Task 4D

So having a deep thinking session based on discussions with my SIGs and my future ambitions, I am currently stuck on the idea of basing my inquiry on how to have a successful dance school from a range of different ideas that keep emerging.

So my first piece of literature is more of a very detailed 'to do list' by Lois Tucker which was issued in Let's Dance in 2005. He talks about the basic things to keep in mind when starting a dance class :-
http://www.louitucker.com/dance/StartDanceClass.htm
He first talks about why would anybody want to start a dance class with all the responsibility, work involved and diplomatic land mines. Well firstly, who would assume that there wouldn't be any hard work involved? Surely it's that type of hard work where you're wanting to build something potentially brilliant for yourself and others off your own back, therefore, isn't that enjoyable? The responsibility of being your own boss rather than following the rules and policies of a school or college. I think that is a primary reason for doing it in the first place. In a school you can't teach in the way that you feel is best, and it's certainly not freestyle.
'...if the area already has a class or classes, take the teacher(s) to lunch.' This takes me back to 'cooperation' in the first module. I strongly believe in keeping cool with your possible neighbouring dance class/school. Asking for advice is a good one too of which Tucker mentions, it keeps the ball in their court for a while and cooperating to the fullest would hopefully lead to a non-bitter relationship.
This kind of meeting I assume would be as formal as possible as it would be based on business so being able to organise days and times for classes as to not clash with one another.
For me, I really wouldn't want to ruin somebody else's business, so this is so important to me to keep in with my neighbours and to avoid chaos as much as possible.
'.. don’t forget to check out any community centers that are focused on the ethnicity or religion of the local inhabitants, such as a Jewish Community Center or Slavic Community Center.'
After checking out the religious centres, I wouldn't avoid them completely. I think it's always best to keep an open mind and to still give them a try. What would you have to lose? Being too careful can end up getting you nowhere on finding success.
And on a similar note, Tucker talks about checking out about gyms' or exercise facilities about whether or not they already have a full slate of classes or aren't looking for the type of class you want to do. I still think it shouldn't hold you back in inquiring about starting a class there. Why be too careful? I think I would prepare a pitch for myself, to try and get the managing team on my side. Explain in as much detail as I can what benefits my class would bring to the gym and what I would do in the class from start to finish.
What I feel is very useful from this article is wedding and event planers; 'If they have been in business for very long, they know the location and availability of all the available church and private halls. What fantastic information to have. This knowledge could serve me greatly in the future. If I'm ever in a situation where I am to organize a party, in the area I live, I can take to opportunity to kill two birds with one stone and get a hopeful venue for a dance class, or even school.
The next part of Tucker's article, he talks about the things to consider. There is a lot that I wouldnt have thought about until possibly after setting up a class. This part could possibly have saved some possible issues in the future, but there really is a lot to consider.
Parking. This I'm certain wouldn't cross my mind in the future. This is vital for the parents to be able to drop off their children safely by taking them inside the building itself. There's also the older students with a car who would need to park for the session. This would narrow down my venue choice to possibly 15-20% (my own estimate) of the venues that I'd look at.
Neighbours. For me this would hopefully not be too much of a problem as I hope to not run classes past 9pm. If I do have the odd complaint here and there, I would simply cooperate and ask their time limits and lessen the volume of the music between that time and the end. 
Saying this though, I would still try to find somewhere not too close to homes, which again would narrow down my venue choice.
Kitchen access. Again, another thing that might've crossed my mind. I think it's mainly this or at least a water fountain that needs to be accessable. I would encourage the people who stay for a few classes to bring their own food. I don't believe that tea or coffee is a necessity but would be convenient for some. Again though, they can bring their own in a flask.
Dance floor is of course a major part of the success. I can't be injuring people with a concrete or marble floor. I would need to test out a hall that I'm interested in to make sure that it's safe. Health and safety is critical which includes of course the heat of the room and whether or not their is air conditioning for the summer, particularly (like Tucker mentions), if the room does get really hot in the summer.
On the whole, most of Lois Tuckers' article is extremely beneficial for my future in setting up a class, and for my inquiry; it sets off a lot of questions in one read. 
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My next piece of literature is from a free book called; Business start-up - Where to begin and how to grow. It doesn't seem to have an author but is presented by U.S. Small Business Administration; http://www.sba.gov/. Of course starting a dance school is just that; starting a business.
The parts that seemed to stand out for me for my particular inquiry were:

• Why small businesses fail
• Getting started
• Finding the money you need

The book contains a lot of information about different types of business ideas such as franchise and buying a business that's already there. It also has the potential to give some answers to questions that I may have further into my inquiry.
So, in 'Why small businesses fail', the writer gives this list of reasons:
1:Lack of experience
2:Insufficient capital (money)
3:Poor location
4:Poor inventory management
5:Over-investment in fixed assets
6:Poor credit arrangements
7:Personal use of business funds
8:Unexpected growth
9:Competition
10:Low sales
 
Naturally of course I wouldn't consider myself going in to teaching and building up my own dance school if I didn't think I was experienced enough. I've gained such a variety of different amateur and professional experience that has given me the confidence to know that I am a good all rounder and a good influence. I now just need to build my teaching experience. I've had some experience in a range of different ways such as Teaching assistant (currently), Performing arts teacher, (also currently) and an assistant teacher at a Music centre in drama and music. I know that it seems a lot, but all were/are in the space of such a small time. I know that my experience in teaching needs to grow before I think about being my own 'head mistress' of a dance school. 
I know that my experience building a business is nil. But we all have to start somewhere right?
Insufficient money would bring me to the other section of the book anyway on 'Finding the money you need.' 
In this section the writer talks about different options of which you can take, two of them being a loan from the bank or borrowing from somebody. Both of these options scare me and I expect most others would be too. Both resolve in owing money back to somebody or some other business (the bank) for definite with interest on top where the bank is concerned. The other options given in the writing were; your own savings or family. For me these options sound much more ideal. I would not be in a situation where I have to owe anything back, obviously not to myself, but perhaps to my family. If it were a lot that I would be using to invest, I would try to owe back as much as I can to my family. I've been very good at saving over the past few years, so this seems like a reasonable plan. Sadly, I have to accept that I may very well need to use the options if my most favoured options fail.
In this section it also gives some basic advice on how to be successful in getting a loan such as having a good credit score (of course) and knowing exactly how much you will need. The bank would need a lot of convincing so I would need to know exactly how I would get that money back to them, including the interest. This could do with some research, but that would be something to think about during the time.
Over-investment in fixed assets is a good one for me to focus on when it comes to starting a class. It's of course, something I must avoid at all costs, literally speaking. I would need to go for a lot of basic equipment to begin and/or even rent out ballet bars and a decent speaker system. This would make things a bit complicated to start with, with all the different things to remember about and keep control over, but it would be quite vital in the beginning.
Competition. This relates to the topic earlier from Lois Tucker's article. To try an avoid much competition I would need to place a school/class in an area that there isn't a similar class nearby, also, if there isn't any other choice, I need to have a meeting with the neighbouring dance class' teacher.
Now Unexpected growth doesn't seem like such a bad thing for my type of business. Surely the bigger the number the more success. BUT, what about floor space? What about parking? This could make a very big problem if I haven't hired out a hall big enough that's in the perfect location for me and the students. Something to really consider when I take action.

'Getting started.' 'To increase your chance for success, take the time up front to explore and evaluate your business and personal goals. Then use this information to build a comprehensive and well
thought out business plan that will help you reach these goals.' 
So, my organizing skills need to be very particular including all of what I do and what I am aiming for, which when I think about it is to have an excellent, funfilled, successful, quite laid back with high standards dance academy. I want to produce some fantastic shows that I'd like to be the core of hearsay to gain more students. I want to make an academy that is very unique.
Again, thinking about business planning, I would need to think about what dance styles I would need to start with. Two questions have come to mind:

1. What style of dance would be the most effective way to gain students?
2. At what point would I need to hire a ballet teacher? When I can afford to? Or when competition emerges?

It also mentions in this section about a pre-business checklist. The main thing that jumps out at me is; 'What will I name my business?' This is of course something that would be very important when it comes to advertising and must have some relevance to me and what the school is all about. It would mean a lot of brainstorming and jotting down. It can't be done lightly.
The other thing from the list that actually jumps out at me and actually scares me a little is; 'What insurance coverage will I need?' This is the part of owning my own dance school that I really don't think I will particularly enjoy, naturally. It's a good question though. 

1. Would I actually need insurance cover for a dance school? 

This book also gives a list of questions to ask yourself, which I will definitely find most useful to think about nearer the time that I decide to start planning.
1. What do I like to do with my time?
2. What technical skills have I learned or developed?
3. What do others say I am good at?
4. How much time do I have to run a successful business?
5. Do I have any hobbies or interests that are marketable? 

This digital book will be good for me to recap on later on in my career as it's full of useful information that could help me in other areas that might creep up on me.
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My final piece of literature is by a Belly dancer teacher named; Keti Sharif. http://www.gildedserpent.com/art37/KetiStudio.html
Her article theme is of course based on starting a dance studio for belly dancing, but it also gives similar motives and advice as Lois Tucker's article such as; studio location and the things to avoid, ventilation and flooring etc.
But, being belly dance themed, she also gives some clues about decor as well as safe flooring and good space.

1. Is studio decor important?
2. If I were to decorate a studio (that I owned), what theme could I use for decor?

Keti also gives some advice on subletting; 'Even if you run a dance studio alone and work every day, you probably won't be using all time slots, so consider sub-letting to dance, fitness and yoga groups. If you are renting, ask permission from the landlord. If you own, seek advice from the local council on rules and regulations.' 
This is fantastic advice yet I think I may very well have considered using either of these options depending on whether I rent or buy in the future anyway, but the chances of me buying straight away is quite minimal and therefore I would need to focus on asking the landlord's permission, if I'm the only one renting anyway.

Keti Sharif's article gives a lot of other advice such as; Studio scheduling, programming, implementing programs; setting you apart from the rest and marketing and advertising.
This piece of literature is very suggestive and even gives ideas on boosting business revenue and profile with things like; workshops, charity events and selling products (maybe have a small tuck shop.) 

Each piece of literature is beneficial for my future career as they each come from a different viewpoint/perspective which I believe is incredibly important for me to inquire into.    

(Here are some of my notes, which was advised in the Reader to do)

 
















'Keeeeeeeep blogging'

Task 4A (& 4C)

Hi guys

I must be completely honest and mention about my absence. I've recently just landed myself a TA position in a Primary School, which means that I've been working about 14 hours a day with that and my retail job from 5pm onwards. Also my performing arts teaching on a Saturday. I have now quit my retail job, so now I have time to actually focus on my studying! It's been very frustrating to not have the time.

So I sent a few of my original questions from task 4A to my Boss (qualified and well experienced teacher) to see if she had any answers, and I was surprised to receive a prompt reply with most of the questions answered. [Below are my original questions with the questions that she answered in green.]

1. What similarities are there in teaching within a school and in a dance school?
2. What other methods of disciplinary are there? For example; for autistic children.
3. How long should you give yourself for Lesson Planning?
4. How do you gain a high respect from the students other than from good discipline?
5. Is there a way in teaching that can help students to be as honest a person as they can possibly be?
6. How do you encourage students without making them overly confident? 
7. How do you handle a situation where the children think that it's okay to hug the teacher?
8. What are the best methods to praise children, for them to learn to do things well without always expecting praise or a reward?
9. How many warnings should you give children/students before disciplinary action? 
10. Should the phrase; 'Spare the rod, spoil the child' become more literally speaking in teaching?
11. When did the rod stop being used?
12. Do children have more rights than teachers?
13. Can lowering your voice be just as effective as raising your voice?

I didn't get a chance to discuss them with her but I've been a Teaching Assistant now for about 3 weeks and I've tried a few of my boss' methods out such as number 7; giving a high five instead of a hug. Fantastic!! Has worked a treat. It's stopped the awkwardness of the kind of situation where you are not sure if a child running over to give you a hug is right or wrong. Also, number 8; giving a small nod or a smile for their efforts. It seems to get their mind's in the right mode to working hard for themselves rather than to please the teacher. How would I know? Well purely because of the behavioural change. Instead of running up to myself or the class teacher to say that they've finished, they've simply put their hand in the air to say that it's finished and/or ask to see if what they've done is right. It is such a drastic change. This is in TA mode; one-on-one contact, but I couldn't say for definite whether it would have the same effect or show the same drastic change as it would when doing it in front of the whole class as a classroom teacher. So would it work? My initial thought would be no, purely because each child has the rest of the class to compete with.

Now discussing the same questions with my Mum (who teaches in a variety of different schools as a violin teacher) answered them in this way:

Teaching related questions:

1. What similarities are there in teaching within a school and in a dance school?

Both involve teaching groups of children; the students tend to work towards exams so syllabuses are used (or the National Curriculum) in order to cover various levels in dance, maths, English etc.

2. What other methods of disciplinary are there? For example; for autistic children.

If an autistic child needs to be disciplined, if they enjoy doing something and are allowed to do it as a reward – then that could be disallowed.

3. How long should you give yourself for Lesson Planning?

As long as is needed – but shortcuts should be used such as shortening words to abbreviations (as long as it is understandable)

4. How do you gain a high respect from the students other than from good discipline?

Praise when the student does well.

5. Is there a way in teaching that can help students to be as honest a person as they can possibly be?

By example from the teacher – owning up if we make mistakes!!

6. How do you encourage students without making them overly confident? 

When praising them it is good to point out how they could do even better next time - so they know there is still some way to go.

7. How do you handle a situation where the children think that it's okay to hug the teacher?

By only responding a little and then moving away.

8. What are the best methods to praise children, for them to learn to do things well without always expecting praise or a reward?

A chart with stars is a good idea.

9. How many warnings should you give children/students before disciplinary action? 

At least 3.

10. Should the phrase; 'Spare the rod, spoil the child' become more literally speaking in teaching?

Yes – children should be aware of the boundaries in their behaviour before the teacher either tells them off, or needs to use disciplinary action otherwise control of the class is lost.

11. When did the rod stop being used?

Not sure – possibly in the 1970’s?

12. Do children have more rights than teachers?

They think they do!! Parents too!! Teachers do have more rights, but the head teacher and governors have to be involved in any decision.

13. Can lowering your voice be just as effective as raising your voice?

Yes.

Dance teaching related questions:

1. How can I get enthusiastic about choreography without music being my inspiration?

I think by having different sequences and interesting shapes?

2. How could I make a deeply emotional piece of choreography to absolutely no music?

The way the body can move either with fluidity and slowness of movement, or with lots of energy and power?

3. What exercises can I do in dance for children aged 4 to 6 without any basic training?

Stretching arms up to the ceiling; use floppy moves; jumping from one foot to another.

5.  Is verbal use just as important as the visual in teaching steps, styles and technique?

I would think visual is the most effective way of teaching as children are good at copying others – but you still need to explain verbally for those children who like to think things through.

6. What strategies or methods are there to boost a students confidence in performing?

Praise is always good.

7. Is repetition in teaching a dance routine the best method to get the students to learn it quickly?

I would think so as it becomes embedded in the memory.

8. Can you run a dance school successfully without employing a dance syllabus or examinations?

Learning different routines (especially for shows) is always exciting but exams are useful for parents and children to know they are progressing.

 I've put all of these up in case anybody in my SIG find them helpful in anyway.

When discussing these answers with my mum (again I must emphasize that she is a qualified teacher and has years of experience in a variety of ways) a few questions emerged. One was based on question 5 in Teaching related questions. Being an example by owning up if we make mistakes, but my questions were; What if mistakes happen more than 4-5 times? Wouldn't the students' respect for the teacher decrease if they were to keep apologizing for these mistakes?  Mum's response was; 'Of course it would, because it would show that they can't do your job properly.' Rather blunt I suppose, but it makes sense. I did argue though that maybe these errors occur during a tough time for the teacher, and they are having troubles at home. Now I ask the question; How could you gain back the students' respect after it's been lost?
I will do some research on this and ask a few colleagues and family members who are in teaching.

Now from her response to number 7 in teaching, I had to disagree to some level, as giving as little attention as possible doesn't always work when a child thinks it's okay to hug you. I know this from experience. Some children just don't get the hint. My boss' example has worked well for me [see above on giving a high five]. This has been super.

Discussing number 8 in 'Dance teaching related questions', really made me think on my own aspirations of what I want in a dance school. Being able to at least teach a specific syllabus without the students going through the exams would be a good start. I have been advised, [see above scanned discussion] to try and get these qualifications because it's good for the parents to see how well their child is progressing and it is an extremely beneficial challenge for the child; something for them to work towards. It also gives for a better disciplined school.

So new questions that arose from my discussion:

1. What other benefits do a dance syllabus give for a dance school/academy? (apart from good discipline and an official progress.)

2. What are the boundaries of physical contact when teaching dance? ~ Teacher to student.

3. What are the main features of a successful dance school/academy?

4. What aspects would you need to avoid when starting a dance school?

This has now got me thinking on my subject inquiry and what would be the most useful for me. 
I plan to do my PGCE in teaching next year where I expect to learn about different methods and strategies in teaching and have a whole year of experienced training in a school. There is a lot that I know already, and I believe that a lot of it is a case of trial and error, therefore, I think the most beneficial inquiry for me would be based on dance teaching and starting a dance school.
It's always been an aspiration of mine, ever since I was little, to start my own dance school and now that I've fulfilled my dream of performing professionally, I can start to think about the other dream that I hope to fulfill, and like with performing; I want to do it properly.



'Keeeeeep blogging'