Studio Owners

How Studios Are Adapting—and Excelling—During COVID-19

Sacramento Ballet began offering online classes to its SB School students on April 1. Photo by Scott Beckner, courtesy of Sacramento Ballet

On Wednesday, March 11—two weeks ahead of a statewide stay-at-home mandate—Colorado Conservatory of Dance executive director Richard Cowden and artistic director Julia Wilkinson Manley made the difficult decision to take all of CCD's classes online. As you'd expect, it wasn't easy. "This chapter in our future book will be called 'The 96 Hours From Hell,'" says Cowden, laughing, who joined the Broomfield-based nonprofit and its conservatory program of 200 students in 2018. "Over four days, we got together with our staff and faculty, all hands on deck, and launched our entire conservatory of classes online." You've probably done something similar at your own studio, scrambling to orient yourself and your staff with a video-conferencing platform (like Zoom, a popular choice among owners) for classes, as sweeping stay-at-home orders preclude in-person instruction.

COVID-19 continues to disrupt daily life as we know it, which means the state of your studio has been evolving often and rapidly. But regardless of what lies ahead, the skills you're learning as you pivot your business from in-person to online will come in handy again, no matter the crisis you're facing. We've compiled COVID-19-specific advice from the leadership of four studios and schools, in an effort to help you communicate and operate as effectively—and thriftily, and smoothly, and normally—as possible.

Keep It Positive

In your communications with parents and students, keep your outlook positive and emphasize the normalcy of what you're offering. "We're coming at it from an angle of 'This is an amazing opportunity. We're excited to keep you active and fit while you're home!'" says Hillary Parnell, who runs the Academy for the Performing Arts in Apex, North Carolina, with up to 1,000 students. "There is no doom and gloom in our messaging." Consider offering your dance family some lighter fare, too—sharing uplifting or humorous videos on your social media. "The first thing we did was put some stuff out there that's lighter in mood," says Amy Seiwert, artistic director of Sacramento Ballet, which began offering online classes to its SB School students on April 1. "We shared part of a short ballet we do that's funny."

"Our approach was normalcy," says Manley. "We wanted to keep our kids feeling like they have the same schedule, the same classes, the same expectations." With a business-(almost)-as-usual approach, you'll reassure families that instruction will continue, and parents will remember your investment in their kids' dance education long after COVID-19 is over.

"We said, 'Our commitment as a studio is to give you more, not less," says Joe Naftal, marketing director of Dance Connection, run by Mary Naftal, in Islip, New York. "We want to keep your kids engaged. We want parents to feel they're getting the value of their tuition—to buy into our brand, to see the value of our studio."

Try not to give in to the temptation to hammer home glum if-then financial scenarios with your families. "What we didn't do was overtly threaten our own shutdown and extinction," says Cowden. "There was no mention in our messaging of, 'If you don't stay with us, then we're screwed.'" Parnell reports seeing studio owners pushing out less positive messaging online. "I've seen Facebook Lives where the owner is crying, saying, 'I'm sorry to disappoint my customers and kids,'" she says. Remember that by continuing to offer dance instruction online, you're keeping students active and engaged. "Kids are bored out of their minds right now," says Parnell. "We're offering them the world!"

Make Every Dollar Count

Now is the time to cut expenses, if you can—sensibly. "Go through your profit and loss and monthly credit card statements," says Naftal, to see what can you let go of. "Ask for a discount from every vendor that you can." (Keep in mind that you'll likely need to take on new expenses, too: "We don't have to clean the studio, but now we're spending $700 a month on technology," says Naftal.) Consider offering families the chance to register and pay now for next fall, as a revenue boost. "We're offering a pay-it-forward thing to some of our students," says Seiwert. "If they want to pay for next year now, they can lock in a particular rate. That's helped some income come in."

Cowden reports that, perhaps surprisingly, CCD's enrollment hasn't suffered too much. "When we sent out that first e-mail to our families about studio closure and going online, we saw an initial drop in tuition and enrollment—people panicked and withdrew," says Cowden. "But it wasn't very many. Primarily it was at low age levels—parents of 4-year-olds, after all, were dropping their kids off and taking an hour to regain their sanity, whereas online classes require more hands on deck."

If you haven't already, avail yourself of federal small-business relief—specifically, the Paycheck Protection Program, a forgivable loan to cover payroll, or a low-interest Economic Injury Disaster Loan. As overwhelming as it may feel to keep up with such a rapidly changing business landscape, it's important that you stay informed and operate proactively. "The school side of CCD, for all intents and purposes, functions like a for-profit would," says Cowden. "I'm approaching it as if I were a small-business owner: What relief is out there for me? My whole approach is to try and mitigate loss of revenue by increased contributed or granted income somewhere else." Be vocal about your business' needs with your state representatives, urges Naftal. "Call your Congressperson and say, 'We need government help. This is the relief we need,'" he says.

Think Outside the Box

Your classes, of course, are transforming rapidly, now that instruction is happening online. Don't be afraid to reach deep into your dance teacher's bag of tricks. "In our classes, we're doing more conditioning and less centerwork. We're supplementing classes with dance history, talking about what we keep in our dance bags and why, and teaching how to do that perfect French twist," says Seiwert. "We're doing a Zoom watch party with the kids' school show that happened in January. The students' ability to connect and see each other is just as important as anything else."

Transitioning your classes to a purely online space is also a chance to reevaluate other parts of your business that may be affected by this virus—and not necessarily in a negative way. "It's an opportunity to innovate and think about your business model," says Cowden. "We're developing infrastructure to deliver courses in a really cool way, so how can we broaden our reach to underserved populations?" Seiwert reports that Sacramento Ballet is seeing a resurgence of former students taking class, now that instruction is online. "We've had a lot of people join us who we haven't seen in years, all across the globe," she says. "Normally, they don't have access to us. So how do we use this opportunity to bring others back into our fold? Can we do that year-round?"

As recital season nears, you'll need to start thinking creatively around it, too. "I'm not really that worried about the recital—we'll figure something out," says Parnell. "If it's in August, and the teachers do the dances onstage with the students, that's fine—after all, we're in a global pandemic."

Higher Ed
Getty Images

As we wade through a global pandemic that has threatened the financial livelihood of live performance, dancers and dance educators are faced with questions of sustainability.

How do we sustain ourselves if we cannot make money while performing? What foods are healthy for our bodies and fit within a tight unemployment budget? How do we tend to the mental, emotional and spiritual scars of the pandemic when we return to rehearsal and the stage?

The pandemic has highlighted this shared truth for dance artists: While we've been trained to dedicate our lives to the craft of art-making, we lack the knowledge to support ourselves when crisis hits. While we may have learned much about performing and creating dance in our college curriculums, most of us were not taught the answers to these questions of sustainability, or even those that come up in the normal life of a dance artist, like how to apply for a grant. Indeed, even before the pandemic, far too many dance artists faced abuse, harassment, mental health challenges, financial stress and other issues that they weren't equipped to deal with.

In 2017, inspired by the fact that dance curriculums so often hyper-focus on making and performing art but leave out the task of supporting an artistic life, choreographers David Thomson and Kate Watson-Wallace created The Sustainability Project, which seeks to create and expand discourse addressing the gap between technical and performance knowledge, and the knowledge that supports a healthy, sustainable life.

Since 2018, The Sustainability Project has been offered as a course called Artists' Sustainability at the Pratt Institute's Performance & Performance Studies graduate program, open to students of all disciplines at the undergraduate and graduate levels. The course incorporates goal-setting workbooks, discussions and projects that model artistic life postgraduation, like getting a grant funded, complete with artistic statements, proposals, budgets and a panel review.

Pratt isn't the only school to begin addressing this hole in their curriculum. At Shenandoah University, for example, Rebecca Ferrell has students in her first-year seminar for dance majors create personal and artistic budgets, and identify their personal and professional support systems.

We still have a long way to go, however, until this kind of learning is embraced as an essential part of any dance curriculum. Thomson says that while dance artists and students have embraced The Sustainability Project, school administrators have been reluctant to incorporate life-learning courses into their programs.

But if college isn't the time for this learning, when is the time? The fast-moving, demanding and exhausting life of an artist often does not leave space to learn new skills, such as balancing a budget, conflict resolution or creating a nutrition plan. And without these tools, dance artists often won't be able to put to use the artistic skills that their college programs focused on. (You can't show off your great training if you haven't been taught how to find a job, for instance.)

As the dance field struggles to survive the pandemic, it's more important than ever that dance education demystifies the working life of dance artists. Dance students are already taught to prevent injuries for the sake of their body's sustainability. Let's start thinking of dancers' careers the same way. As Thomson put it, "Would you send your child out into a snow storm with a pretty coat, hat and scarf without any shoes?"

Teachers Trending
Cynthia Oliver in her office. Photo by Natalie Fiol

When it comes to Cynthia Oliver's classes, you always bring your A game. (As her student for the last two and a half years in the MFA program at the University of Illinois at Urbana-Champaign, I feel uniquely equipped to make this statement.) You never skip the reading she assigns; you turn in not your first draft but your third or fourth for her end-of-semester research paper; and you always do the final combination of her technique class full-out, even if you're exhausted.

Oliver's arrival at UIUC 20 years ago jolted new life into the dance department. "It may seem odd to think of this now, but the whole concept of an artist-scholar was new when she first arrived," says Sara Hook, who also joined the UIUC dance faculty in 2000. "You were either a technique teacher or a theory/history teacher. Cynthia's had to very patiently educate all of us about the nature of her work, and I think that has increased our passion for the kind of excavation she brings to her research."

Coming off a successful choreographic and performance career in New York City and a PhD in performance studies from New York University, Oliver held her artistic and scholarly careers in equal regard—and refused to be defined by only one of them. She demands the same rigor and versatility from the BFA and MFA students she teaches today—as in this semester's aptly titled Synthesis, a grad class where students read female-authored memoirs (Audre Lorde's Zami, Gabrielle Civil's Swallow the Fish) and then create short movement studies from prompts based on a memoir's narrative structure or content. It was Oliver, too, who advocated that grad students should be required to take at least one class outside of the dance department, as a way of guaranteeing a cross-disciplinary influence on their studies.

Oliver, wearing black pants and a green shirt, dances on a sidewalk outside a building

Natalie Fiol

But alongside her high standards, Oliver has also become known for holding space for students' complexity. "I have a tendency for a particular kind of disobedience or defiance, and people usually try to punish that," says Niall Jones, who graduated from the MFA program in 2014 and has also been a performer in Oliver's work. "But Cynthia finds a way to see and attend to what's really happening in that posture. She has a capacity to listen. There's a space for otherness in her work and in her teaching, to allow people to step into different ways of being."

Though Oliver's role at the university has undergone some shifts over the last few years, the connection between her work and her art remains a thread through everything she does. Three years ago, she began splitting her time between the dance department and the Office of the Vice Chancellor for Research, where she helps scholars and faculty in the humanities and arts find support for their research. And over the summer, Oliver was named a Center for Advanced Study professor, an appointment that she'll hold until she retires, which comes with an annual research stipend and the chance to engage with other scholars across campus.

I sat down with Oliver over Zoom to pick her brain about how she crafts her legendary syllabi and what it's been like to watch dance academia slowly embrace her approach.

Oliver sits at her desk, surrounded by books and papers, leaning forward onto her forearms

Natalie Fiol

What's kept you here at Illinois for 20 years?

I came here as an experiment. I had been an independent artist in New York for many years, and I intended to continue doing that, because that was a life that worked for me. But at the same time, I would have these periods where I thought, "What am I doing?" During one of those periods, I went to grad school for performance studies. As I was finishing up, Renée Wadleigh, who had been my undergrad teacher [at Adelphi University, before Wadleigh joined the UIUC faculty] reached out to me and said, "I've been following your career. If you ever think about teaching at a university, consider Illinois." [My husband] Jason and I decided to try it for three years. We always felt like we could go back to the city if we hated it.

Many of us think: "I'm going to go into the academy, and my career will be over." It doesn't. It might amplify it in certain ways, and it might ebb and flow. For me, I needed that ebb and flow, so I could recover from a really active period and then focus on my writing and teaching for a period. It's a different kind of intellectual engagement. That's what's kept me here.

How has your approach to pedagogy changed over your time here?

In New York, I had a class that I would teach that generally was offered to other professionals who were preparing to go to rehearsal. In the academy, I had to learn a different kind of teaching, and that's where my real education started around pedagogy.

I realized that I could either continue in a kind of dominant aesthetic vein, or I could figure out what I had to offer that was different from what the students were getting from my peers in the department. So that's what I did. I called on my Afro-Caribbean background, my club dancing background, my time with Ronald K. Brown and Baba Richard González, my growing up in the Caribbean. I started to pull that material into a structure that reflected the values that I have around community and bodies being together—people understanding a depth of engagement that is not immediately Eurocentric. There was space to do my own investigation here, to think about my own pedagogical aesthetic and cultural interests, and incorporate them in my teaching. That's also what keeps me here. I can continue to question and shape and change according to certain values and attach those to my research interests.

Oliver stands in her office, leaning back against a filing cabinet and smirking at the camera

Natalie Fiol

I've always assumed that the seminars you teach in the grad program are so writing- and research-intensive because of your experience getting your PhD in performance studies. Is that true?

I have a strong intellectual interest. My experience going into performance studies enriched my practice in ways that I could not have imagined. I remember what it felt like to have all of those pistons firing while I was making work. It was overwhelming, it was stimulating, it was exciting. I wanted to cry, I wanted to scream—all at once. I think I offer that to our program. There's also my insistence on the cross-disciplinary requirement in our program. You all have to reach outside of the department to engage with other intellectuals and creative practitioners across disciplines to inform your own.

There are grad students who have cursed me for bringing that kind of rigor. But my experience in the field has been about my being able to talk about my work in-depth—about the choices I make, about epistemologies around it, about world views, influences, all of that. In order to do that convincingly, you have to have a foundation. I want you all to be legit, to know what it is you're talking about your own work in relation to. And that comes from an intellectual heft.

The syllabi you create for the grad classes are incredible. They're so thoughtful, so detailed, so well-crafted. How do you do that?

I work on my syllabi like I work on my choreographic projects. I piece these bad boys together over time. I do not do it in a rush. I take notes. If I come across something—a scholar, what I've read, what someone said—I'll jot it down. Eventually, I'll pull all of those notes together. That's when it gets exciting. There's always something serendipitous about it.

There are people who don't see the labor that goes into my class. And that's when I say, "OK, I'm going to reveal the bones of this in a way I wouldn't, ordinarily." For example, in a course I'm teaching this semester, I only used texts by women. I didn't walk in and announce it—"Well, if you would notice, all of these authors are women"—I just did it, because, for me, that was a feminist act. Because that's how a white, patriarchal voice works: It presumes authority, and it offers you this information—and you are supposed to take it, as if that's the law of intellectual curiosity, of how one should think.

Oliver, in black pants and a green shirt, dances in a grassy area by a street. She leans to the side, her arms swaying beside her

Natalie Fiol

Your longtime approach is finally being picked up by dance programs across the country that are slowly decolonizing their curriculums. Does that make you feel excited? Relieved?

There's a part of me that is tired, to be honest. Because artists of color have been doing this work for a really long time—that labor has always rested on our shoulders. I have to resist any moments of cynicism and really be willing to just seize the moment and work with folks to make the changes happen. I don't know that America as a whole is ready for it, but it feels like institutions are finally ready to look at the ways inequity has historically been established and continues through the systems in place.

So how do you combat that feeling of tiredness?

I think by seeing things happen, by seeing change—seeing more students of color in our program, for example. I'm excited that I have two additional colleagues of color [associate professor Endalyn Taylor and assistant professor C. Kemal Nance] on our faculty. We're not a perfect situation, but our department head, Jan Erkert, has made this a priority. That makes it easier to make people feel more welcome. At the same time, you have to understand that if you change your curriculum to be more inclusive—as it should be—you also have to be nimble and responsive to what the needs are of that diverse community. Those are the growing pains that have to happen.

Clockwise from top left: Courtesy Ford Foundation; Christian Peacock; Nathan James, Courtesy Gibson; David Gonsier, courtesy Marshall; Bill Zemanek, courtesy King; Josefina Santos, courtesy Brown; Jayme Thornton; Ian Douglas, courtesy American Realness

Since 1954, the Dance Magazine Awards have celebrated the living legends of our field—from Martha Graham to Misty Copeland to Alvin Ailey to Gene Kelly.

This year is no different. But for the first time ever, the Dance Magazine Awards will be presented virtually—which is good news for aspiring dancers (and their teachers!) everywhere. (Plus, there's a special student rate of $25.)

The Dance Magazine Awards aren't just a celebration of the people who shape the dance field—they're a unique educational opportunity and a chance for dancers to see their idols up close.

Here's why your dancers (and you!) should tune in:

They'll see dance history in the making.

Carlos Acosta. Debbie Allen. Camille A. Brown. Laurieann Gibson. Alonzo King.

If you haven't already taught your students about these esteemed awardees, odds are you'll be adding them to your curriculum before long.

Not only will your students get to hear from each of them at a pivotal moment in their careers (and Dance Magazine Awards acceptance speeches are famously chock-full of inspiration), they'll also hear from presenters like William Forsythe and Theresa Ruth Howard.

This year, all the Dance Magazine Awards are going to Black artists, as a step towards repairing the history of honoring primarily white artists.

And meet tomorrow's dance legends.

Dance Magazine's Harkness Promise Awards, this year going to Kyle Marshall and Marjani Forté-Saunders, offer funding, rehearsal space and mentorship to innovative young choreographers in their first decade of presenting work—a powerful reminder to your students that major success in the dance world doesn't happen overnight.

They'll get a glimpse of what happens behind the scenes.

Solely teaching your students how to be a great dancer doesn't give them the full picture. A complete dance education produces artists who are savvy about what happens behind the scenes, too.

In 2018, Dance Media launched the Chairman's Award to honor those behind-the-scenes leaders who keep our field moving. Each year's recipient is chosen by our CEO, Frederic M. Seegal. This year's award goes to Ford Foundation president Darren Walker, who is using philanthropy to make the performing arts—and the world at large—more just.

And, of course, see dozens of great dance works.

Where else could your students see selections from Alonzo King's contemporary ballet classics next to Camille A. Brown's boundary-pushing dance theater works? Or see both Carlos Acosta and Laurieann Gibson in action in the same evening? Excerpts from the awardees' works will show your students what it is exactly that makes these artists so special.

So gather your class (virtually!) and join us next Monday, December 7, at 6 pm. To receive the special student rate, please email

See you there!

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