Studio Business: 10 Ways to Save $$$ on Master Classes

Any savvy studio owner knows that bringing in guest artists is a good idea, whether for a two-hour master class or a weekend spent choreographing recital or competition routines. Your students learn new styles, get exposed to different teaching approaches and have the chance to network with professionals. But it can be a challenge to bring in the guest you want—paying for airfare, lodging, meals, hourly teaching rates, choreography fees—while keeping your bottom line in the black. And you want to keep master class fees reasonable for your dancers. But there are ways to economize, if you’re willing to think outside the box.

1 Go local. Can’t afford to bring in Justin Bieber’s biggest backup dancer? Ask a college professor or graduate student from your local university dance program. Or if you live within driving distance of a bigger city, take advantage of resources there to save on airfare and accommodations. “We’re in Connecticut, so there are many cities close to us—New York City, Boston,” says Gabby Sparks, owner of Sparkle & Shine Dance in Bantam, CT. “I can find people you wouldn’t imagine within a 30-minute drive.”

2 Play the long game. If you offer guest artists the chance to stay for a full week or to return once a month for three months, they might be inclined to lower their hourly rate. It’s a win-win: They get paid for more classes, and you can open up the opportunity to more dancers.

Longer residencies will help you build lasting relationships. “We create more of a bond with these teachers, who want to come back next year,” says Sparks about her studio’s weeklong summer camp. In fact, a recent guest artist enjoyed her time there so much that she ended up joining Sparks’ permanent faculty after moving to the area.

3 Take advantage of downtime. Scheduling master classes during off-peak times—when an artist might be home for the holidays, for example, or during the summer, when the convention circuit cools down—could cut you a break in their fee.

4 Shop around. Use a flight aggregator website, like kayak.com or skyscanner.com, to find and compare the cheapest airline tickets. If you know your studio schedule far enough in advance, try booking flights 54 days out from the trip. Studies show this is the optimal advance time to purchase a U.S. domestic flight.

5 Take it outside. Hold your master classes off-site to encourage students from other studios to drop in. By opening the class up to the general public and taking away the possible stigma of having to visit your studio’s stomping grounds, you’ll up your master class enrollment. “Other kids just don’t want to walk through your doors,” says Christy Curtis of CC & Co Dance Complex in Raleigh, North Carolina.

Orlando Ballet dancer Isabella Mendez teaches a master class for Sparkle & Shine Dance in Connecticut.

6 Collect up front. Carole Royal of Royal Dance Works in Phoenix, Arizona, recommends charging competition dancers a fee at the beginning of the year to cover a number of comp-related expenses—including guest artist costs. Suggested range: $250–$400.

7 Mi casa, su casa. If you know the teacher you’re bringing in personally, don’t splurge on a hotel room. Instead, offer your guest room as a cozy (and free) accommodation. “I would say that at least half the people I bring in stay at my house,” says Royal.

8 Let them side-hustle. If you need choreography for seven different competition solos, and your creative juices just aren’t flowing, offer your master teacher the chance to choreograph. You’ll get a much-needed break from dancemaking, and they’ll get the opportunity to earn a nice chunk of change. You can charge dancers a choreography fee that you pass on to the guest artist directly. Suggested range: $200–$250.

9 Pump up the value. Feel hesitant to charge $70 a head for a one-hour master class but know that’s what you need in order to break even? Ask your guest artist to do a short Q&A session with students after class. Their advice, professional experiences and personal anecdotes are an added value your students will appreciate.

10 Cover your bases. Ask your insurance agent if visiting teachers are covered by your liability policy. If they aren’t, make sure the guest artist has liability insurance and lists you as an additional insured. DT

Thinkstock; photo courtesy of Sparkle & Shine Dance

Don't miss a single issue of Dance Teacher.

Teachers Trending
Evelyn Cisneros-Legate. Photo by Beau Pearson, Courtesy Ballet West

Evelyn Cisneros-Legate is bringing her hard-earned expertise to Ballet West. The former San Francisco Ballet star is taking over all four campuses of The Frederick Quinney Lawson Ballet West Academy as the school's new director.

Cisneros-Legate, whose mother put her in ballet classes in an attempt to help her overcome her shyness, trained at the San Francisco Ballet School and School of American Ballet before joining San Francisco Ballet as a full company member in 1977. She danced with the company for 23 years, breaking barriers as the first Mexican American to become a principal dancer in the U.S., and has graced the cover of Dance Magazine no fewer than three times.

As an educator, Cisneros-Legate has served as ballet coordinator at San Francisco Ballet, principal of Boston Ballet School's North Shore Studio and artistic director of after-school programming at the National Dance Institute (NDI). Dance Teacher spoke with her about her new position, her plans for the academy and leading in the time of COVID-19.

Keep reading... Show less
News
The author with Maurice Hines. Photo by Anthony R. Phillips, courtesy Hopkins

In March, prior to sheltering in place due to the coronavirus outbreak, my husband and I traveled from New York City to Miami to screen our award-winning documentary, Maurice Hines: Bring Them Back, at the Miami Film Festival.

Our star, Tony Award–nominated dancer and choreographer Maurice Hines joined us in Miami for the festival—stepping and repeating on the opening night red carpet, sharing anecdotes from his illustrious seven-decade career with local tap students, and holding court at a cocktail mixer with lively female fans.

Keep reading... Show less
News
Haruko Photography, courtesy ABT

Gabe Stone Shayer may be American Ballet Theatre's newest soloist, but he never dreamed he'd be dancing with the company at all. Though he grew up in Philadelphia, his sights were always set on international ventures—especially The Bolshoi Ballet and The Royal Ballet.

Even in his early training, he was learning from Russian educators: Alexander Boitsov at Gwendolyn Bye Dance Center, and Alexei and Natalia Cherov, from the Koresh School of Dance. At age 13, he transferred to The Rock School for Dance Education, where he danced until his acceptance to The Bolshoi Ballet Academy at age 14. At 16, Shayer returned to spend his summer in the States and attended ABT's summer intensive—fully intent on going back to Bolshoi to continue his training in the fall. Four weeks in, he was offered a studio-company contract. "I was so surprised," Shayer says. "Having come of age in Russia, I was very Eurocentric. Of course ABT was on my radar, I just never imagined it was for me."

Keep reading... Show less

Get Dance Business Weekly in your inbox

Sign Up Used in accordance with our Privacy Policy.