Posts Tagged ‘studio’

March-April 2017 | EditorSpeak

“The Rights Stuff: Who Owns Choreography?” by Karen White: There I was, in another conversation about who owns choreography, the teacher or the studio. Sometimes I think this issue will never go away, doomed to be debated forever by two clans glaring at each other over an immovable fence.

“Cycles of Inspiration” by Thom Watson: There are days when I really love my job. For this issue, for example, I exercised editor-in-chief privilege to assign myself the delightful task of interviewing several of my favorite choreographers and master teachers for a feature story, “Cool & Contemporary.”

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March-April 2017 | Cool & Contemporary

by Thom Watson

In wide-ranging conversations about contemporary dance, DSL asked celebrated choreographers Tyce Diorio, Teddy Forance, Mia Michaels, and Derrick Schrader how they define the genre, the pros and cons of making dance in an age when dance videos are ubiquitous online, where they find inspiration for their work, and how they approach choreographing and staging contemporary dance. We also asked for their advice for dance teachers in hometown studios.

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January 2017 | Rules = Respect

by Debra Danese

All dance teachers know that they’re in the classroom to teach technique—but only some of them know that teaching their students proper dance etiquette is also part of their job.

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January 2017 | EditorSpeak

“Studios as Safe Spaces” by Tamsin Nutter: No teacher can fix the world for her kids. Still, we adults owe it to children to be our best selves for them, and with them. We owe them love and safety. We owe them our protection.

“Inherent Value” by Karen White: How many of your studio’s alumni studied dance in college or went on to professional dance careers?

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January 2017 | Igniting the Soul

by Joseph Carman

When flamenco artist Carlota Santana demonstrates her snaking arms, articulate fingers, fiery footwork, stalking strides, and laser-like gaze for observers at Duke University in Durham, North Carolina, she evokes the ancient echoes of Gypsies in Andalusia. The pride and passion of her flamenco moves ignite the soul. Santana has produced numerous flamenco symposiums at Duke University, but they represent only a fraction of her efforts to share the technique and cultural aspects of this art form through performance and instruction.

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December 2016 | FYI

What’s up in the dance community
❱ Jacob’s Pillow Four-Season Studio
❱ Gift Leads to Doctoral Program in Dance Education
❱ It’s Good to Be the Ballerina Boss
❱ Hip-Hop Arrives at NYPL

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November 2016 | Collective Wisdom

Classroom Connection: Picturing Dance
Dance photos can support your curriculum and offer playful springboards for activities with students—from preschoolers to high schoolers.

Reality Check: Tough Moments
Q. I just lost my first student to another studio. I understand we all offer different things and people will choose what matches their needs best. But it still hurts and makes me wonder if I am doing enough. How do you handle these moments?

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November 2016 | EditorSpeak

Preschool dance education—it’s a frequent topic among studio owners and dance teachers. In fact, in my conversations with attendees at the DanceLife Teacher Conference and the International Dance Entrepreneurs Association conference, preschool dance seemed to come up more than any other topic.

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November 2016 | Bright Biz Idea | Have Baby, Will Bourrée

by Christina Raymond

Smart studio owners are always looking for ways to reach an untapped market. Babywearing dance classes—in which the dancers take class with baby on board, via a front-pack or sling—provide parents with the earliest possible introduction to your school as well as a heartwarming experience.

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October 2016 | Talking Tap

There are two major streams of tap dance from which all other styles have evolved. One is rhythm tap (or jazz tap), which derives from the musical qualities of jazz music and includes core elements of rhythm, call-and-response, and improvisation.

The other is a more theater-derived style that can be called musical theater tap, a full-bodied style of percussive dance that incorporates elements of soft shoe (an early form of stage dancing derived from the jig and clog, performed in slow 4/4 time without tapping), ballet, and ballroom, and often relies on set choreographies for large choruses, with relatively simple step patterns that allow the dancers’ meticulous steps to be seen and heard.

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October 2016 | Mindful Marketing | From the Heart

“Welcome, ladies and gentlemen. Please take a moment to turn off all cellphones, and for our dancers’ safety . . .” All of us hear words to that effect at every show we attend, including recitals. For studio owners, that little recital speech is a perfect marketing opportunity. Where else can you address your entire clientele, plus potential new clients, all at once, in an atmosphere of excitement? It’s a time when your students and their families feel most invested in your school—and that means it’s a good time to reinforce those feelings with a positive message about the value of dance training in general and your school in particular.

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October 2016 | From the Top—Again

It’s been one of those days. The energy in the studio is off, and your students look more bored with each brush of the foot in a tendu exercise. You saw an eye roll, maybe two. And in a ballet/tap combo class, the little ones were more interested in playing with each other’s hair than working on their shuffles. You love teaching, but days like these make you feel tired. You’re repeating the fundamentals over—and over, and over—again. If this scenario sounds familiar, you’ve faced one challenge inherent in dance training—repetition.

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September 2016 | Do-It-Yourself Competitions

Competitions can be high-octane extravaganzas or simple, single-day events. Yet no matter the size or scope, at some competition somewhere a dance studio owner is bound to say, “Can you believe what’s going on? Maybe I should start my own competition. After all, how hard can it be?”

Three studio owners know exactly how hard. “We work on the competition year round,” says Teresa Mackereth of the BC Annual Dance Competition, which she founded in British Columbia, Canada, in 1988. Its organizers take only one week to decompress after each May’s weeklong event before beginning work on the following year’s. “It’s an ongoing commitment,” says Mackereth, who is also artistic director of Dance Academy of Prince Rupert. “And we have never had a paid staffer. It’s all volunteers, always.”

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September 2016 | EditorSpeak

“Starting With Why”: I’ve just returned from three jam-packed days at the inaugural International Dance Entrepreneurs Association (I.D.E.A.) conference in Scottsdale, Arizona, where I, alongside several hundred dance studio owners and administrators, listened to speakers representing a range of school types, sizes, longevity, and business approaches. I learned a great deal from these mainstage sessions.

“Farewell to My Arabesque”: Recently I realized something: my arabesque has gone the way of the dodo. Extensions to the front and side? I’ve still got ’em, sort of. To the back? Eighteen inches off the floor—maybe.

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September 2016 | On My Mind

Today school owners want to learn to lead with confidence, both in their schools and as mentors, leaders, and teachers in their communities. They want to be part of a unified voice in dance education that stands for everything that is good for their students and the field. By working together, teachers and school owners can preserve the integrity of dance education—and, on a personal level, evolve in this exciting, ever-changing world of dance and dance studios.

I am proud to lead this call to unified action by founding the International Dance Entrepreneurs Association (I.D.E.A.), the first business association for dance school owners who are ready to stand up for a business model based on a code of ethics. In addition, I.D.E.A. focuses on cultivating new knowledge—the members’ website is loaded with management tools, e-learning courses, and webinars, along with such tools as customizable forms, correspondence, policies, coloring pages, and marketing materials. Regional professional development seminars will be held around the United States and, eventually, internationally.

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September 2016 | Bright Biz Idea | Copy, Paste, Delegate, Thrive

Dance studio owners open additional locations for numerous reasons—to increase profits or to house a growing student population, for example. Or maybe a nearby area needs a dance studio, or an opportunity arises to take over an existing one. Whatever the reasons for branching out, those who have done so find that managing multiple locations has its own set of benefits and challenges. Here are some tips on how to run more than one school location efficiently and effectively.

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September 2016 | Ballet Scene | Performing With the Pros

From a young age, dance students idolize professional dancers—and that’s a good thing. They need someone to look up to and goals to aspire to that go beyond their home studio’s doors. That’s why creating opportunities for students to engage with professional dancers is important—it allows them to see that with enough work and dedication, dance training can have long-term payoffs. Even if they have no interest in or potential for a career in dance, students who enjoy the thrill of sharing a studio or stage with the pros may find that the experience deepens their appreciation of dance, motivates them to push past personal limits, and creates long-lasting memories.

How can studio owners create such opportunities for their students? Some ballet companies open their annual Nutcracker to local dancers, particularly children’s roles; school owners can inform students about upcoming auditions. But some schools do more than that, partnering with dance companies on productions that blend professionals and students and giving the students a performance experience they otherwise wouldn’t get.

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September 2016 | So You Wanna Be a Judge

It’s September, and all around the United States kids are returning to school and dance studios are beginning their fall sessions. This is also the time of year when competition directors begin hiring adjudicators for the upcoming season. If you aim to book your first gig as a competition judge this year, it’s time to make your move. Put your best foot forward with these tips from three competition directors and three seasoned adjudicators.

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August 2016 | That’s the I.D.E.A.

Anyone can have a good idea, but it takes determination, guts, and know-how to turn that raw idea into reality. From Rhee Gold’s many good ideas in the past 20-plus years have sprung a successful dance competition, a series of practical and motivational seminars for dance educators, a dance education–focused magazine, and more.

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