September 2016


Buy this issue!

  • Prime Access

    By Karen Hildebrand

  • Rosalynde LeBlanc Loo: Dance and Social Justice at Loyola Marymount University

    By Joseph Carman

  • Horse Sense: Choreographer Joanna Mendl Shaw’s Innovative Work with Horses

    By Rachel Rizzuto

  • Dancers with Disabilities: The Case for Mainstreaming Disabled Students in Dance Education

    By Lea Marshall

  • Dancers with Disabilities: A Teacher in Charleston Finds a New Normal after a Debilitating Spinal Cord Injury

    By Jenny Ouellette

  • Pavan Thimmaiah: How I Teach Breaking

    By Rachel Caldwell

  • Ask the Experts: Dealing with Parents Who Owe Tuition Payments

    By Kathy Blake and Suzanne Blake Gerety

  • Face to Face: Faye Driscoll

    By Rachel Rizzuto

  • Teachers’ Tools: Nol Simonse

    By Rachel Caldwell

  • Music: Chloé Arnold

    By Alyssa Marks

  • Health: The Danger of Untreated Achilles Tendonitis

    By Andrea Marks

  • History: Bessie Schönberg

    By Rachel Caldwell

  • Theory & Practice: Help Students Take Their Jumping to New Heights

    By Julie Diana

  • K–12: Donald McKayle Collaborates with a San Diego School

    By Kris Eitland

  • Studio Business: 4 Fresh Fundraising Ideas for Major Studio Moolah

    By Rachel Rizzuto

  • Higher Ed Guide: Two Structures for University Dance Programs

    By Rachel Caldwell

  • Higher Ed Guide: 149 Places to Get a Dance Degree

    Compiled by Jen Roit

Music
Getty Images

Securing the correct music licensing for your studio is an important step in creating a financially sound business. "Music licensing is something studio owners seem to either embrace or ignore completely," says Clint Salter, CEO and founder of the Dance Studio Owners Association. While it may seem like it's a situation in which it's easier to ask for forgiveness rather than permission—that is, to wait until you're approached by a music-rights organization before purchasing a license—Salter disagrees, citing Peloton, the exercise company that produces streaming at-home workouts. In February, Peloton settled a music-licensing suit with the National Music Publishers' Association out-of-court for an undisclosed amount. Originally, NMPA had sought $300 million in damages from Peloton. "It can get extremely expensive," says Salter. "It's not worth it for a studio to get caught up in that."

As you continue to explore a hybrid online/in-person version of your class schedule, it's crucial that your music licenses include coverage for livestreamed instruction—which comes with its own particular requirements. Here are some answers to frequently asked questions about music licensing—in both normal times and COVID times—as well as some safe music bets that won't pose any issues.

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Teaching Tips
A 2019 Dancewave training. Photo by Effy Grey, courtesy Dancewave

By now, most dance educators hopefully understand that they have a responsibility to address racism in the studio. But knowing that you need to be actively cultivating racial equity isn't the same thing as knowing how to do so.

Of course, there's no easy answer, and no perfect approach. As social justice advocate David King emphasized at a recent interactive webinar, "Cultivating Racial Equity in the Classroom," this work is never-ending. The event, hosted by Dancewave (which just launched a new racial-equity curriculum) was a good starting point, though, and offered some helpful takeaways for dance educators committed to racial justice.

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Higher Ed
The author, Robyn Watson. Photo courtesy Watson

Recently, I posted a thread of tweets elucidating the lack of respect for tap dance in college dance programs, and arguing that it should be a requirement for dance majors.

According to onstageblog.com, out of the 30 top-ranked college dance programs in the U.S., tap dance is offered at 19 of them, but only one school requires majors to take more than a beginner course—Oklahoma City University. Many prestigious dance programs, like the ones at NYU Tisch School of the Arts and SUNY Purchase, don't offer a single course in tap dance.

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