Q: What kind of fundraisers do you do to cover students' competition fees, and how do you use the money raised?


A: Let's face it—competitive dance is a big financial investment. We have a not-for-profit committee, Parents Supporting Competitive Dancers (PSCD). It's run by volunteer studio parents. At the beginning of the dance season, PSCD has a meeting with interested parents outlining the fundraisers planned for the upcoming year. This year's fundraising events included selling chocolates, pumpkins and poinsettias; 50/50 raffles at Christmas; selling studio wear; a golf tournament; pub night; barbecues; bake sales; and a bingo night.

Participation in the program is completely voluntary, but participating dancers must pay a nominal fee and support events in order to reap the financial benefits. Funds can be applied wherever the parents want. It's made a big difference for some families. Plus, every PSCD dancer receives 25 percent off their summer dance intensive fees—which helps keep our students dancing throughout the summer and gives our teaching staff summer income.

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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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Dance Buzz

When Sierra McCauley was diagnosed with Hodgkins lymphoma cancer five years ago at age 6, that didn't stop her from continuing to compete with her studio, Sonya's Dance Zone, in Columbus, Indiana. Despite six months of chemotherapy, McCauley even competed in a Nationals. "I remember going onstage without any hair and a bow taped to my head," she says.

During her stay at Riley Hospital for Children, McCauley made several friends, a few of whom sadly passed away during their struggles with cancer. Last year, she performed a special tribute dance to honor those friends. Now, she's created a social media challenge to help raise funds for the Riley Children's Foundation: #dancerbeatingcancer. The challenge's premise is simple, just like the #IceBucketChallenge from 2014—you post a short video of yourself dancing to Meghan Trainor's "Better When I'm Dancin'" and challenge others to do the same, tagging your post with #dancerbeatingcancer. Then, you head to the Riley Children's Foundation donation page to donate funding for pediatric research.

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Teachers & Role Models
"We hire dancers based on more than skill," says Nan. "I ask myself, 'What are they like as people?" Photo by Quinn Wharton

It's no easy task to follow in the footsteps of a legend. It's harder still to not just follow but also take the lead. Nan Giordano, daughter of jazz-dance icon Gus Giordano, has done just that, and she's doing it with unwavering dynamism and a tenacity that has kept her father's company, Giordano Dance Chicago, not only alive but thriving after 55 years.

Gus Giordano, a venerable founding father of jazz dance, traveled the globe teaching his iconic technique, inspired generations of dancers at his school and founded a company that became a staple in the Chicago dance scene and known around the world. Nan has been part of this company for 40 years—as a dancer, a partner to her father and now as artistic director. Today, she has cultivated an eclectic repertoire for its dancers, who have a full performance and tour schedule; she is fostering a growing education-and-outreach program; and she is overseeing the planning of a new home. "We're not just perpetuating my dad's name," Nan says. "We're elevating his legacy and building on the foundation he created."

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Teachers & Role Models
"I had to figure out how Graham technique informs the body in ways that other techniques don't address," says Kim Stroud. Photo courtesy of Stroud

When it comes to teaching dance, teachers often find themselves wishing they had 10 more minutes to fit in that final grand jeté sequence across the floor or the last 16 counts of the hip-hop combination they prepared. In a K–12 environment, a time crunch is even more likely. Between increasingly limited slots for arts electives and the challenges of navigating a block schedule, time is a precious commodity. Here, three seasoned K–12 educators share their strategies for making every minute count.

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Judith Jamison celebrating Alvin Ailey. Photo by Tiba Vieira, courtesy of Ailey Extension

When you're offered a chance to take a class with Judith Jamison, you don't say no.

The company's beloved artistic director emerita rarely teaches open classes. But to celebrate the legacy of Alvin Ailey on what would have been his 87th birthday, she gave a special two-hour workshop at the Ailey Extension on Friday night. I had to try it, even though I was desperately hoping that she wouldn't make us do any Horton coccyx balances. (Spoiler alert: She did.)

So what's it like to take class with the larger-than-life icon?

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