What studio owner wants to spend time thinking about the worst that can happen? Yet as the dance studio business continues to expand, the number of dance studio–related scandals seems to grow in proportion: Sexual abuse allegations make headlines, copycat studios pop up around the corner and "borrowed" choreography winds up onstage at the next competition. Thinking through a crisis management plan ahead of time and adopting wise risk-reduction strategies will help protect the hard-earned success you've achieved. Read on for three studio scenarios and the steps to appropriately deal with them and prevent them from happening at all.


When Your Employee Leaves—with a Contingent of Students

If a faculty member has recently gone on to start her own studio and absconded with a significant portion of your clientele, it is always best to immediately address the situation with your parents and students, according to Henrie, rather than hoping it will pass unnoticed. "You need to let your clients know that you're aware of what's going on and that you care enough about them to keep them well-informed," she says.

Henrie recommends putting a positive spin on the situation, letting your clientele know via e-mail or your studio newsletter that your former teacher has left to realize her own studio dream or to join another school and that you wish her well. But focus your message on who and what will be the replacement at your studio. Introduce a new faculty member in an exciting way, highlighting what she brings to your school and what new classes will be offered.

Risk-Reducing Practices

Include a noncompete clause in your employees' contracts (independent contractors have more autonomy), stipulating that they cannot open their own studios or join the faculty of another studio within a specified radius. See rocketlawyer.com to download a free, fill-in-the-blanks noncompete agreement, tailored to your state's legalities—but have it reviewed by your own attorney.

Foster faculty loyalty by offering salary incentives for long-term employees, alerting your teachers to continuing education opportunities via educational workshops (subsidized, if possible) and giving the faculty your respect.

Rotate teachers among the different levels at your studio, so that your students become attached to the studio itself and not to one particular teacher. Keep yourself in the classroom, too, to remind your clientele that you are more than just the titular head of the studio.

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Dance Buzz
PC Break the Floor

Two competition routines are equal in technical proficiency, artistry and choreography. One consists of all girls, the other includes a boy. Guess which takes home first prize?

If you guessed the one with the boy, you may be privy to an unspoken and much-debated phenomenon in the competition dance world: The Boy Factor. According to The Boy Factor, a competitive piece is more likely to win if there's a boy in it.

"If it's all technically equal and one group is all girls and the other group has a boy, the one with the boy will win," says Rysa Childress, owner of All Star Studios in Forest Hills, New York. "Boy soloists are sometimes scored higher than more technically proficient girls because if a boy has good stage presence, we let him slide," says an anonymous competition judge. "And most of the feedback will be for the boy."



The Boy Factor doesn't just have to do with competition scores: It's how we treat boys throughout their dance education. "We idolize the boys," says Ashley Harnish, a teacher at a competition studio. "We build entire dances around one boy, and we teach them that we need them more than we need the girls."

On the surface, The Boy Factor is flagrant sexism. But what's really behind the phenomenon? "So often, young male dancers are bullied because our culture says that dance is for girls," says a second national competition adjudicator. "This stigma pushes some judges to reward boys by scoring them higher than their female competitors." The Boy Factor also stems from a simple fact: There are far more girls than boys in the dance world.

"Judges see boys as valuable commodities," says Marissa Jean, a staff member at Broadway Dance Center's new building for children and teens and a teacher at several competition studios. "To encourage their career in dance, judges will throw a little extra their way. It could be placing them in the top ten or giving them a special award. They nurture them a bit more than the girls."



But by trying to retain more male talent, are we suggesting to girls that they are less valuable to the dance world than boys? "There's so much about this getting into these kids' psyches," says Childress. "Like, 'Oh the boy will beat me no matter what.' How do we teach self-worth knowing that you're going up against a boy, so what's the point?"

The Boy Factor is a product of and a contributor to the culture that sends the few men in dance up the glass escalator: "Many boys growing up in the dance world are not told the word 'no' often, so they tend to climb the professional ranks more quickly than the women," says Jean. We often bemoan the absence of female leadership in dance, but the damage is already done if we've taught young women that their gender determines their value to our community.

So what can be done about The Boy Factor? First, we could change how we encourage boys to continue dancing. Instead of empowering young men by devaluing young women, we could work as a community to dispel the culture of toxic masculinity that discourages boys from pursuing dance in the first place.

But it also falls in the hands of judges and teachers. "We need to increase awareness," says the second adjudicator. "A lot of us judges don't realize what we are promoting and the messages we send through our scoring and awards. If enough of us band together, I think we can make a difference so that this part of our field is less toxic."

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Q: Do you have any advice for how to clean competition pieces?

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Kenedy Kallas (via Instagram)

Every true dancer knows just how valuable a perfectly arched foot that curves effortlessly from the ankle to the end of the toes is to a performance. In fact, it's so important, it seems we've all taken an unofficial pact to spend inordinate amounts of time stretching our feet with ominous looking contraptions that cause us severe pain. We are completely crazy! With good reason, but crazy, nonetheless.

In order to keep us all inspired to stretch our toes until they are drool-worthy, DT compiled a list of five dancers whose feet we have a very real crush on. Honestly, these guys should get their toes insured! Truly, they are perfect.

Check 'em out!

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Q: After running my studio six days a week for 20 years, it's time for me to delegate. How can I transition into a shared-workload system with my teachers?

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Students need strong feet for pointe work, but few concentrate on their toes specifically. "Fatigue sets in and they start knuckling," says Atlanta Ballet podiatrist Dr. Frank Sinkoe. This puts excess pressure on the nails, causing bruising. The exercises below strengthen the arch and intrinsic muscles, which flex the toes and support the feet.

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What are your non-negotiables? Share on Dance Teacher's Facebook page.

It could be argued that half the battle of owning a dance studio is getting people to follow the rules. To ensure your business will run like a well-oiled machine, it helps to have clear expectations in place for students and their families—and, most important, to make sure everyone knows them from day one. Of course, every school is unique, and behavior that may be acceptable to you might be out of the question for someone else. "There are so many studios out there," says Dana McGuire, a studio co-owner in North Kansas City, Missouri. "Know and stand by what you're about." Here, four seasoned studio directors discuss the issues they consider non-negotiable.

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I have a student who's going through a growth spurt, and I'm wondering what advice I should give her. Is there anything you recommend?

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