Jul. 01, 2008 10:41AM EST
@jayplayimagery, courtesy Kerollis
In the spring of 2012, Barry Kerollis was abruptly forced into treating his career as a small business. Having just moved cross-country to join BalletX, he got injured and was soon let go.
"I'd only ever danced with big companies before," the now-freelance dance-teacher-choreographer-podcaster recalls. "That desperation factor drove me to approach freelancing with a business model and a business plan."
As Kerollis acknowledges, getting the business of you off the ground ("you" as a freelance dance educator, that is) can be filled with unexpected challenges—even for the most seasoned of gigging dancers. But becoming your own CEO can make your work–life balance more sustainable, help you make more money, keep you organized, and get potential employers to offer you more respect and improved working conditions. Here's how to get smart now about branding, finances and other crucial ways to tell the dance world that you mean business.
Put a Label on It
<p>If you want more lucrative and prestigious teaching gigs, you need to market yourself like someone who's qualified for them. Just like in any other kind of business, marketing your services is a key component of finding (and keeping!) teaching jobs. Erin Pride, an online business coach for dance professionals, recommends drilling down on what she calls your "spark." "Make a list of what you're naturally good at, what comes easily to you as a teacher," she suggests. Get specific about the most obvious value you offer to those looking to hire you. Did you train with one of the dance world's big names? Are you certified in a particular technique or methodology? Are you prepared to offer something unusual, like explicitly body-positive instruction or a rarer discipline (folklórico, Gyrotonic, etc.)?</p><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY3MzI2Ny9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyNTExNDU1NX0.okq2d7xiZnsdioAhN3d7E8emBh6eZLqLjqujH7gDyck/img.jpg?width=980" id="9574e" class="rm-shortcode" data-rm-shortcode-id="0dea1b6cc86b8869819a8412127ed4a9" data-rm-shortcode-name="rebelmouse-image" alt="Erin Pride, a young Black woman with short curly hair, smiles at the camera, wearing bright pink lipstick and a shirt that says "Bowie."" data-width="2320" data-height="2749" />
Courtesy Pride
<p>Pride's next recommendation would be to get serious about social media. As she notes, "Everyone thinks they know how to do social media, until what they're doing doesn't work!" What <em>does</em> work, according to Pride? Consistently posting—whether that's one post a week or five—on a platform you genuinely enjoy (read: Don't worry about TikTok if you have zero interest in short-form video), with a laser focus on your spark. These days, a robust and professional social-media presence is even more important than a website, says Pride.</p>
Figuring Out Financial Freedom
<img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY3MzI3Ni9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1MDI4NzE4NX0.2UwPmN5fi8B0dmMECKQ-7oAUxYdiFtZB6f8owi4s-C4/img.jpg?width=980" id="cbe59" class="rm-shortcode" data-rm-shortcode-id="5386beebc108e7c64dc3b040285b1105" data-rm-shortcode-name="rebelmouse-image" alt="Ben Henry-Moreland, a young white man, wears a blue button-down shirt. He crosses his arms and smiles against a brick wall backdrop." data-width="4272" data-height="2848" />Courtesy Henry-Moreland
<p><br></p><p>You alone will be the CEO, CFO and chief marketing officer of your freelance-teaching career. As certified financial planner (and former freelance opera singer) Ben Henry-Moreland puts it, "Your job is to make sure the business that is <em>you</em> doesn't go bankrupt. Having a business-owner mentality will not only help you remember all the things you need to do other than teaching; it'll help you accomplish your financial goals."</p>
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<p>To that end, Henry-Moreland advises insuring yourself against potential lawsuits and registering with a state government (typically the state in which you do business) as a limited-liability company (LLC). These simple steps, which can be accomplished online in less time than you might think, will place some legal separation—and financial benefits—between you, the individual, and you, the business.</p><p>Once you're legally a business entity, you can open a business bank account (which usually isn't any more complicated than opening a personal bank account) and apply for a business credit card. This card should be strictly for work-related expenses, from the shoes you wear while teaching to teacher-training courses. Keeping your professional expenses separated from personal expenses will make it easier to deduct them when tax season rolls around.</p><p>Speaking of taxes, Henry-Moreland says that as a freelancer, you'll need to set aside money in advance to cover what you anticipate owing. He also strongly advises enlisting the help of a CPA: "The couple hundred bucks you spend will absolutely be worth it, in terms of maximizing deductions and saving time that you can and should spend on other aspects of your business."</p>
<img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY3MzI4Ny9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY3NzE1MjUyM30.Dha4jF24ozBA9qqhu2yogJCNCMmG23WCAbxQIw-WcCQ/img.jpg?width=980" id="87e15" class="rm-shortcode" data-rm-shortcode-id="81fba8a05da8401f41bdacec780fc6ee" data-rm-shortcode-name="rebelmouse-image" alt="Barry Kerollis demonstrates a pirouette preparation from fifth position in an empty studio. He faces a large monitor showing Zoom screens." data-width="4096" data-height="3813" />
@jayplayimagery, courtesy Kerollis
The Mental Shift
<p>Freelancing demands a certain degree of hustle that can feel uncomfortable to dancers, considering how many of us grew up in studio cultures where, as Kerollis says, "we didn't speak much, and we were taught to be humble and respectful and grateful."</p><p>But as a freelance dance instructor, you simply cannot afford to wait until the lucrative gigs find you. Have your elevator pitch updated at all times, reconnect with teachers and directors from your past who are in your network, and reach out to potential gigs that you've researched thoroughly and think would be a good fit.</p><p>Possibly even more challenging is setting prices for classes, private lessons, coaching sessions and so on. It's true that you don't necessarily need to draw up formal contracts: Kerollis says that as long as all details are hammered out in writing (such as via email), you're in the clear should a dispute arise. But figuring out your value as a service provider and asking for it can get awkward, to say the least.</p><p>Kerollis warns that if you're used to a dance-company paycheck, there could be some initial sticker shock. But you shouldn't accept a fee that feels degrading: First, figure out a base hourly rate that you'd be comfortable with. Then factor in commute length and cost, preparation time required, that geographic area's general cost of living, and anticipated difficulty of the gig (level of student engagement, number of dancers, etc.). When asked, state a rate that's somewhat higher than your final calculated minimum. "If they accept it without negotiation, congratulations—that's your new rate!" says Kerollis.</p><p>Of course, financial constraints and imposter syndrome can make all these steps seem daunting or superfluous. But as Pride says, "A lot of times, we artists don't get education on the importance of a retirement fund or building generational wealth. If you want to stop living paycheck to paycheck, you need to embrace the mindset that your teaching is a business."</p><div class="htl-ad"
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Courtesy Oleson
American dance educator Shannon Oleson was teaching recreational ballet and street-dance classes in London when the pandemic hit. As she watched many of her fellow U.S. friends pack up and return home from their international adventures, she made the difficult choice to stick with her students (as well as her own training—she was midway through her MFA at Trinity Laban Conservatoire of Music and Dance).
Despite shutdowns and shelter-in-place orders, she was able to maintain a teaching schedule that kept her working with her dancers through Zoom, as well as lead some private, in-home acro classes following government guidelines. But keeping rec students interested in the face of pandemic fatigue hasn't been easy.
<p>"I teach dance to kids who are 10 and under who only dance once per week," Oleson says. "It's so different from my highly intense competition upbringing in America. I'm not working with people who live, breathe and die for dance. I have to try different tactics."</p><p>Oleson shared the tools she's been using to keep casual dance students engaged, her recommended reading for dance educators and more.</p>
<img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY3MzE4NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyMTI0Njc5OX0.LFM111Q7fevGP_hLtVDiojmKgqDbE6QlTscoxTstwAo/img.jpg?width=980" id="0342a" class="rm-shortcode" data-rm-shortcode-id="78fa0cd6dd086e876881bbfb1e2aff1d" data-rm-shortcode-name="rebelmouse-image" alt="Shannon Oleson in passe in her living room, teaching a Zoom class. She is in front of her black couch, and behind a clear coffee table with an unfinished puzzle on it." data-width="1000" data-height="1129" />
Courtesy Oleson
On utilizing the Zoom camera:
<p>"I like to play with virtual backgrounds, as well as going in and out of the camera frame. I've had the dancers come close to the screen, or hide from view. I also use games that play off the sides of the room and other silly illusions that the camera can make. The kids really like how it shakes things up from their regular, virtual school classes."</p><div class="htl-ad"
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Her favorite teaching attire:
<p>"I'm a walking poster for lululemon—I worked there on and off for five years. It looks professional, the fabrics are flexible for teaching/demonstrating, and are so comfortable. I love the Align leggings and dance-studio pants. I'm normally rocking one or the other when I teach. I also love to wear Allbirds sneakers. The wool-fabric sneaker is flexible for showing footwork, and spacious so they don't hurt my bunions or feel too tight on my foot. Allbirds also have great arch support and make all my other joints feel better after long hours."</p><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY3MzE4Ny9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0NTY5NTE4NH0._v2Nv4whIfuRZZ7nA4lyVLttynrlck3PRJUe55xc-7U/img.jpg?width=980" id="05ae8" class="rm-shortcode" data-rm-shortcode-id="91a0020bbe67cc47ee03d2c67b3eae94" data-rm-shortcode-name="rebelmouse-image" alt="Shannon Oleson sits at her kitchen counter, waving at her computer screen and smiling. Her laptop is covered in colorful stickers, and her kitchen can be seen behind her." data-width="1000" data-height="763" />
Courtesy Oleson
How support for the arts differs in the UK:
<p> "I've spoken with dance friends in the States as well as dance friends in Europe, and it seems like everyone in London is getting by, while those in the States are really struggling. Even with my visa, I have been fortunate enough to apply for scholarships and grants that aren't dance-related in order to maintain a base income. Those opportunities are just much less available back home."</p><div class="htl-ad"
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Nondance hobbies:
<p> "I tend to have a really anxious personality, so I've found Ashtanga yoga to be really helpful. I also love how it parallels barre in that you do the same poses each practice so it feels like something to go back to. Beyond that, I enjoy bouldering, cooking and anything that gets me outside."</p>Her go-to warm-up for teaching:
<p> "I warm up mentally more than physically when teaching. I prefer to make sure I can step away from anything bothering me to be focused and available for my students. I try to take about 5 minutes alone, and that lets me focus my intentions for the classes. For more physical classes, I'll warm up with some dynamic movements that incorporate light stretching and get my heart moving."</p><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY3MzE4OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY2NDE3NzEwMn0.HP4OwwtOTdNxvK2LxeCQ5MjK9rnnkQfUiRQnVBXkvv0/img.jpg?width=980" id="0adf1" class="rm-shortcode" data-rm-shortcode-id="392a357434fd40c7f42df81befea71bc" data-rm-shortcode-name="rebelmouse-image" alt="Shannon Oleson poses in a bevel in her living room, teaching a Zoom class" data-width="1000" data-height="1116" />
Courtesy Oleson
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Recommended reading:
<p>"Peer-reviewed journals like <em>Research in Dance Education</em>, <em>Dance Research Journal</em><em> </em>and <em>Journal of Dance Education</em>. These offer research-based information that can help build syllabi and offer new ideas for training."</p>On taking care of her dancers during this time:
<p>"Zoom can feel so isolating for the kids right now. They're dealing with this pandemic too, and it's so scary for them. So I'm open to hearing how hard they want to work that day, and fitting class to their needs. I also allow small chat breaks with water so they can feel connected to the other students."</p>
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Jill Randall
Whether you're in need of some wintertime inspiration or searching for new material for your classes, these six titles—ranging from personal stories, classroom materials, detailed essays and coursebooks—are worthy picks to add to your pedagogy bookshelf.
Dance Education Resources For the Classroom, by Lindsay Blackburne
<a href="https://www.amazon.com/Dance-Education-Resources-Lindsay-Blackburne/dp/B08B33342D/ref=sr_1_1?dchild=1&keywords=lindsay+blackburne&qid=1612727807&s=books&sr=1-1" target="_blank"><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY2NTM0NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1ODc2NTY5MH0.tDF13B527DOACQfG9DQD4lb8lD9tR8CZhzY6tpplEHw/img.jpg?width=980" id="17fb6" class="rm-shortcode" data-rm-shortcode-id="0713048927529f0b38ef84fdbc2f3b08" data-rm-shortcode-name="rebelmouse-image" alt="Dance Education Resources for the Classroom lays flat on a wooden table. It is a black paperback book with white text and light purple squiggly lines" data-width="3024" data-height="4032" /></a>Jill Randall
<p>Blackburne's book opens up her classroom to fellow middle school and high school teachers. Composed primarily of notes, assignments, forms and rubrics, the information is practical and applicable—you might end up using some of the forms yourself or allow the book to inspire your own material for your classroom. Blackburne emphasizes that written material is integral in teen classrooms, from syllabi to self-reflection forms.</p>Ballet Recipes: The Ingredients of Classical Ballet Technique, by Maricelle Peeters
<a href="https://www.amazon.com/Ballet-Recipes-ingredients-classical-technique/dp/9082870118/ref=sr_1_1?dchild=1&keywords=ballet+recipes&qid=1612728482&s=books&sr=1-1" target="_blank"><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY2NTM0Ni9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzODQ5NzkzMH0.MEm2vEWdBl5Kaa_cAJ90icCWzcUtO6WspO-1ILa2cWI/img.jpg?width=980" id="8897f" class="rm-shortcode" data-rm-shortcode-id="9b9593d13d447e2a3bfe3b69b11218be" data-rm-shortcode-name="rebelmouse-image" alt="Ballet Recipes lays flat on a wooden table. It is a white paperback book with an illustrated drawing featuring both cooking and ballet images, like a dancer doing a plie at barre in a pot of water" data-width="3024" data-height="3196" /></a>Jill Randall
<p>Author Maricelle Peeters, a ballet and character-dance teacher from the Netherlands, first published <em>Ballet Recipes</em> in July 2018 in Dutch. Now available in English, this delightful and fresh take on ballet pedagogy describes the key "ingredients" of ballet classes, including themes, imagery and vocabulary.</p><p>Using playful text and sprinkled with illustrations, Peeters' book caters to the enthusiastic ballet student in grades 5 to 7. But Peeters' text is also a perfect offering for dance teachers to help distill key concepts and practice how to introduce ballet vocabulary—it almost reads like a script for educators. Part 1 of the book is one of its highlights, exploring the broad themes of posture, muscle tension, turnout, weight distribution, placement and lengthening/counterpull.</p>The ABC's of PreBallet: The Essential Ballet Building Block, by Dawn C. Crouch
<a href="https://www.amazon.com/ABCs-PreBallet-Essential-Ballet-Building/dp/B08P3QTMQV/ref=sr_1_1?dchild=1&keywords=The+ABCs+of+PreBallet&qid=1612729134&s=books&sr=1-1" target="_blank"><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY2NTM0OC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0MTI5ODA2OH0.bnT0lt9Hi58F-h4aRm1sbESNxglNUdCaJqpbbSiL5iQ/img.jpg?width=980" id="44706" class="rm-shortcode" data-rm-shortcode-id="9f8c5381e0e8a8444ab557efee681db7" data-rm-shortcode-name="rebelmouse-image" alt="The ABCs of preballet lays flat on a wooden table. It is a purple paperback book, with an image of 3 young girls wearing purple leotards and tutus" data-width="3024" data-height="4032" /></a>Jill Randall
<p>Longtime dance educator Dawn C. Crouch's book includes personal essays on what she believes are the essential components of pre-ballet classes. As Crouch emphasizes, pre-ballet classes with 3- to 5-year-olds are some of the most rigorous to craft and teach, and are essential to the growth of your student enrollment and school program. Her essays convey her love of this age group, and cover a wide range of concepts, including class size, helpers, class rituals, physical awareness and class format.</p><div class="htl-ad"
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Ethical Dilemmas in Dance Education: Case Studies on Humanizing Dance Pedagogy, edited by Doug Risner and Karen Schupp
<a href="https://mcfarlandbooks.com/product/ethical-dilemmas-in-dance-education/" target="_blank"><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY2NTM0OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxNjkxMzkxNX0.Khguyk1y6L_r004mLbVAd3xvx-feEhPOFfT8x1B4rFQ/img.jpg?width=980" id="a7a24" class="rm-shortcode" data-rm-shortcode-id="ab834e2b7e38684441d88cb6ddd2f8a7" data-rm-shortcode-name="rebelmouse-image" alt="Ethical Dilemmas in Dance Education lays flat on a wooden table. It has three images of dance of different styles, and large white text" data-width="3024" data-height="4032" /></a>Jill Randall
<p>Best for seasoned dance teachers and graduate-level courses, <em>Ethical Dilemmas in Dance Education</em> uses fictionalized case studies to present scenarios that cover a wide range of dilemmas—those tricky moments and ethical binds we encounter as dance educators. Case studies in the book range from advocating for a student's IEP plan and participation, to a sexual harassment allegation in your class, to pedagogical concerns involving guest teachers.</p><p>The book is divided into four sections: "Early Childhood and Elementary Dance," "Middle School and High School Dance Education," "Dance Teacher Preparation and Postsecondary Dance Education" and "Community Dance," and includes reflection activities after each case study.</p>Dance Teaching Methods and Curriculum Design: Comprehensive K-12 Dance Education, Second Edition, by Gayle Kassing and Danielle Jay-Kirshenbaum
<a href="https://us.humankinetics.com/products/dance-teaching-methods-and-curriculum-design-2nd-edition-with-hkpropel-access" target="_blank"><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY2NTM1MC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxNDI5MDkyN30.ga6_YBTh9s0MeNIjQ4lY8wLg1qU4L1-9xDCnzKyp8H4/img.jpg?width=980" id="46885" class="rm-shortcode" data-rm-shortcode-id="8e5078c60250088016de4dd6e5b821c7" data-rm-shortcode-name="rebelmouse-image" alt="Dance Teaching Methods and Curriculum Design lays flat on a wooden table. It is a large book with large purple print, and an image of four middle school-aged girls in leotards and tights posing" data-width="3024" data-height="4032" /></a>Jill Randall
<p><em>Dance Teaching Methods and Curriculum Design </em>is a hefty 500-plus-page textbook, with additional online content—perfect for an undergraduate dance pedagogy course or for dance educators without formal training. The text covers everything from child development, class formats, teaching styles, and scaffolding learning for K–12 dance education classes, and includes a variety of unit-plan examples in various dance styles.</p>Dance Appreciation, by Dawn Davis Loring and Julie L. Pentz
<a href="https://us.humankinetics.com/products/dance-appreciation-with-hkpropel-access" target="_blank"><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY2NTM1My9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxNTgxNDk0M30.R6oqPETmd_jMBRPLNHu4B5R1nl0HxFdiLBI2e0e_wXA/img.jpg?width=980" id="f4d4c" class="rm-shortcode" data-rm-shortcode-id="32f6929401f711ce8ed5f3ddb4119df7" data-rm-shortcode-name="rebelmouse-image" alt="Dance Appreciation stands up on a wooden table, against a beige wall. It is a black book with large white text, and features an image of a man dancing with his back to the camera, wearing red headphones" data-width="559" data-height="628" /></a>Courtesy Human Kinetics
<p>Useful in both high school and college-level courses, <em>Dance Appreciation </em>offers an introduction to dance productions and Western dance forms. Covering the history of ballet, modern, jazz, tap and hip hop, plus information on what happens behind the scenes to make dance productions come to life, the text offers digestible, bite-sized information for new students and audience members. Also included are additional dance forms from around the globe, photos and artist spotlights, vocabulary lists and reflection questions.</p><div class="htl-ad"
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