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Ask Rhee Gold Dance educators seek advice about teaching issues
Hi Rhee, My studio is about 40 miles from Chicago, and it is tough to find teachers here sometimes. I recently hired a young woman in her early 30s, and it wasn’t until she came to teach the second time that I noticed she has several tattoos and a tongue piercing. I appreciate each person’s individuality and creativity, but is it unreasonable for me to ask her to cover up and take out the tongue ring? Thanks. —Donna
Dear Donna, Very interesting question! Once I would have said to tell her to cover up the tattoos and get rid of the tongue piercing, but I’m not sure about that anymore. There was a time when a guy with a pierced ear was looked at strangely, and now many men have multiple earrings and no one thinks a thing. Today we see people of all ages with nose or tongue piercings and tattoos. I know a 75- year-old woman who always wanted a tattoo and finally went for it—she loves it!
I suggest that you base your evaluation of this teacher on the quality of her training, the response she receives from her dancers, and her choreography— and try to overlook what you might consider a distraction. The kids see tattoos and piercings every day in school, on television, and on the Internet. I doubt that this teacher will influence them any more than everyday life does. —Rhee
Dear Rhee, How do I, a newer single owner with 1.5 studios, survive with a competitor nearby that has multiple studios that combine all forms of dance with gymnastics and cheerleading? For the past 15 years they have offered a 10-week summer camp (full day, day care) through the township’s Parks & Recreation Department that practically all of my students attend because of their working moms. It kills my summer enrollment and then I continue to lose a percentage of my students to them every fall. They are booming while I can’t grow my enrollment much beyond 50—my break-even point. Therefore, I’ll never be able to afford a bigger studio or hire staff to help me. My last recital did not go well because I’m short-staffed. You can only ask so much volunteer help of the mothers of my 3-year-old students, the bulk of my clientele.
Relocation is not an option since every community within driving distance of my home is saturated with dance schools. I feel I have something different to offer and I’m committed to my business for another 20 years. But the struggle to pay my bills is demoralizing when I see no light at the end of the tunnel. Any advice will help. —Theresa
Dear Theresa, I’m feeling a strong sense of frustration and anger in your email. In order to figure out what you need to do to reach your goals as a school owner, you need to let all that go. Who are you? What do you offer or have that this other school doesn’t? What can you do to deal with the 10-week summer camp that it offers? These are the questions or issues you should be contemplating while that other school owner is too busy.
First, you mention that you are a newer, single owner—that means that for you, this period of time is about learning about what works best for your clientele and what you have to offer that your competitors don’t. Because your school is small, do you offer more of a personal touch? Do you personally teach most of your classes? If so, promote that. What else are you good at? Do you do excellent work with the preschool or baby level? Then that’s the market you should go for. Bring in numerous preschool children and you have a great future. The average student stays with a dance school for many years.
What can you offer your clientele that could be a credible alternative (for current or new students) to the summer camp offered by the Parks & Recreation Department? Could it be some sort of an arts camp, with a closing performance that is produced by the kids? Or is there some way you could get involved in the Parks and Recreation program? In business, especially with competitors in your area, you have to think outside of the box.
On the subject of your last recital, you mention that it didn’t go well because you’re short-staffed. That was a huge blunder! The recital is the final impression your school leaves on your clientele and their families and friends. If you do it right, it’s what makes them want to come back—not to mention it’s an opportunity to attract other potential students who are in the audience. If you create a performance where your students and the audience are excited, it’s sure to be reflected in the next season’s registration.
The solution is to do what it takes to put on an awesome show. Enlist the help of family, friends, neighbors, and anyone else you need. Take them all out for a pizza party afterwards. There is no excuse for a professional teacher to put on a bad or disorganized show.
On a final note: Your clientele will instinctively feel it if you lack confidence or if you’re not happy with your business. Walk into your school with a positive attitude; get to know your clients, which encourages loyalty (don’t talk negatively about the other school); and consistently remind yourself of all the things that make you good at what you do. Good luck! —Rhee
Rhee, What is the best way to schedule competition teams? Should the students take only competition team classes or regular classes also? Also, what is the best way to price solos? Many of our solo students are already spending large sums of money on regular and competition classes. What is an average amount to charge for solo sessions? And what is an average amount to pay teachers for attending a competition, dress rehearsal, or studio rehearsals. Their hourly rate seems too high; however, I feel that some stipend is due to them. Any advice would be helpful. —Matty
Dear Matty, Most teachers offer classes specifically for their competition groups. In my opinion the majority of them should remain technique classes through the entire season (although you could run choreography at the end of each class), as opposed to working on only choreography as the year progresses. This keeps competitive students in the mind-set that they have to continue with their training to become better competitive dancers. I don’t think students’ technique classes should ever end.
Fewer and fewer schools offer private lessons that last an entire season. The theory is that students learn more in a class environment by seeing others who inspire them. It is very hard for the older dance teacher to demonstrate the movement fully; the students see what’s expected by watching their classmates.
A flat fee has become the norm for solo choreography sessions. The average is about $300, and the choreography is usually taught in six to eight lessons.
As for teachers’ compensation, it used to be that attending events and rehearsals was part of the job and no extra compensation was expected. But those days are gone. Come up with an hourly wage that you might call “non-teaching compensation,” which is not the same as that for teaching. The range seems to be from $8 to $15 per hour; some studios pay a daily wage that averages $75. Hope that helps! —Rhee
Send your questions and comments to Goldrush, P.O. Box 2150, Norton, MA 02766 or gold5678@aol.com. They will be answered as time allows. |
Contact:
Goldrush, P.O. Box 2150, Norton, MA 02766,
Phone: 888-i-dance-9, 508-285-6650, Fax: 508-285-3179,
Email: Goldrushdance@aol.com
Copyright 2006 Goldrush Magazine, a division of the Rhee Gold Company and Gold Standard Press, LLC. Goldrush Magazine and Goldrush Online is published twelve times annually. No contents of Goldrush Magazine and Goldrush Online may not be duplicated in whole or in part without permission of the publisher. Inclusion in the Goldrush does not imply endorsement by Goldrush or its employees