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STEPPING
OUT
THE DTU MEMBER NEWSLETTER
these postings are now updated monthly and you can submit ideas and
stories directly to Blake Coheley - all new or current postings are
posted to the top of the page, but if you haved missed one, you can
always scroll down and catch up - thanks
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Let Go . . .
Just as the bird has to find the courage to let go of the branch in
order to fly, so we also must let go of our branches if we are to know
the exhilaration of soaring to the highest potential of our life. The
branches we hold to are our inner attachments - our beliefs, ideas and
memories. And then there are the outer attachments - people,
possessions, positions and privileges are a few. But as long as we hold
on to them we will live in fear (of letting go and loss) and we will
never be free. And just watch those birds, by letting go of one branch
they are able to spend the rest of their life alighting on a million
other branches, and they enjoy the view from each. Are you flying and
soaring in your life, or are you stuck on one branch, cursing others as
they fly past. Go on, try it ...let go! |
What your
clients say about you can mean success or failure for your school. Reputation—why is it so
important? We, and our schools, are what people perceive us to be.
What we say, and more importantly, what we do influences those
opinions and has a significant impact on our success. Simply put,
pleasing your clientele can mean success rather than failure for
your business. Dance schools are
community-based businesses, and people in those communities
interact and share information every day. For that reason, word of
mouth should be a primary concern for any dance school owner. Do
people get excited when they talk about your school, or do they
grumble when someone brings up the topic of dance lessons? Do
former students and their parents rave about how much they enjoyed
their time at your school, or do they comment on how nasty you were
when they left it and vow never to recommend you to
anyone? One of the biggest
mistakes school owners can make in terms of their reputation is
becoming too elite for the community they serve. By that I mean
they seem intimidating to the average parent or student who doesn’t
know much about dance and simply wants to try it out. They’re not
going to do that at a school that is too professional or
competitive; instead they’ll go to the place that is easy to
understand and isn’t trying to be the most professional school in
town.
Another common problem is hiring faculty or other employees who
don’t share your philosophy. That discord means that you’re always
going to be fighting a losing battle, even if all of you have the
right intentions. Surround yourself with people who share your
passion and values and who will work with you to generate positive
word of mouth. Participating in gossip
is a big problem. Whether it’s about students, employees, fellow
teachers, or the school up the street, teachers who talk negatively
about others lose respect—even from those they gossip with. Be the
leader who’s so focused on your own success and responsibilities
that you don’t have time to gossip with or about anyone. One of the
most tempting situations is when parents or students who are new to
your school badmouth their old school. As soon as they bring it up,
say something like, “Oh, I respect Mary Jane and her school, so I
would never get involved in negative talk about her, and you won’t
hear anything like that here. I’m sorry you weren’t pleased at her
school, but I’m sure you will find a nice home here.” Yes, you say
that even if you truly don’t like Mary Jane and her teaching
practices! If you end the badmouthing right away, chances are those
people will never bring it up to you again. And chances are they
won’t gossip about you when they move on to another school, but
that’s no guarantee! Students who leave your
school, for whatever reason, can have a big impact on your
reputation. Many teachers take it hard when a student decides to
leave. They consider it an insult and sever their relationship with
the student in a negative way. When a parent and student are burned
by such an experience, word spreads fast. If you’ve ever lost a
student (and what teacher hasn’t?), you know that feeling hurt is
understandable; a lot of emotions are involved, especially when the
student has been with you for many years. You get attached to the
children as you watch them grow; sometimes they may even have come
to you for advice. Some you’ve gone above and beyond the call of
duty for, and others you love just because they’re your
kids. Still, you have to
remind yourself that you are a pro. It’s easier to handle such
departures if you understand that having students leave their
school is a part of every teacher’s life. Tell them how much you’ll
miss them and that your door is always open. Wish them the best, no
matter how insulted you are. Then go home and have a nice glass of
wine! Keep in mind that not
all schools are created equal. Some can train a better dancer or
guide certain students into professional careers with more success,
and others simply teach the recreational dancer who wants a
once-aweek class. Then there are those that offer both. Students
often move on because they are seeking something different from
what you have to offer; it could be less of a commitment or a more
intense program. The fact is that less than 1 percent of dance
students will go on to professional careers. In most cases the
parents of children who have never danced are looking only for a
weekly class, and the school that offers what they’re looking for
makes the sale, regardless of the quality of the
training. Still, all teachers have
something to offer. Know who you are and what your niche is. For
example, my priority is to see that every child experiences dance.
That means that some children will take lessons at a better school
than another. Just like there are excellent math teachers and those
who aren’t so good, some dance teachers are better than others. But
a child might love the not-so-good teacher and actually do better
with her than with the better teacher because of the connection she
feels. Ideally, dance teachers who find that they can’t meet some
students’ needs will encourage them to move on to stronger
training. Three other aspects of
your school play key roles in your reputation. The first is the
element of personal touch. As your school grows, don’t lose sight
of how important your relationships with your clients are. Know who
they are and what’s important to them, communicate with them, and
always let them see you behaving under control, smiling and with a
passion for what you do. Next is maintaining a
professional presentation at all times, in everything you do and
everything that represents your school. All literature, including
brochures, ads, newsletters, websites, and so on, should convey the
professional image you want to offer to your community. That goes
for all schools, both big and small. Last, don’t forget to be
inclusive. Unless you operate a school that’s strictly geared to
ballet or intensive study, portraying it as a place where
everyone can
dance is important. Make a
point of welcoming the recreational and preschool children; in most
cases they provide a school’s financial backbone. When these two
populations are ignored or made to feel less important, then the
business suffers. Put all these
ingredients together and you’ll have a recipe for a great
reputation. And with positive word of mouth making its way around
your community, you’ll be brewing your own success.
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Let new customers clip-and-save their way into
your studio. I’m a little embarrassed
to admit this, but I’m a sucker for a coupon. Coupon cutting is
something I used to razz my mother about when I was young—before I
knew what it was like to pay the bills! Now, however, I’m a
believer. After moving to Oregon, over the past year I’ve
discovered that coupons—especially the two-for-one variety—allow my
husband and me to do a lot more than we might otherwise. We’ve
tried new restaurants, seen local performances at a discount, and
registered for a gardening class together because one of us got in
at half price. So I started thinking about how coupons could be
beneficial to dance schools. Would the lure of a good
discount coupon compel otherwise reluctant people into signing up
themselves or their children for dance classes? Granted, for those
with zero interest, a coupon won’t make a lick of difference. But
for those who are new to the area or who have preschool children
and are considering it anyway, a coupon might offer just enough
incentive to tip the scales in your studio’s favor. So I started exploring the
benefits of coupons for small businesses and the best coupon format
for dance schools. I found that coupons can indeed be a successful
marketing tool. Some of the benefits of using coupons for the
studio owner are: ● They can get people in the door to give
your school a try. ● They attract new residents who are
actively in the market for dance classes. ● They might convince dancers who are
unhappy at their current studio to switch to yours. ● They are easily measured. Seeing
who redeemed them, where the users found them, and tracking print
coupons can pinpoint which ads are working best. Just put
codes on the coupons, either printed directly on a hard-copy coupon
or within the printable text of online coupons. · ● They don’t take a lot of time to
create. · ● They are an affordable marketing strategy.
Over time, the value of the new students will be well worth the
initial discount you gave them. Even those who use the coupon but
don’t sign up long-term will have gained exposure to your studio
and may pass on the positive word if their experience was a good
one. So what kinds of discounts
can you offer with a coupon? The possibilities are nearly infinite,
but the following discounts are some of the most common I’ve found.
I’ve included some sample text that school owners have come up with
to pitch their discount offers. (My comments are in
italics.) ● $10 off the first month’s
tuition Clean and simple; no complicated
explanations needed. ● Free dance class Think you might enjoy dancing but
don’t know for certain? Then come on over and take a free,
no-obligation trial class! This coupon is good for one free dance
class at either of the [your studio’s name here] locations. Valid
only for new students ages 13 and under. Please call the studio
first to let us know you’re coming so we can direct you to an
appropriate class.  ● Call for a coupon If you are a new student, please
call the studio at 333-444-5555 and let us know—we’ll mail you a
coupon for $5 off your first class! This provides incentive but
requires more of a commitment from the user. They don’t get a free
class before registering but do receive a discount for taking the
plunge. ● Free registration Coupon good for free registration
when signing up for a minimum of one month of classes. New students
only. Not to be combined with any other offer. Offering classes in
ballet, pointe, lyrical, tap, jazz, hip-hop, Pilates, and much
more. Beginner to advanced. I would argue that the commitment
might not be there if they don’t pay a registration fee. A dollar
amount off the registration fee might be a better
idea. ● Save $50 on Performing Arts Summer
Camp Present this
coupon and receive a $50 discount on your Performing Arts Summer
Camp tuition. Learn, have fun, make friends, and perform . . . put
an end to summer boredom! Get all the details at
www.ourstudioaddress.com. Coupons can be a great way to
encourage new signups for a special program, master class, or
summer camp. And once students have experienced your studio,
they’ll be much more likely to enroll in regular
classes. ● We pay the taxes With this coupon we will pay the
taxes on all dance accessories through [insert date here].
Do you have a dance
supply store at your studio? You can use these coupons to get your
students into your store, and use coupons in your store to get
customers into your studio! Once you’ve decided on the
details of the discount, it’s time to determine how to distribute
your coupons—and how to do it for little or no money. Sure, you can
put a coupon in the newspaper, phone book, or local Entertainment®
Book, and you may decide it’s worth the cost—but why not take
advantage of the many creative, inexpensive ways to market your
studio through coupons? You’ll get the best results when using both
online and print coupons to maximize your marketing
power. What’s an online coupon,
you ask? If your school has a website, you’re halfway to the answer
already! Besides being informative and entertaining, your site can
and should drive visitors to your studio. As imperative as good
studio information is, you’re missing out on new business if
potential customers read it and do nothing with it. An online
coupon can give people incentive to try out your studio. You are, in
essence, rewarding them for doing so. Try putting a coupon on
your homepage; for example, “Are you new to [name of your school]?
Print out our coupon for $10 off your first month’s classes!”
People who are looking into your studio for the first time will be
happy to print out the coupon and use it. Another option is to
include coupons for your school on local business or parenting
sites that allow you to do so. To find these sites, do an online
search with keywords like business, kids, classes, parenting,
activities, and schools, plus your city’s name (or the nearest
big city to your town). An example of this is www.ColoradoKids.com,
a website with excellent dance studio coupon examples (and also a
good website link possibility for dance schools in Colorado).
Another site, www.Time2Dance.com, which concentrates on the
ballroom dance community, has more examples of coupons, plus a nice
way to print them out. Then there are the
old-fashioned paper (or “offline”) coupons. Here are a few no- or
low-cost ideas for distributing these traditional coupons: ● Send pairs of dancers into the audience to
hand out coupons after a mall or county fair performance. You could
have them put their initials on a bottom corner or on the backs of
the coupons they’re handing out, and offer a free studio T-shirt to
the students who have the most coupons come back. That gives them
incentive to be friendly and outgoing while handing out the
coupons. ● Do a coupon exchange with the hair salon,
dry cleaner, or cafe on the next block. Visit reputable businesses
that you would (or already do) patronize, and see if they’d be
willing to put a pile of your coupons on their front desk if you’ll
do the same for them. Of course, you don’t want tons of coupons on
your front desk, especially if you’re successful in establishing an
exchange with more than one business. Think of a way to display the
coupons where they won’t be in your way, such as on a corkboard
near the front door or in a display case on a shelf. ● Pin studio coupons to community bulletin
boards in local cafes, community centers, etc. But ask permission
before doing so or the proprietor may discard your coupons and your
effort will be wasted. Keep in mind a few “musts”
for a successful studio coupon: ● Include exactly what the coupon offers in
large, bold lettering, as well as an expiration date so that
customers will use the coupon quickly. ● Clearly state “For New Students Only” on
the coupon (and save yourself potential headaches
later). ● Remember that even this little coupon is a
reflection of your studio. It doesn’t need to be fancy, but it
should be neat and attractive, preferably incorporating your studio
logo, slogan (if you have one), and studio colors in the
design. ● Print out online coupons (and ask a few
friends or family members to do the same) to check for problems
before potential customers encounter them. Coupons are a grassroots
marketing idea that should not be underestimated. They are a
tried-and-true method for generating sales; according to the
Promotion Marketing Association, 76 percent of the U.S. population
uses coupons. For a little of your time and even less money, you
can easily implement this marketing strategy. And with millions of
coupon lovers like me out there, you’re bound to see
results.
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Keeping up
with the Joneses doesn't guarantee success – but being true to
yourself just might. “Knock, knock.”
“Who’s there?”
“Um . . . I’m not sure.”
Do you know who you are? Or are you pretending to be someone else
in an effort to keep up with other schools in your area? If you
don’t have a strong sense of identity and a clear vision about your
professional values and goals, you could be making a big mistake.
As a school owner, knowing how and what you want to teach and what
kind of performing opportunities you want to offer your students is
critical in establishing a school identity.
School owners who lack a strong sense of self often react to other
schools’ marketing efforts without knowing if what they’re doing is
working. At a recent Project Motivate seminar, a school owner
described how she reacted to another school’s expansion into
ballroom dance. “The school up the street [from mine] started
offering ballroom classes; I saw their ad in the local newspaper .
. . and my immediate reaction was to spend four days looking for
someone to teach ballroom at my school. After spending more than
$500 on advertising, we registered four students and I found out
later that the school up the street registered six!” Apparently
neither school owner had done any market research to determine
whether ballroom dance would be a popular choice among their
clientele—or whether a glut of such classes already existed in the
community. “It was a waste of time, money, and energy that could
have been focused on attracting new students to my successful
preschool programs,” she said.
Here’s another example: In a small Massachusetts town, the Jones’
Dance School produces what appears to be a hugely successful
Nutcracker. In the same town is the Smith Dance Center, whose
owners became nervous because they thought they needed to keep up
with the Joneses—so they made plans to produce their own
Nutcracker. But they didn’t do any investigation. If they had, they
would have discovered that many of the parents at the Jones’ School
were feeling a scheduling and financial crunch during the holiday
season. Because of that pressure many of them were considering
registering at the Smiths’ school! Now they’re headed to another
school altogether. The Smiths never considered what their clients
wanted—not once did parents tell the Smiths that they wanted their
children to be part of Nutcracker, nor did anyone tell them they
weren’t going to register because they didn’t do one. In the end,
the small town couldn’t support two Nutcrackers and the production
was neither profitable nor good for business.
Think about how you react when you hear about other schools’
apparent successes. Let’s say the school up the street wins tons of
trophies, which they’re always raving about in their advertising.
They claim to win more awards than anyone in the area, making you
feel insecure because your school has never competed, never mind
won an award. But ask yourself a few questions before you start to
leap into action. Do you know that the competition group’s parents
like what their children are doing? Do they resent the expense or
the time involved? And more important, do the demands of
rehearsals, choreography commitments, and travel with the
competitive team detract from that school owner’s focus on her
business? Perhaps you’re better off staying home to work on next
year’s advertising and marketing.
The key is to stop reacting and start acting—by doing what you and
your students need and want to be successful. When the school up
the street advertises that they’re a cut above the rest, don’t
counter that line by saying you’re a step above the rest. Instead,
take a different by including testimonials in your ads from some of
your happy clients. Instead of saying, “I can do that!” ask
yourself, “What can I do differently?”
That’s not to say that the schools that participate in competitions
or offer a ballroom program or produce a Nutcracker won’t do well.
Many teachers or school owners have discovered a niche that they’re
good at, and they’re motivated by what works for them. It might
work for them, but it might not work for you. That doesn’t mean
that you shouldn’t keep up with market demands—but be sure you find
out whether those demands include what another school is offering
before you try to be like them.
So how do you find your niche? After you’ve examined your values
and goals, it’s time to determine what you do best.
◗ Take a look at your student roster. Which group is the largest or
most profitable? Maybe your preschool classes are bursting at the
seams because parents are thrilled that their children come out of
class happy and dance all over the house once they get home. Or
maybe you’ve got a huge contingent of 7- to 9-year-olds. Maybe your
ballet program, which offers a little more discipline, is
especially strong, or it could be the adult program, or those
hip-hop classes.
◗ Do you spend a lot of time chatting with parents and creating a
homey school with a personal touch?
◗ Have you created a school atmosphere in which everyone can
experience the joy of dance? Do your students talk about how much
they love their teachers?
◗ Do your clients love the way you do your recital—or the fact that
you don’t do one at all?
◗ Is your school’s clientele loyal because you offer classes at a
convenient time for them?
If you can’t answer these kinds of questions, you’ve got some
homework to do. Find out what parents like and don’t like about the
school. Do an annual survey, or engage parents and students in
casual conversations in the lobby. Consider offering a
parent–teacher tea or brunch once or twice a year, where you can
ask parents for feedback. Poll your teachers, too—they may have
information that you weren’t aware of.
But don’t forget to open your eyes and take a good look at yourself
and what you’re doing. Look around you, too—is enrollment stable or
increasing? Are you happy with that? Do your students seem happy
and motivated? Are you happy and motivated? Is your school the kind
of place you’ve always dreamed it would be? If the answer is yes,
then forget about what everyone else is doing. Focus on your
strengths and promote who you are and what you do best.
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Words of wisdom for new dance teachers and
school owner?
Are you a new dance teacher? Have you recently opened the doors to
your long-dreamed-for dance studio? Congratulations! Either way,
you’ve chosen an awesome and rewarding occupation that isn’t only
about teaching but about learning and becoming better every step of
the way. “Newbies” must understand that every teacher has to start
somewhere, which is usually not going to be with advanced dancers.
If what you really want to do is work with the most advanced
dancers, then don’t open a school; go teach for someone who has a
well-established intensive program.
When first establishing a business, dance school owners must work
with everyone who wants to dance, regardless of skill level or age.
Teachers who have grown up in the competition world or who come
from serious ballet training sometimes have a hard time
understanding this. They expect, within the first couple of years,
to have award-winning kids or put on a full-length Nutcracker, and
it just doesn’t work like that. Building dancers, both technically
and mentally, takes years and a lot of hard work— plus a teacher
who is willing to go through the basics to give students a strong
foundation.
My mother’s and my experiences bear this out. She became a hugely
successful teacher, but my earliest memories of her teaching are of
watching her sit on the floor with a bunch of preschool children,
clapping to the beat of the music. She taught adult classes, teen
beginner classes, and everything else. It took years for her to
build her own dancers to the advanced level. As for me, when I
opened a school I taught many classes that had only one or two
students (mostly beginners) in them. The studio was on the fourth
floor of the building, and if we heard the elevator coming up we
got excited—we didn’t care who it was; we just wanted students. As
the school grew I continued to teach all the beginner classes
because I felt like I could win over that particular crowd the
best.
Making a name for yourself in the community isn’t an overnight
venture; thinking that you’ll be successful just by opening your
doors is a mistake. It takes time to build a following and earn
their loyalty, especially if there are established schools in the
area. So new teachers or school owners need to work with long-term
goals in mind. But some rewards are immediate, like knowing that
your students have learned everything they know about dance from
you, even if it’s a simple chassé. As they become more proficient
you start to realize that you are having an influence, not only for
the moment but also in teaching life skills that have value beyond
dance.
Seeing your students onstage for the first time is cool too. They
may not be the best dancers yet, but seeing their pride and desire
to show off what you’ve taught them is extremely rewarding. Add to
that the appreciative parents who see the glow in their kids’ faces
and you’ve got plenty of payoff for your efforts—and happy clients
who will help make your school a success. That feeling of
satisfaction gives you the drive to be an even better teacher when
you get back to your next class, whether you’re broke or not.
Starting a business means making yourself as visible as possible
and establishing early on that you’re a professional with
integrity. Get involved in the community where your school is
located. Offer to choreograph for the local theater group, join the
chamber of commerce, participate in parades or other community
celebrations— in other words, get your name out there! If every
student leaves your classes excited about dance, they’ll tell
everyone. Then you’ve got yourself the best marketing tool there
is—positive word of mouth.
As a new school owner, you’ll also need to hone your creative
skills, looking at what you do best and establishing innovative
concepts that work well for you. What programs or classes can you
offer that are unique or fit well into your community? Is there a
lot of community theater? If so, how about offering a six-week
movement class for actors? The adults involved in community theater
most likely have children or other family members whom they would
encourage to go to your school once they know you. Or maybe drill
team is big in your area; how about a dance class geared especially
for those kids? Might a Pilates class be a popular choice? How
about running a one-day camp during school vacations that’s open to
your current students and their friends? Then give the friends a
coupon for a free class. There is no defined formula or right
approach; it’s about defining the personality of your school and
using it in the right way.
So now you know what to expect and what to do to get started. But
there are some don’ts you should keep in mind as well. The first is
to be personal but professional with your clients. Be open to their
questions, concerns, and input. However, don’t let them become your
best friends. New teachers and school owners often start off
believing that they want to be friends with the parents. My advice
is to make them think they’re your friend, but be sure not to get
too close. Why? In the long run, teachers have to make decisions
about sensitive issues like class placement or who will be cast in
the holiday performance. Being objective is difficult when the
school is filled with your friends. And many parents, especially
the ones who were with you from the beginning, will expect special
consideration.
Second, do not open a school close enough to your former teacher or
employer that you will be competitors. You owe your mentor that
much respect. Go somewhere where you can build your own reputation
and clientele; otherwise you might spend the first several years as
a school owner in a battle with those who helped you along the way.
That takes your focus away from building your own business and
often ruins relationships and creates an environment of adversity.
No one, not you nor your former teacher/employer nor your clients,
needs that kind of negative energy.
Finally, never stop learning! Remember that dance is an evolving
art form, educational process, and business. Be sure to stay on top
of trends in the field and regularly attend continuing education
opportunities. You will need these professional development and
personal nurturing experiences as an artist and teacher, and so
will the dancers you teach. Evolve with the times, while still
keeping the traditions and philosophies intact.
If you’re feeling overwhelmed, stop and remember to be thankful
that you’ve achieved your dream of opening a school. The world is
filled with frustrated dance people who didn’t have the guts or the
know-how to do what you’ve done. Don’t become upset if you don’t
meet your expected enrollment numbers right away. Take what you’ve
got and make those students so happy that they spread the word
about this great new studio in town. Once news about your school
gets out, enrollment will increase as the year moves along and
during registration for the new season.
On a final note: Teach with
passion and for the right reasons, and it will lead to
success. |
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have a great day dancing
have a better day for yourself
be true to heart and your dreams
and love every minute you can touch a child's life
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The mediocre Teacher tells, The Good Teacher explains, The Superior Teacher demonstrates, The Great Teacher inspires!! William Arthur Ward
from member Lee Kastner-Ducote - Slidell, LA
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"Eyes Upon A Dance Teacher"
There are little eyes upon you And they're watching night and day. There are little ears that quickly Take in every word you say. There are little hands all eager To do anything you do And a little girl who's dreaming Of the day she'll be like you. You're the little girl's idol, You're the wisest of the wise. In her little mind about you No suspicions ever rise. She believes in you devoutly, Holds all you say and do She will say and do in your way When she's all grown up like you.
There's a wideeyed little girl Who believes you're always right And her eyes are always opened, And she watches day and night. You are setting an example Every day in all you do, For the little girl who's waiting To grow up to be like you
- Author Unknown
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TOOLS OF THE TRADE
Gizmos, Gadgets,
& Other Electronic Wonders
By Rhee Gold and Diane Despopoulos
Technological lifesavers for dance
teachers
This is part one of a three-issue series in which we explore what
teachers are looking for in sound systems, music editing programs,
billing methods, and more—and what they’re currently using. These
informative articles are packed with interesting statistics that
reveal who’s doing what technologically in dance schools across the
country.
Years ago, a dance teacher’s sound system was a pianist or a record
player that would play 78s or 45s. At recitals, she would either
hire musicians or lug those records to the theater and play them,
scratches and all, for each dance piece. As time went on, teachers
could bring their records to a specialist who would record the
music for the entire recital on reel-to-reel tape machines. Each
new option, then as now, was considered cutting-edge.
But the 21st century brings with it technological advances that
couldn’t be imagined by dance teachers of the past. Let’s take a
look at what the dance teachers we surveyed in the United States
and Canada have to say about the tech tools they’re using. We’ll
start with the evolutionary successors to that audio dinosaur, the
turntable.
Music recording and editing
Teachers today have many options for getting sound into their
studios and onto their stages. Downloading music from the Internet,
burning customized CDs, and recording on MP3 players or iPods are
all common practices among dance teachers. The more adventurous
ones are learning new skills like editing, cutting, and fading,
which allow them to create their own music masterpieces on their
computers. Novice teachers, as well as those with 50 years of
experience, are using computer programs to record and edit their
music. About 40 percent of them have their music edited by
professionals, while the other 60 percent does their own editing.
Some of the most popular programs include:
• Sound Forge (www.sonymediasoftware.com)
• Cakewalk Home Studio (www.cakewalk.com)
• Roxio CD Creator (www.roxio.com)
• ACID Music Studio (www.sonymediasoftware.com)
• GoldWave Digital Audio Editor (www.goldwave.com)
• Sonic Solutions (www.sonic.com) • Adobe Audition (www.adobe.com)
• Cool Edit (www.sonicspot.com)
Many teachers not only edit their own music; they record their
recital on one or two CDs, patch their computers into auditorium
sound systems, and play the entire show from their laptops!
Studio sound systems
According to our survey, few schools (with the exception of
professional ballet schools) can afford to hire pianists to
accompany classes. That makes the school sound system one of the
most important tools for dance educators.
If you’re shopping for a sound system, make sure it will do
everything you need it to. Make a list of the features you’d like,
then consult dance or audio-system publications or the Internet for
those who specialize in dance school sound equipment. Ask lots of
questions and request the names of some previous customers. Call
them to ask about their experiences with their new systems,
including what they would do differently and what they’re happiest
with.
Everyone wants the perfect sound system, so we asked teachers to
dream a bit. “If you could design a perfect sound system for your
classroom, what would it include?” Some of their responses would
have seemed impossible only a few years ago—but if we haven’t seen
them yet, we will before you know it.
Nearly everyone said that their first priority was having pitch or
speed control on all their equipment, including CD, cassette, and
MP3 players; iPods; and (to our surprise) turn-tables. Apparently
many teachers want to be able to record vinyl onto tapes or CDs.
All of them clamor for easy ways to record music on everything from
CDs to iPods.
Remote control features are important to several readers. Holly
Costa from the Hazel Boone Studios in Canton, MA, says, “I want a
remote control with a text screen [that lets me] scroll through
tracks.” Isabelle Cook of Isabelle’s Dance Time in Veradale, WA,
dreams of a remote control that she can wear on her wrist.
Melanie Shelley from Oklahoma City University Dance and Arts
Management described the ultimate system that would probably please
all of our respondents. She says she would like “a multiple-CD
player with a CD burner, dual cassette [deck] with recording
options, variable speed for all systems, surround sound, computer
editing capabilities, remote control, built-in CD/cassette storage,
and counters and skip features on both the CD and tape players.”
Now that’s not too much to ask for, is it?
Music
A sound system is useless without the most important tool of all:
music. Without it (in most cases) you have no dance. Most teachers
look for age-appropriate music; they express great concern about
sexually explicit or violent words or messages, especially in
making selections for the older students. Sometimes teachers
purchase pop music only to discover, after they’ve listened more
closely, that they cannot use it in class because of its content.
So where do teachers go for the right kind of music? Many purchase
pop music from stores that sell edited (“clean”) versions of CDs,
or they look for Christian hip-hop or lyrical music. A large
majority of teachers shop at online resources that specialize in
dance school music, especially when looking for material for their
ballet, preschool, tap, and modern classes. Others like to listen
before they purchase; they turn to conferences, conventions,
Costume Preview Shows, and workshops for their school music.
Video/DVD curriculum
Among our survey respondents, 84 percent purchase videos and DVDs
to augment their curriculum or choreography. Of those who do, 84
percent want general dance technique material; 57 percent purchase
progressions; 42 percent look for warm-up or barre sequences; and
38 percent are in the market for choreography or routines.
Other popular choices in videos and DVDs include famous ballet
performances, hip-hop, dance history, and Broadway musicals.
Tuition collection
Billing systems have not quite made it to the 21st century. With
the exception of a couple of schools that offer only credit/debit
cards or automatic withdrawal as payment options, almost all
continue to collect cash or checks for tuition. Still, 25 percent
do accept credit or debit cards, and 18 percent of schools—the more
progressive ones—offer an automatic-withdrawal option to their
clients.
School owners who do offer automatic withdrawal rave about it.
Tracy Stanaway, director of Tracy’s School of Dance in Billings,
MT, uses this payment method for costumes (for those who request
it) as well as tuition. She asks parents to sign up for the option
at registration; about 80 percent of them do, and those who do not
are charged an extra $7 per month. She writes, “We have used
automatic withdrawal for three years. We went to our bank for a
program that they had called I-CORP. We fill in the amounts and ID
numbers, and we control how much comes out of our clients’
accounts. Once a month, it takes me five minutes to get online and
push the appropriate buttons; then the funds automatically go into
the school’s account.”
What Stanaway likes best about the system is collecting all the
tuition in one chunk, without having to wait for it to trickle in.
Another obvious benefit is not needing to re-bill delinquent
accounts. “If someone does not have the funds in their account,”
she says, “the bank notifies us and we can either retry in a couple
of days or get it directly from the client. However, this has only
happened twice in three years.” She recommends automatic withdrawal
without hesitation. “It has made a huge difference in my business
in not having to collect and do all the paperwork in depositing
checks. I absolutely love it!”
to be continued . . . check back soon for updates - email
your comment and concerns to neonblake@aol.com
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TEACHERS INSPIRING
TEACHERS
To Sell Or Not To
Sell
By Karin Wilde-Berry
When joy and freedom trump responsibility and prestige, the answer
is a resounding yes!
If I’d had any lingering doubts that selling my dance studio was
the right decision, they were dispelled with a loud crash. My
ballet students and I raced to the window to see 3-year-old Miles,
a student’s sibling, standing outside with stones in his hand, and
his shocked mother running toward him. Miles had broken a $600
window—and I was no longer responsible! I didn’t have to submit it
to my insurance company and call my landlord. I was practically
giddy!
Many studio owners wonder what it would be like to give up running
a business to simply teach. Having lived through this transition
recently, I can tell you that the decision process was agonizing.
But in the end I found peace and freedom by staying true to my
passion.
A studio owner for eight years, I had had no plans to sell the
business anytime in the near future. However, over the course of a
few months several events (things I could easily have handled in
the past) devastated and wearied me, leading me to reflect and
re-focus. First, a mother embarrassed by her strong-willed daughter
released a verbal barrage of insults at me; second, I no longer
could accept that my part-time employee’s weekly paycheck, FICA,
and workman’s compensation totaled more than my salary. But the
final blow came when my landlord rented the space adjacent to my
growing studio (which I had expressed an interest in expanding
into) to another dance studio.
From this unexpected, painful experience I came to the realization
that although directing a school with more than 250 students and
teaching 20 weekly classes had been a blessing, running the
business took up more time and energy than I had ever thought. The
only time I felt free was when I was in the classroom, relating to
the students. I loved them all! I felt that I was flowing in my
gift, that I was touching the world by inspiring dancers, training
them with quality technique, encouraging them in their efforts, and
watching them improve. Suddenly I realized that I was created for
the classroom, not for running a business. Teaching is my passion;
it’s what makes me excited and joyful.
So the process of selling my studio began. After contacting various
people in the dance world for advice, I phoned a like-minded
acquaintance with a studio 40 miles north of my location and
invited her to purchase what would become another branch of her
school. She was delighted and encouraged me to stay on as a
well-paid teacher with the freedom to schedule my own hours. Now, I
receive a monthly income from the purchase of my studio (to be
complete in three years), while teaching classes and earning a real
paycheck.
Of course, such a major life transition is never simple. As I
struggled with the death of a dream, I experienced a type of
grieving. During that time I made a list of everything I hoped to
do in my lifetime (and I’ve already begun some of them): take
Russian ballet and hot yoga classes; brush up on my guitar playing;
study pastel drawing; learn Italian. I had to handle the
disappointment of my young students, some of whom stopped dancing
when they could no longer get into my classes. And of course, as an
employee of the new owners, I must cope with their tastes and
preferences, as well as the loss of status and control. Let’s face
it—I like to be in charge, yet now I’m just one dance teacher out
of seven. I’m not always recognized for how special I think I am. I
must now become a team player.
Still, the good outweighs the bad. I no longer have to play the
opposing roles of aggressive studio owner (with an eye fixed on the
bottom line) and the fun dance teacher (with an eye solely for her
students). These days, now that I have less to worry about, I am
more relaxed, better able to embrace the moment and explore new
creativity. I’m free to develop personal relationships and outside
interests, like whipping up fancy dinners to share with the love of
my life, my husband of 25 years. You can also find me in new
places, like hanging out in cafés reading the complete works of
Jane Austen, or taking long nature hikes, or writing my Princess
Ballerina curriculum.
I am learning that peace comes through adaptation to change. I’m
learning to embrace the things I hold dear and let go of them when
the time comes. I have found freedom and joy in recognizing that my
passion is dance education, not running a business, and in
releasing the aspects I didn’t like even though I found them
prestigious and important.
But I’ll sacrifice prestige for love and happiness. Shortly, I will
leave to pick up my 4-year-old granddaughter, Kirsa. Together she
and I will bake and paint and, yes, perhaps even dance.
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simple motivation for you when you need it
by George Carlin
The paradox of our time in history is that we have taller buildings but shorter tempers, wider freeways, but narrower viewpoints. We spend more, but have less, we buy more, but enjoy less. We have bigger houses and smaller families, more conveniences, but less time. We have more degrees but less sense, more knowledge, but less judgment, more experts, yet more problems, more medicine, but less wellness.
We drink too much, smoke too much, spend too recklessly, laugh too little, drive too fast, get too angry, stay up too late, get up too tired, read too little, watch TV too much, and pray too seldom. We have multiplied our possessions, but reduced our values. We talk too much, love too seldom, and hate too often.
We've learned how to make a living, but not a life. We've added years to life not life to years. We've been all the way to the moon and back, but have trouble crossing the street to meet a new neighbor. We conquered outer space but not inner space. We've done larger things, but not better things.
We've cleaned up the air, but polluted the soul. We've conquered the atom, but not our prejudice. We write more, but learn less. We plan more, but accomplish less. We've learned to rush, but not to wait. We build more computers to hold more information, to produce more copies than ever, but we communicate less and less.
These are the times of fast foods and slow digestion, big men and small character, steep profits and shallow relationships. These are the days of two incomes but more divorce, fancier houses, but broken homes These are days of quick trips, disposable diapers, throwaway morality, one night stands, overweight bodies, and pills that do everything from cheer, to quiet, to kill. It is a time when there is much in the showroom window and nothing in the stockroom. A time when technology can bring this letter to you, and a time when you
can choose either to share this insight, or to just hit delete...
Remember; spend some time with your loved ones, because they are not going to be around forever
Remember, say a kind word to someone who looks up to you in awe, because that little person soon will grow up and leave your side.
Remember, to give a warm hug to the one next to you, because that is the only treasure you can give with your heart and it doesn't cost a cent.
Remember, to say, "I love you" to your partner and your loved ones, but most of all mean it. A kiss and an embrace will mend hurt when it comes from deep inside of you.
Remember to hold hands and cherish the moment for someday that person will not be there again.
Give time to love, give time to speak! And give time to share the precious thoughts in your mind.
AND ALWAYS REMEMBER:
Life is not measured by the number of breaths we take, but by the moments that take our breath away.
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take time
for the
things
that
matter
to you
and take
time for
the ones
who
matter
to you
and be
sure to
take
time for
yourself |
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Instructions for Life . . .
1) Take into account that great love and great achievements involve great risk.
2) When you lose, don't lose the lesson.
3) Follow the threes R's
-Respect for self
-Respect for others
-Responsibility for all your actioins
4) Remember that not getting what you want is sometimes a wonderful stroke of luck.
5) Learn the rules so you know how to break them properly.
6) Don't let a little dispute injure a great relationship.
7) When you realize you've made a mistake, take immediate steps to correct it.
8) Spend some time alone everyday.
9) Open arms to change, but don't forget your values.
10) Remember that silence is sometimes the best answer.
11) Live a good, honorable life. Then when you get older and think back, you'll be able to enjoy it a second time.
12) A loving atmosphere in your home is the foundation for your life.
13) In disagreements with loved ones, deal only with the current situation. Don't bring up the past.
14) Share your knowledge. It's a way to achieve immortality.
15) Be gentle with the earth.
16) Once a year, go someplace you've never been before.
17) Remember that the best relationship is one in which your love for each other exceeds your need for each other.
18) Judge your success by what you had to give p in order to get it.
19) Approach love and cooking with reckless abandon.
20) Enjoy animals and what they give unconditionally. |
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Dance Teachers United is working for you - please submit your ideas and stories by email to Blake Coheley for editing and uploading to our website |
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Our DTU Teacher Feature this month is Robyn Townsend of Lumberton,
Mississippi. Robyn has owned and operated “Miss Robyn’s School of Dance” for 8 years. Robyn and her husband Brandon have been married for 7 years and have three children. Abby- 5 1⁄2 , Isaac- 4, and Caleb 18 months. I took my first dance class when I was 7 years old from Mrs. Angelia Weems in Newton, Mississippi. I can remember thinking that first day, “This is what I want to do when I grow up.” When my family moved to Poplarville a couple of years later I began taking classes at Donna Pope’s satellite studio there. When Donna shut down her studio in Poplarville, I began taking from Sarah Oldmixon who was a great source of encouragement to me at the time. She took a real interest in me and as I got older, she gave me lots of opportunities to assist her in class. My sophomore year of college Sarah offered me a class of beginners and a year later, Jameye Fleming called to ask if I would like to have her students in Lumberton. The transition was very smooth and a small studio was appealing to me because not only was I entering USM, but I was now planning a wedding! (Not to mention, I needed a job!) I graduated from USM in 1999 with a Bachelor’s Degree in Exercise Physiology. I also took several dance classes while I was there. I had always wanted several children, but I didn't want to give up teaching dance, so my location has given me the best of both worlds. In 2001, I was pregnant with my second and we literally stumbled upon a house in town with an 800+ square foot room built onto the back.
Immediately, I knew that God had me in mind when the house was being built. That room is now my studio and I am never away from my children. Abby, Isaac and Caleb love to watch mommy teach and often come down to observe and join in on the sidelines! My husband, Brandon is very involved with the studio as well. He is a computer technician and has taught me everything from how to download and splice music to how to typeset my program book. He videotapes our performances and makes DVDs for all the parents, and has even performed in a couple of shows! There is no possible way I could be doing what I do without his help. When I come upstairs after teaching the kids are fed, bathed, and in the bed. And on most nights, I have a clean house and a hot meal awaiting me! I know that I am incredibly blessed!
The girls that started with me 8 years ago are now pre-teens and are dancing extremely well. I am so proud of my students. I have taken several groups to competitions and each time they have received first place trophies. More than trophies though, I want my students to take from dance a strong sense of who they are in Christ and what it means to be a leader. Young girls are being pulled from so many different directions to follow the crowd and get involved in things that will only lead to heartache. I want the studio to be a place where they can be encouraged to choose a different path than their peers. The studio is a ministry. I care much more about my students’ souls than their dance ability. My high school girls dance at youth gatherings and youth camps to routines that have strong Christian lyrics. We talk about being a light in the darkness and using dance to bring honor to God. Our studio verse is Acts 17:28, which says “For in Him we live and move and have our being.” I believe the key to turning out great dancers is realizing your weaknesses and always remaining a student in some form, whether it be through taking class from a nearby studio or through DVDs at home. That is why I make a point to go to as many conventions, workshops, and weekly classes as I can. I take ballet classes in the summer from Yvonne Bergeron, who is the director of the Pine Belt Youth Ballet in Hattiesburg. This past summer I went to Cathy Roe's workshop in Santa Fe, New Mexico, and received a wealth of information from how to incorporate Kinesiology in your classes to strength training your dancers' upper bodies. This year I am taking class from Sarah Oldmixon during the week. Her energy is contagious and I have noticed a definite improvement in my choreography, just from being a “student” for 2 hours a week! Dance Teachers United has been a constant source of encouragement and motivation since I began attending the workshop and competitions 5 years ago. The first annual DTU Retreat was a pivotal point in my teaching career. I received so much needed encouragement and support from Nena Smith and several others that year. It truly is a blessing to be a part of such a wonderful organization. I am grateful for our leadership and their vision and I hope to always be a blessing to other teachers who are a part of this organization.
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AN OPEN DANCE NIGHT!!
Try this for something different. Our studio offers an open dance night, like an open mic night. We announce the date; give the dancers one month to choreograph a one minute phrase that they will perform. Any style of dance, any age, any music, costuming is left up to the dancer. Throughout the evening, a local coffee company serves desserts and beverages. Our senior company dancers preview their new solos as well as any other work we are working on. This is a fun and very popular event. Easy to produce and eh kids and parents love it |
There is a growing surge of interest and practice of religious dance in the US know by various names – Sacred, Liturgical, Christian, Praise, Ecstactic, Healing Dance. It is performed principally in relationship to one’s God or religious rite rather than to entertain an audience. It may take place in church, synagogue, in a filed or forest. It may be part of the ritual liturgy, choreographed for a lesson, or improvised as an emotional outpouring of the movement depending the framework of religious doctrines and cultures of the time and place. It crosses all styles and genres and incorporates every musical style available.
Sacred – an umbrella term that designates dance that references a higher power, It may be part of a religious ceremony or stand on its own. It may embody a prayer, or moral lesson or be a vehicle towards healing – MANY CULTURES VIEW DANCING AS SACRED
Liturgical - Strictly speaking, dancing that takes place during or part of the established religious rites (offertory, reading of sacred text- usually Christian)
Christian – sacred dance performed in the name of Jesus Christ in relationship with text from the Bible (Psalms 149:3)
Praise – rhythmic, outpouring of a joyous celebration – has taken on the setting of banners, colorful flags and used as an example of faith
Ecstatic – appears in many traditions where dancing is a vehicle to a transcendent state and is said to bring dancers closer to God
Healing – shaman, medicine man traditional dance – earthy and embodied prayers to the extended community
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If my students start fading. . .
I pretend to order coffee for everyone, taking time to get the order right – I have to order some a double!
I sometimes just simply change the music – keep the choreography, but this makes them think much more and continues to push them to focus
One time I simply got on the phone and called Santa Claus (in front of the students) to tell him that his helpers were in the waiting room and that they had arrived safely – That really hit home and straightened out a lot of behavior problems.
Fun Music can take the tedium out of class!
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Favorite Recital Ideas
America the Beautiful
The World is Alive with color
Swing, Swing, Swing!
From Hollywood to Broadway
Broadway Babies
Games People Play
Hometown USA
Dawn of Dance
Dancetown USA
Moving on Up!
Celestial Magic
Postcards from the Edge
Candyland
One Moment in Time
Music, Music, Music
Beach Babes
My Country tis of Thee
Let’s Rock and Roll
Remember the Good old Days
Celebration of Dance
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A Lesson in Life
Everything happens for a reason.
Nothing happens by chance or by means of good or bad luck. Illness, injury, love, lost moments of true greatness and sheer stupidity all occur to test the limits of your soul. Without these small tests, if they be events, illnesses or relationships, life would be like a smoothly paved, straight, flat road to nowhere.
If someone hurts you, betrays you, or breaks you heart, forgive them. For they have helped you learn about trust and the importance of being cautious to who you open your heart to.
If someone loves you, love them back unconditionally, not only because they love you, but because they are teaching you to love and opening your heart and eyes to things you would have never seen or felt without them.
Make every day count.
Appreciate every moment and take from it everything that you possibly can, for you may never be able to experience it again.
Talk to people you have never talked to before, and actually listen.
Hold your head up because you have every right to. Tell yourself you are a great individual and believe in yourself, for if you don't believe in yourself, no one else will believe in you either.
You can make of your life anything you wish. Create your own life and then go out and live it.
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BROADWAY CDS you should have in your collection –
Children of Eden
Aida
Little Shop of Horrors
Wicked
Wonderful Town
Oliver
Mamma Mia!
Suessical
Footloose
George M
Hairspray
Anything Goes
Sweet Charity
Chitty Chitty Bang Bang
Brooklyn
Spamalot
Dirty Rotten Scondrels
Oklahoma
The Sound of Music
South Pacific
Cobacabana
A Chorus Line
Smokey Joes Cafe
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Dancing should look easy; like an optical illusion. It should seem effortless. When you do a difficult variation, the audience is aware that it is demanding and that you have the power and strength to do it. But in the end, when you take your bow, you should look as if you were saying, ‘Oh, it was nothing. I could do it again. |
JUST FOR FUN. . . . . . .
A bicycle can’t stand alone because it is two-tired * What’s the definition of a will? (It’s a dead giveaway * A chicken crossing the road is poultry in motion * With her marriage she got a new name and a dress * When a clock is hungry it goes back for seconds * A boiled egg in the morning is hard to beat * When you’ve seen one shopping center you’ve seen a mall * Santa’s helpers are subordinate clauses * Marathon runners with bad footwear suffer the agony of defeat *
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