station’s dilapidated former power plant into the stunning new home of the Kansas City Ballet has been honored by the National Trust for Historic Preservation.
Dance teachers and studio owners know the DanceLife Teacher Conference is about more than technique and studio talk—it’s also coming face-to-face with the business and service people who keep the dance studio industry rolling.
Inspired by the posters and T-shirts shown on the Dance Studio Life Facebook page? Visit the Rhee Gold Company online store on www.PositiveDance.com and bring some of that inspiration into your studio today.
Thousand Oaks [CA] Girl Scout Lauren James’ Gold Award project, a conversion of the MATES Elementary School kitchen area into a dance studio, was a yearlong achievement that will benefit the school, as well as dance teacher Karen Kernan, reports the Ventura County Star.
“Walk like a person!” Thelma Goldberg reminds her students each time her warm-up music begins to play. It is more than a simple instruction. Joining them on the floor, she will not begin drilling rudiments until her dancers are striding with purpose on the downbeat, making eye contact with each other, smiling, and offering friendly greetings.
The Museum of Performance and Design in San Francisco will celebrate the opening of a new exhibit, Body In-Sight: Action-Drawings from the Dance Studio, on July 13 from 7 to 9pm.
As dance teachers know, sometimes the best lessons are learned from direct experience. It’s a rule that holds true in the classroom, and unfortunately, it also applies to the financial end of the dance-school business, specifically fraud. Dance schools are not immune to the threat of embezzlement.
Chelsie Hightower, one of the pro dancers on ABC’s Dancing With the Stars, is opening her own studio in Draper, Utah, next month, reports the Salt Lake Tribune.
Like Fred and Ginger, dance and music go hand in hand. So why not teach them under one roof?
TutuTix, a new ticketing sales and distribution service for dance studio owners and performing arts companies, was introduced in a PRWeb.com announcement this week.
In less than a month, six Ahwatukee, Arizona dads went from wondering where their daughters would take dance classes to opening their own studio, according to AZcentral.com.
Dance studios cannot survive without attracting new students. But retaining the ones you already have makes sound business sense.
if you base your business model on who YOU are, what you have to offer, and what makes you UNIQUE from the others, I’ll bet you’ll achieve the success you seek.
Recreational dancers make up a huge part of many dance studios’ enrollments, and they often bring in the top dollar per class in tuition. Most teachers see these dancers only once a week, for an hour or less at a time. Since we’re trying to give them as much instruction as possible over the course of a school year, that’s a very limited amount of time.
For a studio in a low-key beach town, Santa Barbara Dance Arts is big: 8,200 square feet, with 70 classes a week and 450 students. But co-owner Alana Tillim says it is bigger than all that.
Patricia Reedy and Nancy Ng have an audacious plan: to change the perception of the field of dance, one teacher at a time, and to cultivate choreographers from childhood, while the limits of imagination are boundless.
Size matters. Or does it? It’s important if you’re a sumo wrestler or are eyeing a piece of chocolate cake, but what about dance studios? Is bigger always better, or can contentment be found in studios large, small, and somewhere in between?
Longtime studio owner Hedy Perna returns this year to the DanceLife Teacher Conference faculty lineup. Dance teachers and school owners from across the United States can expect to hear her practical and to-the-point advice on studio business issues at the conference, held at the Phoenician Resort in Scottsdale, Arizona from July 30 through August 2.
What can email do for your business? If you’re like me—not a computer whiz—it’s probably more than you think.
For many dance studios, summer is a time when families take time off for vacations, trips to the pool, and other summer-only activities. Attendance drops off dramatically—and so does your income.
A new contemporary ballet company and educational studio, lustigdancetheatre, has found a home at 80 Albany Street, New Brunswick, New Jersey.
Anita Olson—named after the grandmother she never met who was a professional hoofer—didn’t envision that she would take over the family’s 27-year-old business, Muskego Dance Studio. It was her mother’s idea, a deathbed wish bestowed on her in 1988.
The studio owners and teachers filling The Gold School studio had a million questions—about marketing techniques, dealing with problem personalities, balancing work and family, providing quality education, and making money.
After 65 years, Miss Jeanne’s School of Dance Arts must be doing something right. Last Memorial Day weekend saw more than 60 adult dancers, ranging in age from late teens to 60-something, performing a finale for the school’s 65th recital.
For some families, the world of the arts is a foreign place. But in nearly any community, there’s a great way for people to access the arts, including dance, in familiar surroundings: the local Y.
Jackrabbit Technologies will hold a user conference October 20 to 23 in Las Vegas, Nevada, for customers who would like to gain more insight into the business and class management system’s features and enhancements.
In this video, Rhee Gold shares his humor and passion for the dance teaching profession. It is an excerpt from his keynote speech at the 2009 DanceLife Teacher Conference in Scottsdale, AZ
Why can’t people see what dance brings to children and the community? We are going into our seventh year, and when most studios are growing we are not. Enrollment is low and parents think we are like Burger King and that they can have it their way. Parents don’t like rules here and the whole town revolves around church and sports.
I have read wonderfully insightful articles about the struggles of children whose dance teacher is their parent, such as “My Life as a Studio Owner’s Daughter,” in the January 2009 issue of this magazine. All children who live in the shadow of a parent with a dance studio experience both struggles and advantages. But what of their non-dancing siblings? What kind of pressures and problems do they face when they don’t share that world?
After reading about the sofa school owner Kelly removed from her observation room because of a sleeping parent (“Ask Rhee Gold,” DSL, December 2009), I have a story to tell.
From humble beginnings and homemade costumes, through decades of new dance trends and new family members, Dance Generation in Montgomery, Alabama, has remained true to its hardworking, high-striving roots.
Jackrabbit Technologies, producers of class management software for dance studios and other educational settings, has unveiled a new option that is free to users and will help them market to prospects with greater ease and cost-effectiveness.
Scarsdale Ballet Studio in Westchester, New York, is adding a third classroom at the school in the Vernon Hills Shopping Center as the studio celebrates its 19th anniversary in September.
As a dance teacher, you feel that you’ve paid your dues—teaching classes day in and day out, coming up with recital and competition routines, and following the protocol of the studio you work for. You’re ready to be your own boss, and you think you understand the business enough to be a successful studio owner. But is it smart or realistic to start a studio from scratch? Or should you consider buying an existing business?
Scott Danahy Naylon Co., Inc. has a new tailored program for insurance for dance studio owners that includes abuse and molestation. In addition to liability insurance, recitals are covered for no additional charge as well as accident insurance. The premium could be as low as $450. (Terms and conditions may vary by state.)
Previews for Precious are rolling, as are tears down my cheeks. A mother in a scene from the film throws a frying pan at a child and later snarls, “You’re a dummy. Don’t nobody want you, don’t nobody need you.” Some people are embarrassed to find themselves crying at the slightest provocation (even Hallmark commercials can make me reach for the Kleenex), but I’m not. I like to think of my quick-on-the-draw emotional response as part of my professional equipment as a teacher. It leaves me open to moments that can touch my core and lead me on a spirit-filled journey of reflection and gratitude for a life in dance.
I have a confession: I am the other woman. Sort of. The other teacher, actually. I worked for someone and left to open my own studio. But it’s not what you think.