Latest / Making The Impact - A Dance Competition Podcast / Dance Studio Red Flags - Listeners Weigh In

Transcript

Dance Studio Red Flags - Listeners Weigh In · Making The Impact - A Dance Competition Podcast

• 0:07
  SPEAKER_03: Have you ever wondered what goes on behind the table at a dance competition?
• 0:10
  SPEAKER_03: Exactly what are the judges looking for anyway?
• 0:13
  SPEAKER_03: This is Making the Impact, a dance competition podcast.
• 0:15
  SPEAKER_03: Each week we'll cover a different topic related to the world of competitive dance from the perspective of the judges behind the table.
• 0:26
  SPEAKER_03: The culture of your dance studio sets the tone for everyone that walks in the door, from teachers to students to parents.
• 0:32
  SPEAKER_03: But what if that culture is negative, uncomfortable, or even toxic?
• 0:36
  SPEAKER_03: Today on Making the Impact, we've invited listeners to anonymously submit red flags to look out for at studios that may signal a toxic culture.
• 0:43
  SPEAKER_03: Joining us as well is IDA judge and studio owner Joey Ordellani to give his perspective as an industry professional.
• 0:52
  SPEAKER_02: Hello, everyone.
• 0:54
  SPEAKER_02: Welcome to our next episode of Making the Impact.
• 0:57
  SPEAKER_02: I'm your host, Courtney Ortiz, and I am here, like always, with my co-host Leslie Mueller.
• 1:02
  SPEAKER_03: What's up, Courtney?
• 1:03
  SPEAKER_03: It is time for another podcast day.
• 1:06
  SPEAKER_02: Yes, it is.
• 1:07
  SPEAKER_02: And this is a very hot, hot, hot topic today.
• 1:11
  SPEAKER_02: We are talking all about toxic studio traits and red flags to be on the lookout, which we hear we hear about it all the time.
• 1:21
  SPEAKER_03: She's a spicy one, guys.
• 1:23
  SPEAKER_03: It's it's gonna be a good one.
• 1:24
  SPEAKER_03: We have an amazing guest here to give some perspectives.
• 1:27
  SPEAKER_03: And yeah, I'm really excited to hear all of these voice notes from our amazing listeners.
• 1:33
  SPEAKER_02: Yeah, we have we polled our Facebook group for this episode, and we reached out to all of you and said, please contribute, please submit and anonymously and share your voice clips on different things you've noticed as a dance parent, as a dance teacher, as a dance uh dancer yourself of stock toxic studio traits in the dance competition studio space.
• 1:58
  SPEAKER_02: So we have a lot of uh messages that came through.
• 2:02
  SPEAKER_02: So thank you to everyone who contributed.
• 2:05
  SPEAKER_02: And uh we're Leslie and I and our special guest, IDA judge and studio owner, is going to share our thoughts on all of these clips.
• 2:12
  SPEAKER_03: Yep, but before we do, we have some uh Making the Impact Awards to share with you from this season.
• 2:17
  SPEAKER_03: We have a bunch of them today, don't we, Courtney?
• 2:19
  SPEAKER_02: We do.
• 2:19
  SPEAKER_02: More coming in like crazy towards the end of our competition season.
• 2:23
  SPEAKER_02: So if you are the recipient of a Making the Impact Judges Choice Award at an IDA affiliated competition, then you will be able to hear your studio shout out on the podcast coming soon.
• 2:35
  SPEAKER_02: But if you haven't heard about our making the Impact Judges Choice Award, we've been talking about it all season long, and it is sponsored by our podcast as well as Impact Dance Adjudicators.
• 2:44
  SPEAKER_02: And this is given out at IDA affiliated competition events where at least one IDA judge is on that judging panel and our judges get to decide and collaborate to select one dance from the entire event that they felt made an impact.
• 3:01
  SPEAKER_02: They can choose any dance, any size, any uh level dance, any age dance, from Solos to productions.
• 3:08
  SPEAKER_02: It's that dance they just cannot stop thinking about.
• 3:10
  SPEAKER_02: And one of the perks of winning this special award is not only a fabulous plaque on site at the event, but you get to hear your shout out on the podcast.
• 3:20
  SPEAKER_03: So let's hear our very first winner.
• 3:22
  SPEAKER_03: From Onstage America's event in Springfield, Massachusetts.
• 3:26
  SPEAKER_03: Congrats to Dance Unlimited LLC from Connecticut and Dancer Mary for their solo no bad news.
• 3:32
  SPEAKER_02: From Gems Dance Competitions event in Omaha, Nebraska.
• 3:36
  SPEAKER_02: Congrats to the Pure Movement Dance Institute from Lincoln, Nebraska for their small group, the Perm.
• 3:43
  SPEAKER_03: From Oro Dance Competitions event in Las Vegas, Nevada.
• 3:47
  SPEAKER_03: Congrats to Home Within Movement from Kingman, Arizona for their small group, the cubicle.
• 3:52
  SPEAKER_02: Congratulations to all of our recent Making the Impact Award winners.
• 3:56
  SPEAKER_02: Congrats on winning our award.
• 3:58
  SPEAKER_02: We love giving this out and making this possible for our dance competition community.
• 4:04
  SPEAKER_03: And listeners, as usual, we have some sponsors to tell you about.
• 4:07
  SPEAKER_03: So here we go.
• 4:10
  SPEAKER_02: Studio owners, you've put your heart and soul into making your annual recital as spectacular as it can be.
• 4:17
  SPEAKER_02: So why not elevate the start of your show with a pre-made welcome soundtrack from Squirrel Trench Audio?
• 4:24
  SPEAKER_02: Instead of rattling off a boring list of theater don'ts.
• 4:27
  SPEAKER_02: Their welcome soundtracks are fun and uplifting, with professional voiceover talent and fabulous music.
• 4:34
  SPEAKER_02: Exactly what your big show deserves.
• 4:36
  SPEAKER_02: Choose from a variety of theme options, including celebration, we are family, fairy tale and wizard theme, and airlines and travel.
• 4:46
  SPEAKER_02: Visit their website at squirrel trench.com to preview, purchase, and download your welcome soundtrack now.
• 4:53
  SPEAKER_02: Or click the link in our show notes.
• 4:56
  SPEAKER_02: Set the stage for your most amazing recital yet with a welcome soundtrack from Squirrel Trench Audio.
• 5:04
  SPEAKER_02: Alright, everyone, we're jumping into a very hot topic today on making the impact.
• 5:09
  SPEAKER_02: We've been having a lot of spicy topics over here lately on the pod, but this one has been one that we've been meaning to do for a while now, and this is all about red flags to be on the lookout for when choosing a dance studio.
• 5:24
  SPEAKER_02: Sometimes also a lot of people use the the word toxic a lot in studio settings, and we know that there are a lot of dance parents out there who listen to our podcast who may be new to this beautiful dance world who probably have no idea on how to select a studio or what to be on the lookout for at their own studio.
• 5:44
  SPEAKER_02: And not every studio is perfect.
• 5:46
  SPEAKER_02: I'm sure every studio has things that they can continue to work on, but we do want to share some inside looks and some advice and experiences from different sides of the industry on red flags to look out for as you are moving through your time at a dance studio.
• 6:05
  SPEAKER_02: We have teachers who are chiming in, parents who are chiming in, studio owners who are chiming in.
• 6:11
  SPEAKER_02: So we are going to jump into a lot of audio clips that were pre-submitted from our fans, and everyone is strictly anonymous on this discussion.
• 6:22
  SPEAKER_02: And it's not just Leslie and I here today on this episode.
• 6:25
  SPEAKER_02: We have invited an IDA judge and studio owner to share their perspective as they help us listen through these anonymous clips.
• 6:34
  SPEAKER_02: This judge has been on the podcast many, many, many times.
• 6:39
  SPEAKER_02: They've been, they've joined me on QA with Courtney's on Platinum Premium, as well as let's go back to season three, episode 72, a QA with Courtney on the regular season.
• 6:48
  SPEAKER_02: Season two, episode 49, perfecting your presentation for stage.
• 6:52
  SPEAKER_02: Season one, episode 19, COVID-19 and the effects of the dance community.
• 6:57
  SPEAKER_02: Whoa.
• 6:58
  SPEAKER_02: And all the way back to one of our very first episodes, season one, episode six, choreography.
• 7:04
  SPEAKER_02: I'm excited to welcome back to the pod, the one, the only, Mr.
• 7:08
  SPEAKER_02: Joey Ortolani.
• 7:10
  SPEAKER_04: Whoa.
• 7:12
  SPEAKER_04: I gotta put that on my resume.
• 7:14
  SPEAKER_04: Dang.
• 7:14
  SPEAKER_04: Yes.
• 7:15
  SPEAKER_02: That was exciting.
• 7:16
  SPEAKER_04: You're like a podcast professional.
• 7:17
  SPEAKER_04: Like, dang, like that was so cool.
• 7:20
  SPEAKER_02: It hasn't really been like this long since you've been on the pod since season three.
• 7:23
  SPEAKER_02: You haven't been on the pod since then?
• 7:25
  SPEAKER_04: What season are we doing?
• 7:26
  SPEAKER_04: We've only caught them premium.
• 7:27
  SPEAKER_02: We're in six.
• 7:28
  SPEAKER_04: Oh, dang.
• 7:29
  SPEAKER_04: That was crazy.
• 7:30
  SPEAKER_04: Wow.
• 7:30
  SPEAKER_04: Uh absolutely.
• 7:31
  SPEAKER_04: But you've been busy visiting a studio owner.
• 7:33
  SPEAKER_04: That's why.
• 7:34
  SPEAKER_04: Yeah.
• 7:34
  SPEAKER_04: I mean, listen, it's good if you have different voices out there.
• 7:36
  SPEAKER_04: It's okay.
• 7:37
  SPEAKER_04: You don't even you don't always need the Mr.
• 7:38
  SPEAKER_04: Jones experience.
• 7:41
  SPEAKER_04: No, it's I when I hear all those different topics, I like flashback to recording those episodes.
• 7:46
  SPEAKER_04: I mean, it's crazy.
• 7:47
  SPEAKER_04: Like, I'm with you, and it's uh I'm an IDA OG.
• 7:51
  SPEAKER_04: So you are.
• 7:52
  SPEAKER_02: We were to start.
• 7:54
  SPEAKER_02: 10 years.
• 7:55
  SPEAKER_04: 10 years, 10 years, not just 10 years.
• 7:57
  SPEAKER_04: Me and Courtney, I always like to tell the story.
• 7:58
  SPEAKER_04: I don't know if I've ever told it on the pod before, but Courtney used to come over and we'd go to wing night uh at the bar beneath my apartment.
• 8:06
  SPEAKER_04: And one day she was like, I have this idea for like an organization.
• 8:10
  SPEAKER_04: Uh like these competitions keep asking me for my friends.
• 8:13
  SPEAKER_04: Like, I can refer my friends, like, don't you think I should get like paid for this?
• 8:17
  SPEAKER_04: And I was like, Oh, that's a great idea.
• 8:19
  SPEAKER_04: So when you were when you were workshopping the idea, we were eating chicken wings and garlic cheese fries.
• 8:24
  SPEAKER_04: Yes, we were.
• 8:25
  SPEAKER_02: Absolutely, we were.
• 8:26
  SPEAKER_02: And then here it is, 10 years later, IDA is thriving.
• 8:30
  SPEAKER_02: We have a podcast, and you uh I wouldn't be here without your brainstorming help, both of you, for from being here from the very beginning and supporting IDA and being on the roster and then joining us on these important discussions.
• 8:42
  SPEAKER_02: So it's been an honor.
• 8:43
  SPEAKER_02: I'm so appreciative to have you both as friends.
• 8:45
  SPEAKER_02: Yeah.
• 8:46
  SPEAKER_02: And uh also longtime friends.
• 8:48
  SPEAKER_02: Uh, we've all performed, uh, I've performed alongside both of you, and you both have recently gotten engaged and are planning weddings.
• 9:00
  SPEAKER_02: They're growing up.
• 9:01
  SPEAKER_04: Congratulations, Joey.
• 9:03
  SPEAKER_03: You gotta buy another dress, Courtney.
• 9:05
  SPEAKER_04: I know.
• 9:05
  SPEAKER_04: Shoot.
• 9:06
  SPEAKER_04: I'm so uh I'm so excited.
• 9:08
  SPEAKER_04: Uh my partner, Zach, he's just he's a wonderful, wonderful man.
• 9:12
  SPEAKER_04: He's not a dancer, he's not a performing artist, he is a uh therapist, not mine.
• 9:17
  SPEAKER_04: Um choice.
• 9:20
  SPEAKER_04: And he uh he's just he's wonderful.
• 9:22
  SPEAKER_04: I'm I'm so I'm just so happy every time I think about it.
• 9:25
  SPEAKER_04: So thank you.
• 9:25
  SPEAKER_04: Oh and congratulations to you, Leslie.
• 9:27
  SPEAKER_04: Congratulations.
• 9:28
  SPEAKER_04: I'm I'm so excited for you guys.
• 9:30
  SPEAKER_04: It's like, yeah, we're growing up.
• 9:31
  SPEAKER_03: We're growing up, we're real people and and finding people that are not artists.
• 9:36
  SPEAKER_03: So sometimes that's important.
• 9:38
  SPEAKER_03: It's important to get that outside perspective.
• 9:40
  SPEAKER_03: Um so yeah, yay, awesome.
• 9:42
  SPEAKER_03: Well, we're so excited to have you back.
• 9:43
  SPEAKER_03: Can you um refresh everyone's memory since it has been a moment as to who you are, what you do, what you're working on, where you're from, all the things.
• 9:51
  SPEAKER_04: Yeah, so I'm originally from Long Island, New York.
• 9:54
  SPEAKER_04: Um, I uh was a competitive dancer in Long Island.
• 9:58
  SPEAKER_04: Once I turned professional, like both of you, I began my professional career with Royal Caribbean for a couple of years.
• 10:04
  SPEAKER_04: Now we're uh I got off of my last ship, it's the year 2025, 14 years ago.
• 10:10
  SPEAKER_04: So that's crazy that that much time has gone by.
• 10:13
  SPEAKER_04: But I was with them when they had started launching um full-scale like musicals and stuff.
• 10:17
  SPEAKER_04: So I was in their second company of Hairspray, their original company of Saturday Night Fever, which is still running by mind you.
• 10:24
  SPEAKER_04: And once I left Royal Caribbean, I started doing regional theater.
• 10:27
  SPEAKER_04: I did the Broadway First National tour of uh Susan Strowman's Bullets over Broadway.
• 10:31
  SPEAKER_04: And after some other assorted uh theater things, I started working in film and television.
• 10:37
  SPEAKER_04: Uh, I still get text messages of screen captures of the series finale of the original uh version of Gossip Girl and Saturday Night Live and uh last week's night with John Oliver and HBO and all these really good morning, America.
• 10:52
  SPEAKER_04: Uh really I I loved my professional dance career.
• 10:55
  SPEAKER_04: Once COVID hit, I moved back out to Long Island because I was kind of like, I think I'm good, I think I'm done, I think I'm I don't say that I'm a retired professional dancer because honestly, if the right person called and offered me a gig, I would definitely take it.
• 11:07
  SPEAKER_04: But I'm no longer auditioning.
• 11:09
  SPEAKER_04: And a few years ago, I bought the studio that I'd been teaching at for upwards of a decade.
• 11:14
  SPEAKER_04: So I'm now the owner of a dance studio in Long Island.
• 11:18
  SPEAKER_04: Am I allowed to say the name of the studio?
• 11:20
  SPEAKER_04: You are.
• 11:20
  SPEAKER_04: Sure.
• 11:21
  SPEAKER_04: JM dance studio in Long Island, uh, formerly Jan Martin Dance Studio.
• 11:26
  SPEAKER_04: It was a really big decision to sort of uh the previous owner was getting ready to retire.
• 11:32
  SPEAKER_04: So it was kind of like a either takeover or start over somewhere else.
• 11:36
  SPEAKER_04: So we chose the avenue of takeover and we're taking it one day at a time.
• 11:40
  SPEAKER_04: Studio ownership is a lot different than just being a teacher and collecting your paycheck and going home.
• 11:46
  SPEAKER_04: It comes with a lot of edit things, which I think are perfect for the topic today because there's just so many elements that I really can honestly say I hadn't even considered when I took on ownership and it's a learning curve every single day.
• 11:57
  SPEAKER_04: So we're two years into studio ownership and taking it one day at a time, but it's great.
• 12:03
  SPEAKER_02: Awesome.
• 12:04
  SPEAKER_02: Great.
• 12:04
  SPEAKER_04: Thank you so much for having me.
• 12:06
  SPEAKER_02: Of course.
• 12:06
  SPEAKER_02: We're excited to hear your side since Leslie and I both are not studio owners.
• 12:10
  SPEAKER_02: So you can, and I know you've been working over a decade for longer as a dance teacher regularly in other studio spaces as well.
• 12:18
  SPEAKER_02: So um, you bring a lot of perspective to this discussion and experience as well.
• 12:22
  SPEAKER_02: So we're grateful to have you back on the podcast.
• 12:25
  SPEAKER_07: Thank you.
• 12:25
  SPEAKER_03: Thank you for everyone who submitted these clips.
• 12:28
  SPEAKER_03: We appreciate your time and we hope you're excited to hear yourself on our podcast.
• 12:32
  SPEAKER_04: It's just really important to me going into this conversation to be self-aware and realize that there's a lot of years under my personal belt as a teacher.
• 12:39
  SPEAKER_04: Um, I've been a studio owner for almost two years now, but I am not perfect.
• 12:43
  SPEAKER_04: We are human beings, we make mistakes, we fall short.
• 12:46
  SPEAKER_04: And the goal is to always keep moving in a better trajectory and learn from whatever mistakes we can make.
• 12:50
  SPEAKER_04: So I'm sure that either actions I've said or made or any of us have made as teachers can be perceived as toxic.
• 12:56
  SPEAKER_04: I think what's important is the intent that goes behind them and the resolution to continue to do better.
• 13:01
  SPEAKER_04: So as we talk about these topics, it feels important to note that we are also educators.
• 13:05
  SPEAKER_04: I am a studio owner that is still learning, that is still trying to listen to how we can do things a little bit better, more fairly, and without that toxicity sort of creeping in.
• 13:15
  SPEAKER_02: All right.
• 13:15
  SPEAKER_02: Well, let's jump in because we have a lot to cover and we're going to be playing our audio clips pre-submitted anonymously from different fans for this topic of red flags and toxic studio traits.
• 13:26
  SPEAKER_02: So let's kick it off with our first two anonymous submissions.
• 13:31
  SPEAKER_09: One toxic trait in a dance studio would be having rules and policies, but then not abiding by them.
• 13:41
  SPEAKER_09: So you would have policies and rules stated for the competition team or for certain classes or even dress code, but then giving pure exceptions to people saying, Well, I'm not you, or you're the exception.
• 13:54
  SPEAKER_09: So if you're going to have rules and policies, then you have to make sure that you abide by them and follow.
• 14:01
  SPEAKER_09: The rules are there for everybody, not a select of you.
• 14:04
  SPEAKER_09: It causes a wedge in between the staff and in between other students, and preferential treatment.
• 14:10
  SPEAKER_09: So make policies, stick to them, and there for everybody.
• 14:13
  SPEAKER_09: A toxic trait is picking and choosing those who are allowed to allow to follow them.
• 14:19
  SPEAKER_09: That's awful.
• 14:21
  SPEAKER_06: Parent-runned studios.
• 14:24
  SPEAKER_06: Studios that allow parents to dictate what rules apply to them, but not anybody else.
• 14:31
  SPEAKER_02: All right, everyone, you heard our very first two anonymous clips, and I'm pretty certain that both of these came from dance teacher perspectives, and also possibly uh could be a dance parent as well on uh those two submissions.
• 14:45
  SPEAKER_02: So it's all about following the rules.
• 14:48
  SPEAKER_02: And on the other side, are the rules being enforced that are you upholding to the rules that you've set and the standard that you've put in place for your studio?
• 14:56
  SPEAKER_02: And is everyone have like required to hold up to their end of the deal?
• 15:02
  SPEAKER_02: Or are there certain people that are getting special treatments at the studio?
• 15:06
  SPEAKER_02: I think that can definitely be a red flag for sure.
• 15:09
  SPEAKER_04: I'll jump right in there because this one is really tough, and this one became really tough when I crossed from teacher into studio owner.
• 15:18
  SPEAKER_04: You know, it's a very fine line and about, for example, one of my rules for my competition team is an absence limit where I know that you're gonna have school things.
• 15:29
  SPEAKER_04: I know you're gonna have that honor society induction, I know that you're gonna have a school trip that happens to be on a Wednesday or a Thursday in the middle of the week.
• 15:36
  SPEAKER_04: I know that you're gonna have these things.
• 15:38
  SPEAKER_04: And at the end of the day, I have to remember as a business owner and a studio owner who's working with kids who are in high school who are working towards uh getting into a college or whatever, that the world and life does not always revolve around the studio.
• 15:50
  SPEAKER_04: However, when you are on a compet competitive team or a competitive sport or whatever, there is a standard that has to be upheld.
• 15:58
  SPEAKER_04: One thing I really struggled with this year, particularly, more so than I think ever before, was I almost think the flu was worse than COVID this year.
• 16:07
  SPEAKER_03: Oh, yeah.
• 16:08
  SPEAKER_04: The number of bad illnesses.
• 16:10
  SPEAKER_04: And honestly, what did COVID teach us?
• 16:12
  SPEAKER_04: Like maybe before COVID, we were like, all right, if you have the snipples, like get your butt to the studio.
• 16:18
  SPEAKER_04: We don't really think that way anymore.
• 16:19
  SPEAKER_04: Not that I think every little sniffle needs you to stay home for every little atchu, but you have a fever, you stay home.
• 16:27
  SPEAKER_04: You have a stomach bug, you stay home.
• 16:28
  SPEAKER_04: Nobody wants it.
• 16:29
  SPEAKER_12: Right.
• 16:30
  SPEAKER_04: But if you have certain kids that had multiple illnesses, and then they did have that school trip, and then they did have the this or that, you know.
• 16:38
  SPEAKER_04: Right.
• 16:38
  SPEAKER_04: So I had to make some concessions.
• 16:41
  SPEAKER_04: It's only at this point of the year where I really had to kind of start being like, the studio schedule is even so limited where I can't even be like, you have to come to this technique class to make it up because the other option that I have for you is maybe not at a time where A, you can physically get to the studio because your mom works.
• 16:56
  SPEAKER_04: So the following of the rules is like there's so many factors that go into it enforcing the rules.
• 17:01
  SPEAKER_04: And when it comes to, but then you do sort of on a by-case basis have to realize where is somebody taking advantage of me?
• 17:08
  SPEAKER_12: Yes.
• 17:09
  SPEAKER_04: And where is somebody just coincidentally on the struggle bus this year?
• 17:11
  SPEAKER_04: And you have to be able to kind of have that discernment.
• 17:14
  SPEAKER_12: Right, right.
• 17:15
  SPEAKER_04: I have also had to deal with someone being like, Well, why are you coming down on me for attendance when she is?
• 17:20
  SPEAKER_04: I'm like, stop right there.
• 17:21
  SPEAKER_04: We're not here to talk about her.
• 17:23
  SPEAKER_04: We are here to discuss what you can do to get your attendance back to where it needs to be.
• 17:28
  SPEAKER_04: We're here to discuss you do consistently walk in 30 minutes after your call time at competition.
• 17:34
  SPEAKER_04: We're here to discuss, you do consistently have whatever wrinkled skirts when it comes to I need everybody's skirts pressed and without wrinkles before they go on for their lyrical number at competition.
• 17:44
  SPEAKER_04: So you know, it's it it's a very it's sometimes a very tough spot to be in where it's like who's enforcing what rule and which rule is coming down.
• 17:53
  SPEAKER_04: And, you know, I try to be as laid back as I can be in the confines of a competitive environment.
• 18:00
  SPEAKER_12: Yeah.
• 18:00
  SPEAKER_04: I know for a fact, I know for a fact that at some point in history someone would accuse me of showing favoritism to one student over another or whatever.
• 18:10
  SPEAKER_04: She came directly from school and she was wearing a blue sweatshirt and she didn't have something on underneath it, and I let her get away with it because she's who she is, kind of a thing.
• 18:18
  SPEAKER_04: Um, but it's I do think that there's even a level of discernment where it's like this dancer has always shown up, is always in dress code, is always on time.
• 18:27
  SPEAKER_04: Like, no, I'm not gonna give her a hard time if one day on a Tuesday she shows up right where it's like, you know what I'm saying?
• 18:34
  SPEAKER_04: I'm a little rambling.
• 18:35
  SPEAKER_02: It's like the overall, I think the overall, like you have to look at it as a whole.
• 18:39
  SPEAKER_02: Yeah.
• 18:40
  SPEAKER_02: Like for the whole season, you know, what how what has the tardiness level been, or what has the rule-breaking lever level been?
• 18:46
  SPEAKER_02: Is it strike 500 or is it strike one?
• 18:49
  SPEAKER_02: Because that I think that does come into play a little bit on the flexibility aspect.
• 18:54
  SPEAKER_02: And it's like, okay, I've given you three strikes and you're out.
• 18:57
  SPEAKER_02: Like, how you know, how many more times can I let this slide when you're not following the rules and this dancer is following the rules, you know?
• 19:04
  SPEAKER_02: And then it does become a comparison game against the the parents, possibly too.
• 19:08
  SPEAKER_02: They're seeing what's being allowed and what isn't.
• 19:11
  SPEAKER_04: Which is also hard too, because I I have had I personally had teachers and then have seen certain things sort of transpire over time at studios where it's kind of like maybe this girl missed the last three rehearsals, but she's that girl that studies the videos that were sent from class, comes in, knows it, has questions, stands where she thinks she's supposed to, comes in knowing it.
• 19:31
  SPEAKER_04: You missed two rehearsals in a row and didn't look at the video rehearsal, having no idea what's going on, having no even semblance of what's going on.
• 19:39
  SPEAKER_04: You know, it's yeah, you know, it's a uh you don't get mad at uh Betty Sue for being absent, but you're mad at me for being absent.
• 19:45
  SPEAKER_04: It's like, well, Betty Sue shows up and knows what she's doing, and you know what I mean.
• 19:49
  SPEAKER_04: So that even that in and of itself, I'm sure could be perceived as toxic because you're right.
• 19:53
  SPEAKER_04: Uh, here I am admitting that there might even be a little bit of a double standard, but it's kind of what are you bringing to the table?
• 19:59
  SPEAKER_03: When I was like, Well, and I think the people doing all this accusation, if they are, if that is what's happening, like everyone needs to be operating on the good faith that you are doing the best you can and I am doing the best I can.
• 20:09
  SPEAKER_03: But if somebody fails at doing the best they can, then things are gonna change.
• 20:13
  SPEAKER_03: Like if we're all coming at this equally, like I know I missed, but here are the things that I'm gonna do to make up for that.
• 20:18
  SPEAKER_03: Or I know I missed and I did nothing to make up for that.
• 20:21
  SPEAKER_03: Well, those two things are not equal.
• 20:23
  SPEAKER_03: You one of one of the two is not coming at this with good faith like the other person.
• 20:27
  SPEAKER_03: So like that's just kind of life.
• 20:28
  unknown: Right.
• 20:29
  SPEAKER_03: And like the way how do you want to be in your life as a human?
• 20:31
  SPEAKER_03: And I think that's something that dance teachers are, you know, responsible for to an extent of like teaching young people how to show up in the world as the best version of themselves they can be.
• 20:42
  SPEAKER_02: No matter what, they still missed.
• 20:43
  SPEAKER_02: So either no matter at the end of the day in that scenario, you still missed and there is a repercussion to that.
• 20:50
  SPEAKER_04: Even this topic depends on how it's handled.
• 20:52
  SPEAKER_04: Even this topic in general, it kind of almost feels like I have to resist this impulse sometimes to continue to look outward.
• 21:00
  SPEAKER_04: Uh I don't know if that makes any sense, but it's like if you're constantly focused on what is she getting away with?
• 21:05
  SPEAKER_04: What is this person doing?
• 21:06
  SPEAKER_04: What why is she not on time?
• 21:07
  SPEAKER_04: Why did I have to be here on time?
• 21:08
  SPEAKER_04: You were on time and you were in class and you knew what you're doing.
• 21:12
  SPEAKER_04: You've been, you are set up for your ultimate success.
• 21:15
  SPEAKER_04: Why are you worrying about her?
• 21:16
  SPEAKER_04: Is it rooted in she has better spots than you and you're mad that you're always there and she missed once or twice and now you want to see her get something taken away?
• 21:23
  SPEAKER_04: It's kind of like, what are we looking outward for?
• 21:26
  SPEAKER_04: What is this?
• 21:27
  SPEAKER_04: Yeah, where does this comparison come from?
• 21:29
  SPEAKER_04: Is there a time where you're supposed to mind your own business?
• 21:32
  SPEAKER_04: You're doing everything you're supposed to do.
• 21:34
  SPEAKER_03: Yep.
• 21:34
  SPEAKER_03: And that's what matters.
• 21:35
  SPEAKER_04: Yeah.
• 21:36
  SPEAKER_04: I mean, even down to school, like if you failed the test, but you did all of your homework, you went to the extra help, you went to you did the extra credit, you did the this, your teacher's way more inclined to offer a little bit of help on your test score or let you make up for his things in another sort of way rather than you failed the test and now you're crabby with your teacher because you failed the test, but you didn't ask questions in class, you didn't do your homework, you didn't show up to the extra help, you didn't do everything you were supposed to do.
• 22:02
  SPEAKER_04: So that's kind of like a that's kind of how my mom went with things when I would come home and be like, oh my teacher doesn't like me or my teacher liked this person better than me or whatever.
• 22:10
  SPEAKER_04: She'd be like, well, did you go to the extra help?
• 22:13
  SPEAKER_04: Did you say good morning to your teacher when you walked in?
• 22:14
  SPEAKER_04: Did you say thank you when you left?
• 22:16
  SPEAKER_04: Did you do all of your homework?
• 22:18
  SPEAKER_04: Did you ask all the questions?
• 22:18
  SPEAKER_04: And then it'll be like no.
• 22:19
  SPEAKER_04: And she'd be like, all right, so then I don't want to hear that your teacher doesn't like you and like somebody else better.
• 22:23
  SPEAKER_03: Right.
• 22:24
  SPEAKER_03: Right.
• 22:24
  SPEAKER_03: Yeah.
• 22:25
  SPEAKER_03: Yeah.
• 22:25
  SPEAKER_03: All of that is fair.
• 22:26
  SPEAKER_03: Did you stand there with your hands on your hips and roll your eyes when the teacher said this is the next combination?
• 22:30
  SPEAKER_03: Or did you say, cool, this is exciting.
• 22:32
  SPEAKER_03: Great.
• 22:32
  SPEAKER_03: Let's do this.
• 22:34
  SPEAKER_03: So the next topic we are going to cover is owning up to your mistakes and apologizing.
• 22:40
  SPEAKER_03: And when that doesn't happen, that is what we are talking about with the toxicity level not owning up to your mistakes, not apologizing.
• 22:47
  SPEAKER_03: Let's hear from our listeners.
• 22:49
  SPEAKER_05: Hi there.
• 22:50
  SPEAKER_05: My red flag is around the ability to apologize.
• 22:54
  SPEAKER_05: I get it.
• 22:55
  SPEAKER_05: I'm an adult and I'm super busy too.
• 22:58
  SPEAKER_05: Sometimes emails get missed or communication isn't as clear as we would like it to be.
• 23:04
  SPEAKER_05: One situation that I have experienced is when a com communication was missed by a studio or a teacher that resulted in a misunderstanding of what was going on and then a student got blamed for it.
• 23:18
  SPEAKER_05: And without being able to apologize, that student was really hurt.
• 23:22
  SPEAKER_05: So I really think that studios that can't apologize to adults and or children rather than just make it a joke when they accidentally make a mistake shows a lack of maturity.
• 23:37
  SPEAKER_05: It it presents a bad example, especially when we tend to make the dancers apologize for every mistake that they make, particularly when it involves other dancers.
• 23:48
  SPEAKER_05: Be a better example and apologize when an apology is due and make your apology as big as your critique.
• 23:56
  SPEAKER_05: If you're going to critique a dancer in front of other dancers for a mistake that they made you should apologize in front of other dancers with the same energy.
• 24:04
  SPEAKER_03: Thank you.
• 24:05
  SPEAKER_03: I love that last part.
• 24:07
  SPEAKER_03: Apologize with the same energy that you give a critique.
• 24:10
  unknown: Yeah.
• 24:10
  SPEAKER_02: Don't be half-hearted about it.
• 24:12
  SPEAKER_02: Yeah.
• 24:13
  SPEAKER_02: You know, we are trying to teach dancers life lessons in the studio.
• 24:17
  SPEAKER_02: And I think that like this person said, setting the example as someone who is of power and the leader of the space as a dance teacher, as a studio owner and even just the vibe between not just the the dancer and the studio owner or teacher, but also the parent and the studio owner and teacher because like they mentioned in that scenario they're both adults talking one adult to another, you know, having that two-way communication, the respect on each side and also not letting that interfere with the expectation or the atmosphere of the child in the space because that could very easily negatively affect the dancer who might not even have any clue as to what type of communication was even had between two adults.
• 25:00
  SPEAKER_02: And now they're getting impacted in a different way or disregarded or like they said made fun of or make it into a an excuse in front of their peers and others.
• 25:11
  SPEAKER_02: And that's not a good look either from an adult going down to a student.
• 25:14
  SPEAKER_02: So I think it is really an interesting side of the conversation and I'm assuming this is coming from a parent perspective with this clip.
• 25:22
  SPEAKER_02: But I'm really glad that they shared that.
• 25:29
  SPEAKER_02: Dance teachers, studio owners and choreographers, this one's for you imagine four incredible days of inspiration, innovation and movement in the heart of Las Vegas.
• 25:41
  SPEAKER_02: The Dance Teacher Web conference and expo is happening this July 22nd through the 25th at the Paris Hotel and you do not want to miss it.
• 25:50
  SPEAKER_02: With over 140 masterclasses you'll gain fresh choreography, cutting edge business strategies, and proven techniques to elevate your teaching and grow your studio.
• 26:00
  SPEAKER_02: So what's exactly in store?
• 26:02
  SPEAKER_02: You'll get to be a part of exclusive sessions with industry icons, learning about retention strategies, marketing and even injury prevention.
• 26:11
  SPEAKER_02: Take part in live movement classes to bring new energy into your dance lessons and receive full access to the Expo Hall where you can discover the latest trends in dance wear, costumes and studio must-haves.
• 26:23
  SPEAKER_02: And did I mention that I'll even be attending the event this summer on faculty teaching jazz movement classes and hosting a handful of informative seminars.
• 26:31
  SPEAKER_02: And I would love to see you there.
• 26:33
  SPEAKER_02: Use our exclusive promo code IMPT50ILCaps for an extra$50 off your registration at the Dance Teacher Web Conference and Expo this summer in Las Vegas.
• 26:44
  SPEAKER_02: That code is Impact 50 in all caps.
• 26:47
  SPEAKER_02: Head on over to their website at Dance Teachersummerexpo.com right now to grab your spot or click the link in our show notes.
• 26:55
  SPEAKER_02: Join me in Vegas for the biggest Dance Teacher event of the summer at the Dance Teacher Web Conference and Expo.
• 27:07
  SPEAKER_04: I would add and go further a little bit because I think something that can get missed in this part of the equation it's something that as a I'm not a parent I don't have children but I feel like as a dance teacher and a mentor that you get to carry with these kids for some to some of them from a very young age until they graduate high school is I've often said to my students, I am not a mind reader either.
• 27:29
  SPEAKER_04: As a teacher, as an educator, as a business owner, all of I am not a mind reader.
• 27:34
  SPEAKER_04: So I my door is always open for somebody who would like to come in and meet with me or share with me something that I might have done that it might not have even been my intent to hurt you.
• 27:43
  SPEAKER_04: But as human beings, sometimes we hurt people's feelings without meaning to but I might be completely unaware of what it is.
• 27:50
  SPEAKER_04: So if you can come into a meeting not carrying your torch and your pitchfork ready to burn down the studio or my character or whatever it is, I am absolutely open to hearing how did I fall short?
• 28:03
  SPEAKER_04: How did I how did something I said make you feel but at the same time if you give me that opportunity to say this is how you hurt my feelings, this is how this hurt me, I need to share this with you, then perhaps I can provide some insight to you on what I meant by a certain thing, what I meant by my critique, what I meant by something that I might have said.
• 28:27
  SPEAKER_04: So just a personal anecdote that is anonymous I had a student who had been absent and we were discussing a cleaning note that we had gone over in a routine and she had piped up and said, I thought it was this and I was like no we discussed that it was this when you weren't here.
• 28:46
  SPEAKER_04: And she kind of took it like I was being uh I was kind of like attacking her for not being in rehearsal for whatever reason she hadn't been there.
• 28:54
  SPEAKER_04: She's like is that supposed to like mean something?
• 28:57
  SPEAKER_04: And I was like no it was just true.
• 28:59
  SPEAKER_04: Like Right that those are the facts.
• 29:01
  SPEAKER_03: We discussed this and you weren't here.
• 29:03
  SPEAKER_04: You weren't here when we discussed this.
• 29:05
  SPEAKER_04: And she felt in her feelings about it.
• 29:07
  SPEAKER_04: She felt like it was like a little bit of an overstep that I didn't need to say however I said it.
• 29:11
  SPEAKER_04: And I in that moment I even said to her, I was like, I'm so sorry.
• 29:14
  SPEAKER_04: I did not mean for that to come off like I was attacking you for not being at rehearsal.
• 29:17
  SPEAKER_04: It's just when we discussed what this particular note about this dance was, if my tone was received in this way, I did not intend for it to come out of my mouth that way.
• 29:26
  SPEAKER_04: I really am sorry.
• 29:26
  SPEAKER_04: I wasn't trying to make you feel badly you know so I have been trying as a studio owner a lot of people can disagree with choices you make as with any style of leadership in any place people are going to disagree with decisions you make or how you make them or how you bring those decisions down.
• 29:44
  SPEAKER_04: And I do try to be self-aware of when I could have done a little bit better or a decision I could have been I could have made would have been a little bit more well-rounded or considerate.
• 29:53
  SPEAKER_04: And this I'm like you said you're assuming it's coming from a parent perspective.
• 29:57
  SPEAKER_04: I just think I would encourage people that sometimes we just aren't aware because I might say something like, come on, point your feet what's like I said this already and move on to the next thing and then the kid goes home and is devastated because she feels like she was mortified in front of everybody that's in the room where I'm a 36 year old man and she's 10, like the 10 year old that moment might live rent-free in her head until she's 16 if it's not Mr.
• 30:21
  SPEAKER_04: Joey, it feels like you're a little harsh in front of everybody and she kind of feels X, Y, and Z ways then I can talk to you and be like, I'm so sorry, Betty Sue.
• 30:29
  SPEAKER_04: It's just the way Mr.
• 30:30
  SPEAKER_04: Joey teaches I didn't mean to yell at you.
• 30:32
  SPEAKER_04: I meant to more yell to you over the music.
• 30:35
  SPEAKER_03: Right.
• 30:35
  SPEAKER_04: I will try to do it with that happens all the time.
• 30:38
  SPEAKER_04: Especially there is also I think I don't know if this plays into the conversation a little bit of a gender dynamic at play where sometimes a booming man's voice yelling over music can be received as a little bit more to a 10 year old or an eight year old or a 12 year old girl versus something else.
• 30:54
  SPEAKER_01: So that's true.
• 30:55
  SPEAKER_04: We as teachers and directors and all the rest are not mind readers.
• 30:59
  SPEAKER_04: So sometimes we deliver something in a flippant sort of way that if you share with us and you are open to communicating with us that something we had said or done hurt you in a certain type of way or made you feel a certain type of way, maybe we can even help you feel better about it as well.
• 31:13
  SPEAKER_03: Well and even too I mean I think for individuals to like you know hearing you in a class there's 15 kids in the class let's say how do you how do you say that exact same thing to everyone?
• 31:24
  SPEAKER_03: Is it the same way?
• 31:25
  SPEAKER_03: Does Mr.
• 31:25
  SPEAKER_03: Joey always say come on point your feet we got to move on like I already said that like or is Mr.
• 31:29
  SPEAKER_03: Joey to one person saying honey sweetie baby my dear my love can you please point your feet?
• 31:34
  SPEAKER_03: Like how are you delivering it to everyone?
• 31:37
  SPEAKER_03: Because if it's across the board the same way, then no, nobody called you out.
• 31:41
  SPEAKER_03: This is how Mr.
• 31:42
  SPEAKER_03: Joey teaches like you have to kind of learn how your instructors actually give feedback and then realize oh wow that wasn't harsh or directed at me.
• 31:51
  SPEAKER_03: That's just how they deliver feedback.
• 31:53
  SPEAKER_03: And then you can move on with your life understanding that nobody yelled at me nobody yelled at me.
• 31:58
  unknown: Yeah.
• 31:59
  SPEAKER_04: Yeah at the studio at my studio it's kind of funny the girls actually now I have a male dancer so my dancers my dancers joke around that there's uh this thing this monster in the studio called January and February Joey.
• 32:12
  SPEAKER_04: Oh god and I gave I give them a disclaimer once we get to the other side of New Year's every year I'm like we are cleaning for competition.
• 32:22
  SPEAKER_04: Competition is imminent you are going to dislike me because I'm going to give you an abundance of corrections and I'm going to stop the music every time you do that correction incorrectly and you're going to feel called out.
• 32:35
  SPEAKER_04: It is nothing personal I do not hate you.
• 32:37
  SPEAKER_04: It is not I don't like you.
• 32:39
  SPEAKER_04: I am of the mindset as a teacher if I'm giving you the attention of a correction it means I'm invested in you.
• 32:45
  SPEAKER_04: So try your very hardest to remember that January and February Joey is a monster and he's trying to make your dances and you the best possible dances and dancers that you can possibly be.
• 32:54
  SPEAKER_04: And he will do his utmost to hear himself as well and go back and try to make you feel like I don't wish you would quit.
• 33:04
  SPEAKER_04: I hope he has a certain outfit like does January and February Joey wear something different to delineate Long Island it is drapey fabrics when the hood they know that when it's when it's when I'm wearing a hoodie and the hood is up and I'm standing against the mirror with my sweaty back leaving a print on the mirror.
• 33:19
  SPEAKER_03: Oh my God.
• 33:19
  SPEAKER_03: It's like it's like evil Kermit.
• 33:21
  SPEAKER_03: It's like evil Mr.
• 33:22
  SPEAKER_03: Joey this is there with the hood.
• 33:24
  SPEAKER_03: Pointer feet I love it.
• 33:27
  SPEAKER_02: All the drapey fabrics in wintering all right let's jump into our next clip and this one is a hot one that I feel like a lot of the parents always talk about in a lot of these groups on the internet.
• 33:40
  SPEAKER_02: So let's hear what they have to say.
• 33:43
  SPEAKER_01: So I have a senior uh so I have a few one of them being lack of transparency in billing.
• 33:48
  SPEAKER_01: You know if I get a huge bill and I don't have an explanation for it and I ask for that explanation and or some sort of breakdown or basically you know how do you come up with this number?
• 33:55
  SPEAKER_01: And you're not going to give it and you're going to give me excuses and some runaround and not give me a breakdown.
• 34:00
  SPEAKER_01: You know I'm just not going to pay it.
• 34:01
  SPEAKER_01: And you know I actually left a studio over this very issue.
• 34:04
  SPEAKER_01: So yeah be more transparent in your billing just be honest.
• 34:07
  SPEAKER_01: We understand that you have to make money and you have to tack on fees et cetera et cetera um just be honest about it.
• 34:11
  SPEAKER_01: That's fine.
• 34:12
  SPEAKER_04: Parents understand we know just tell us I'm going to tell you this the best advice I can give to any studio I started doing nobody even told me about doing this.
• 34:19
  SPEAKER_04: I came up with the idea myself everybody please feel free to steal the idea.
• 34:23
  SPEAKER_04: Last summer in like late July I met with my bookkeeper and my secretaries and I typed up it took me like a day or two to sort of look at the dates and when we wanted to go to competition and whatever and I typed up I wait I feel like I should like email this to you Courtney so that you can like put it up as an example here.
• 34:41
  SPEAKER_04: Great.
• 34:41
  SPEAKER_04: It's a payment calendar it's a payment schedule and I have every transaction that I am going to need from them for the entire year, especially from my competition team.
• 34:50
  SPEAKER_04: And I even do it I we do it we did it for our rec people as well because it's usually just like whatever a costume for recital that we have to buy around Christmas time and then ticket sales.
• 35:00
  SPEAKER_04: But I have listed there our summer intensive what date every month your tuition is due.
• 35:06
  SPEAKER_04: When the to it if we're going to a convention in November your tuition will for that will be due in October if we're going to our first competition in February your first competition fees will be due December 15th if we have that and so because a lot of the competitions they ask for fees like 60 days before whatever.
• 35:24
  SPEAKER_04: And I gave I give all my parents a payment calendar and then when they're like what is this supposed to be I can literally just say per your payment calendar sent in August this fee is due on this date and this is what it's for.
• 35:38
  SPEAKER_04: Right.
• 35:38
  SPEAKER_04: I have absolute I I I I do my I think that that is something that is so easy to be transparent about personally.
• 35:46
  SPEAKER_04: I have no interest in money that is not due me.
• 35:50
  SPEAKER_04: I have no interest in if we get refunded for something keeping that refunded not giving it back to you.
• 35:55
  SPEAKER_04: I have no interest in because we watched so much stuff happen with COVID when competitions weren't refunding studios or whatever the case was and I get it business times were tough.
• 36:06
  SPEAKER_04: Like everybody was figuring out what was going on during COVID but transparency and fees and I get it it can be intimidating to have a kid sign up for competition in September and you say it's not just what your monthly tuition is going to be, which is a lot more than a recreational classload.
• 36:20
  SPEAKER_04: But at the same time I'm going to have to bill you for costume deposits are due on this week costume balances are due at this week.
• 36:26
  SPEAKER_04: If you're doing the rhineston workshop in January you have to pay it in December.
• 36:29
  SPEAKER_04: You know what I'm saying?
• 36:30
  SPEAKER_04: But having that laid out for them, I so many of my parents this year were like this is incredible.
• 36:36
  SPEAKER_04: Thank you.
• 36:36
  SPEAKER_04: I can now if not plan, I can at least see okay, this is when this is due or when my husband is asking why I wrote another check to the studio.
• 36:45
  SPEAKER_04: Yeah.
• 36:45
  SPEAKER_04: What is this for?
• 36:46
  SPEAKER_04: I could say well this is for this because everything has to be done earlier.
• 36:51
  SPEAKER_04: So I I I I completely agree that transparency is super important when it comes to people's money because especially now as a business owner I'm super protective of my money.
• 36:59
  SPEAKER_03: Yeah.
• 36:59
  SPEAKER_03: Well and I think it's an expensive hobby.
• 37:02
  SPEAKER_03: Like I think everybody knows at this point like this like this person said, you know, businesses are businesses.
• 37:07
  SPEAKER_03: You can't just do things at cost because then you're never going to turn a profit.
• 37:12
  SPEAKER_03: So if you are adding on an administrative fee to the competition costume fee, because then you have to measure the kids, you have to do the whole ordering, you have to do the refunds, you have to send it all back.
• 37:23
  SPEAKER_03: Like somebody's doing that labor, therefore somebody needs to be compensated for that labor.
• 37:27
  SPEAKER_03: And you know, I think people have been doing that for a long time and maybe hiding it in a fee.
• 37:32
  SPEAKER_03: And then but I think she's just talking about the transparency of here's this additional$25 you're paying, it is separate on the line sheet of what it actually is for because I think people will understand that, but they don't like it when it's just lumped into a sum that then if for whatever reason they find out how much that actual item costs and then there's it's extra money.
• 37:52
  SPEAKER_03: Like that's where I think the sort of skepticism comes in of like well what why is it this much money for you but this much money for me.
• 37:58
  SPEAKER_02: I mean it's like no different than like how every business works when it comes to like wholesaling products.
• 38:05
  SPEAKER_02: You know so I think that with these parents that are like invested in trying to figure out how much is an entry fee?
• 38:10
  SPEAKER_02: How much is this costume on this costume resale website, you're not buying it.
• 38:15
  SPEAKER_02: You're not the you are the customer of the studio.
• 38:19
  SPEAKER_02: Those are outsourced services that the that the studio is that the studio is the customer of those services.
• 38:26
  SPEAKER_02: You are not so they are the middleman it shouldn't matter what the cost is because it's almost similar to wholesale.
• 38:32
  SPEAKER_04: So if the studio decides it is wholesale that's exactly what it is actually we have we what you know there's these costume companies the competitions the information on cost is proprietary for a reason.
• 38:42
  SPEAKER_02: Right.
• 38:43
  SPEAKER_04: You know Walmart doesn't buy a box of lucky charms for$5 and then sell it to you for$5.
• 38:49
  SPEAKER_04: They get it from the wholesaler for$3 or$2 or$1 and sell it for$5.
• 38:53
  SPEAKER_04: You know what I mean?
• 38:54
  SPEAKER_04: Exactly.
• 38:54
  SPEAKER_04: It's I I do believe that there is such a thing there is also a middleman in such a thing as price gouging where if you bought you know a lycra a bra top and shorts and then charged me$150 for it and then I had to pay more to have it rhinestoned like that's I get it.
• 39:09
  SPEAKER_12: Could be a problem.
• 39:10
  SPEAKER_04: But there is also I think it's another thing where it's like kind of like a on a by case basis in moderation kind of a thing.
• 39:16
  SPEAKER_04: But you know as a studio owner also like competition fees have and I'm not judging the competitions I totally understand everybody's trying to run a business especially you know venues are out of control.
• 39:26
  SPEAKER_04: There's a lot to consider there's a lot of flights there's a lot of paying your judges fairly there's a lot of stuff like that.
• 39:30
  SPEAKER_04: But it's tough for us as studio owners to also say we are in this as a business.
• 39:35
  SPEAKER_04: We're trying to make money but the competition fees went up again and we tried it we we can when it comes to costumes we lot we do like you said Leslie line item it and if I it's kind of more of like I do give them a costume balance as a whole.
• 39:47
  SPEAKER_12: Right.
• 39:48
  SPEAKER_04: And if you would like a breakdown of what each individual costume's cost was, that is true.
• 39:52
  SPEAKER_04: But I have a secretary that goes on the computer and orders it that I have to pay for or my time is valuable as a studio owner or it doesn't matter that the cost of the costume was maybe$40, uh I still had to pay you know whatever$10 an item on shipping.
• 40:07
  SPEAKER_04: Yeah, yeah yeah and if there is sales tax then sales tax.
• 40:10
  SPEAKER_04: If there's no sales tax then I have to bill you for the sales tax and include it in the there's a lot of things in business where it's like I think that there is something called moderation where like we said if you can you know get the same broad insurance for$30 but for some reason the studio charged you$150 that might require a little bit more transparency like this I'm assuming parent energy is asking for.
• 40:32
  SPEAKER_04: For sure.
• 40:33
  SPEAKER_02: Yeah.
• 40:33
  SPEAKER_02: You get what you pay for.
• 40:34
  SPEAKER_02: I mean sometimes it's like okay this one's right in your face and then yes it's a little bit more money but it's going to save me time from hunting for the deal to save a few bucks.
• 40:43
  SPEAKER_02: And this is what it costs.
• 40:44
  SPEAKER_02: And you know what I mean?
• 40:45
  SPEAKER_02: Like there's just so many factors to it or just people not invest you know there's a lot of studios that might not or teachers might not invest the same amount of time as another in selecting songs, in selecting costumes, in doing the research and that time is money.
• 40:58
  SPEAKER_02: And but that is coming out in the quality of what is being produced on stage.
• 41:02
  SPEAKER_02: And all of that comes into play.
• 41:04
  SPEAKER_02: It's not just the la let me flip the page and pull like blindly point at a costume.
• 41:09
  SPEAKER_02: You know it's not like that.
• 41:11
  SPEAKER_02: The peep like studios are and teachers are spending hours trying to create this vision for the stage.
• 41:17
  SPEAKER_02: A lot of them and let's be real a lot of them aren't a lot of them are just looking at it as a quick little business boom boom let me pick that one that one that one and you can oftentimes tell on the quality that it's produced on stage at least often as an outsider as a judge I can.
• 41:31
  SPEAKER_04: And it's the same thing with choreographers though.
• 41:33
  SPEAKER_04: Why does one choreographer charge X amount for a solo and then this choreographer over here charges way more for a solo.
• 41:39
  SPEAKER_04: That's true.
• 41:39
  SPEAKER_04: It's two minutes of choreography whichever way you slice it why isn't it worth the same thing because sometimes it's coming from a different place or something that's more commodified or valuable or whatever the case it is.
• 41:48
  SPEAKER_04: A product is a product.
• 41:49
  SPEAKER_02: Yep that's a great point too.
• 41:51
  SPEAKER_02: I love that all right y'all we have another very very hot take here coming in from an anonymous fan and I think this is a really really important one that we need to discuss when it comes to red flags at studios.
• 42:05
  SPEAKER_02: So let's give a listen.
• 42:07
  SPEAKER_07: One of the most toxic characteristics I have observed in some local studios is the practice of soliciting dancers from their current studios.
• 42:15
  SPEAKER_07: These studios have been known to approach dancers at competitions suggesting that they would be better suited at their studio.
• 42:22
  SPEAKER_07: In some cases these studios actually go to competitions they aren't even attending just to hand out business cards.
• 42:28
  SPEAKER_07: Then there are the studios that use a more subtle approach.
• 42:31
  SPEAKER_07: They encourage their dancers to repeatedly persuade peers from other studios to join touting themselves as a superior choice.
• 42:39
  SPEAKER_07: When hosting bring a friend days these studios often collect personal details such as address and phone numbers resulting in continued outreach and pressure for months.
• 42:49
  SPEAKER_07: In contrast my approach is different.
• 42:51
  SPEAKER_07: When organizing bring a friend events I encourage my dancers to invite friends who do not dance.
• 42:56
  SPEAKER_07: If a dancer from another studio does attend I do not collect their contact information as I respect their current commitment.
• 43:03
  SPEAKER_07: I've never encouraged my dancers to solicit others from different studios.
• 43:07
  SPEAKER_07: If a prospective student approaches my studio seeking to enroll I avoid speaking negatively about their previous studio.
• 43:15
  SPEAKER_07: Instead I express surprise if they share any negative thoughts and redirect the conversation to highlight the strengths and values of my own studio.
• 43:24
  SPEAKER_07: My focus remains on fostering a positive and supportive environment within my studio rather than engaging in competitive practices that undermine others.
• 43:33
  SPEAKER_03: Soliciting dancers that is a hundred percent a toxic red flag like run away for sure.
• 43:40
  SPEAKER_04: Yeah okay so Courtney I'm gonna pull a classic Mr.
• 43:44
  SPEAKER_04: Joey and Courtney moment.
• 43:46
  SPEAKER_04: I hear appreciate and agree with a lot of what that voice clip had to say.
• 43:52
  SPEAKER_04: There's a few points I might push back on a little bit though.
• 43:56
  SPEAKER_04: Tell us so I think yes I think every Everybody and their sister would agree going to a competition specifically that you're not even attending, that's gross.
• 44:06
  SPEAKER_11: That's gross.
• 44:07
  SPEAKER_04: That's gross.
• 44:08
  SPEAKER_04: Like, what are you doing, guys?
• 44:09
  SPEAKER_04: Like, hello.
• 44:10
  SPEAKER_02: Business.
• 44:11
  SPEAKER_04: Also, it's kind of like the subtitle is like, I don't have good dancers, I need you.
• 44:15
  SPEAKER_04: Like, you know what I mean?
• 44:16
  SPEAKER_04: Like, it's a little, there's like a there's a major ick to that.
• 44:20
  SPEAKER_04: I also think it's super icky that even if you are attending the competition, going up to a kid and saying, you know, you should come to my studio or whatever, that's also very, very gross.
• 44:29
  SPEAKER_02: Yeah.
• 44:29
  SPEAKER_04: I think I love as a teacher, I love going to competition and talking to the other teachers in the wings and backstage and in the hallways and encouraging their kids or saying good job or whatever.
• 44:40
  SPEAKER_04: I think that that is such a way more positive way of going about competition than trying to go with your binoculars and scoping out like who you can steal for whatever reason.
• 44:52
  SPEAKER_04: What I would push back on though is how you handle people being inside your own doors as it is, how you handle bringing in new customers.
• 45:02
  SPEAKER_04: Because honestly, we are a business.
• 45:05
  SPEAKER_04: We are trying to make more money, we are trying to increase our numbers, we are trying to increase our tuition.
• 45:10
  SPEAKER_04: Things specifically like bring a friend week, collecting information I don't think is a bad thing.
• 45:16
  SPEAKER_04: More than anything, if only from the perspective of I have like waivers that I need signed when you're dancing inside my building.
• 45:24
  SPEAKER_04: If you if you ever like go come claim and I have no record that you were in my building and you're trying to say that you got hurt inside my doors, like I need to, you know, whatever.
• 45:33
  SPEAKER_02: I think that has more to do with like how you use that information after sure.
• 45:37
  SPEAKER_04: But I I I I I still don't necessarily believe that it's an ick to send a marketing email.
• 45:44
  SPEAKER_04: I don't believe it.
• 45:45
  SPEAKER_02: If it's a marketing email, I think it's fine.
• 45:46
  SPEAKER_02: If it's like a if it's like email, I feel like this is like hi, it's me again.
• 45:51
  SPEAKER_03: It's me again.
• 45:52
  SPEAKER_03: Don't you want to come here?
• 45:52
  SPEAKER_03: You're super terrible.
• 45:53
  SPEAKER_03: Yeah.
• 45:54
  SPEAKER_04: Yeah, I guess it's all the spirit in which it's delivered.
• 45:56
  SPEAKER_03: But sure, right.
• 45:57
  SPEAKER_03: As we've said before in a lot of this intention.
• 45:59
  SPEAKER_04: What's your intention?
• 46:00
  SPEAKER_04: Yeah, what's your intention?
• 46:01
  SPEAKER_04: How are you going about this?
• 46:02
  SPEAKER_04: You know, I've have had students say, like, oh, I dance at school with this girl.
• 46:07
  SPEAKER_04: She goes to this studio, she's thinking about switching, and I'm like, great, bring her technique, let's go.
• 46:12
  SPEAKER_04: Like, right, you know, I don't think there's anything wrong with your own student body base speaking positively of the studio that they go to, leading to a student maybe switching to your studio.
• 46:22
  SPEAKER_04: Right.
• 46:22
  SPEAKER_03: Well, and I think that's what she was saying too, is that like she doesn't use that opportunity to speak ill about your studio, she uses it to speak well about her studio.
• 46:30
  SPEAKER_03: Absolutely.
• 46:31
  SPEAKER_03: Whatever you take from that is what you take from that, but I'm not going to talk bad about you.
• 46:34
  SPEAKER_02: Which I think as long as like that, like her the what she described sounds like that the studio is intentionally tell asking their current dancers to source new dancers.
• 46:46
  SPEAKER_02: And I think that if you're asked, like, oh well, I love my studio and it's so great and like it's a really fun environment.
• 46:53
  SPEAKER_02: But if they're like, hey, so when are you coming over to my studio?
• 46:56
  SPEAKER_02: Well, you should leave your studio.
• 46:57
  SPEAKER_02: You should come to my studio.
• 46:58
  SPEAKER_02: Like, you know, like the type of way that it's being uh executed on the students and then also what the teacher is telling them on how to do it.
• 47:06
  SPEAKER_02: If it's a genuine like, I love my studio and I think you'd be a good fit here, that's different.
• 47:11
  SPEAKER_12: Yeah.
• 47:12
  SPEAKER_02: Or the dancer talking up their studio so much in a positive way that maybe that dancer finally like light bulbs click and say, Maybe I should check that studio out, versus like the kids soliciting almost in coming from again intention and like a toxic way.
• 47:25
  SPEAKER_04: Yeah.
• 47:26
  SPEAKER_04: When I've had students come to me and say, or a a new prospective student or somebody inquiring about the studio or whatever, and say, whatever I had this X, Y, and Z experience at the studio that I'm currently with, I can say, uh, you know, I typically will say, Yeah, I'm really sorry that happened to you.
• 47:40
  SPEAKER_04: That's really horrible.
• 47:41
  SPEAKER_04: Here are my values as a studio and how I would personally handle whatever that situation is.
• 47:45
  SPEAKER_04: But I think it's a little small-minded.
• 47:48
  SPEAKER_04: I don't know if that's the right word.
• 47:50
  SPEAKER_04: I think it's a little delulu if we're not pretending that we're all competing for the same student body base in a given area, in Long Island specifically.
• 47:57
  SPEAKER_04: Yeah.
• 47:58
  SPEAKER_04: There's a dance studio on every corner.
• 47:59
  SPEAKER_04: Why am I gonna pretend like I'm trying to respect your student body and keep my student body and never betwixt shall we meet?
• 48:06
  SPEAKER_04: If all of your kids want to have a mass exodus from your studio and come to mine, like I'm not gonna say no, you should stay where you are because I like whoever your studio owner is, or I'm trying to be respectful of their business.
• 48:16
  SPEAKER_04: Like, I want to grow my business, you know.
• 48:18
  SPEAKER_04: I want to you didn't solicit.
• 48:19
  SPEAKER_04: That's the difference.
• 48:20
  SPEAKER_04: Absolutely.
• 48:20
  SPEAKER_04: But they're you know, at what point are you soliciting when you're talking positively about your studio where it's maybe not going to be perceived as one thing?
• 48:28
  SPEAKER_04: So let me talk about one strength that my studio has that others might not.
• 48:32
  SPEAKER_04: My studio, we share space with and coordinate with a cheer gym.
• 48:37
  SPEAKER_04: All of my students who are on my competition team, they have acro and tumbling classes in a gymnastics and cheer facility, padded floors, trampolines, every which tool.
• 48:49
  SPEAKER_04: They have certified uh cheer and gymnastics coaches teaching their tumbling classes.
• 48:54
  SPEAKER_04: You know what I'm saying?
• 48:55
  SPEAKER_04: They are in a facility that's for tumbling.
• 48:57
  SPEAKER_04: It's not happening with mats inside my studio.
• 48:59
  SPEAKER_04: Right.
• 48:59
  SPEAKER_04: I think that is an incredible strength of the perk that my studio has.
• 49:04
  SPEAKER_04: And we've had people who were on the cheer team in this cheer facility and we coordinate our schedule.
• 49:09
  SPEAKER_04: So none of the competitions my team goes to conflict with the cheer competitions.
• 49:14
  SPEAKER_04: And maybe there's kids in the area who go to a studio who their studios don't care about the cheer competition weekends.
• 49:19
  SPEAKER_04: So now they're having to pick between dance and cheer.
• 49:22
  SPEAKER_12: Right.
• 49:22
  SPEAKER_04: If they come on my team, they can do both.
• 49:25
  SPEAKER_04: Is that soliciting?
• 49:26
  SPEAKER_04: Am I saying you can switch from your studio and come to mine because you can do dance and cheer and it's all in the same lobby?
• 49:32
  SPEAKER_04: Your parents are.
• 49:32
  SPEAKER_03: You're saying this is an option here.
• 49:34
  unknown: Yeah.
• 49:34
  SPEAKER_03: I'm just saying it to the world.
• 49:36
  SPEAKER_04: But maybe the other studios in my area, you know, I said the name of my studio on this podcast.
• 49:42
  SPEAKER_04: If there's kids in Long Island that are sitting here listening to me, is that me saying, Oh, if you're in my area, you should switch from your studio to mine because you'll have better tumbling classes?
• 49:50
  SPEAKER_04: Like, I don't know.
• 49:51
  SPEAKER_02: You're more than a podcaster.
• 49:53
  SPEAKER_02: It could be perfectly.
• 49:53
  SPEAKER_02: I understand what you're saying.
• 49:54
  SPEAKER_02: I think it I think that this is more so in the sense of directly targeting.
• 49:59
  SPEAKER_02: Yeah.
• 49:59
  SPEAKER_02: Yes.
• 50:00
  SPEAKER_02: Individual targeting targeting.
• 50:01
  SPEAKER_02: Yeah, and probably individual individual targeting.
• 50:03
  SPEAKER_02: Yeah.
• 50:03
  SPEAKER_02: Which does it be like, Yeah, I think that.
• 50:04
  SPEAKER_02: Yeah, that kind of gives me the idea.
• 50:06
  SPEAKER_02: Yeah, that's that's but I think that um another aspect of like, you know, why people choose to go to studios and why and how this should be looked at more so is like I feel like that oftentimes now it's always like talk and word on the street and who where to go or whatever.
• 50:22
  SPEAKER_02: And yes, of course, soliciting does happen and it shouldn't, but I think that studios need to realize and like hope that what they're presenting at competition is a reflection of their studio.
• 50:33
  SPEAKER_02: And that is also advertisement in itself.
• 50:36
  SPEAKER_02: You can be at a studio that is local to your region and be he up against all the heavy hitters who's winning at those competitions.
• 50:43
  SPEAKER_02: That's direct advertisement right away for all the other studios to say to see that's the winning studio.
• 50:49
  SPEAKER_02: Should I consider going there?
• 50:51
  SPEAKER_02: And that studio didn't do anything but just prove themselves at a competition.
• 50:54
  SPEAKER_02: You know, I think that speaks a lot too.
• 50:56
  SPEAKER_02: And I don't think that's at all soliciting.
• 50:58
  SPEAKER_02: I think that's just being a highly competitive studio with good training and and the facts are there.
• 51:03
  SPEAKER_02: You won.
• 51:04
  SPEAKER_02: So you're a good studio.
• 51:05
  SPEAKER_02: So maybe that's easy advertisement for another another studio to learn about you.
• 51:10
  SPEAKER_02: And then they go and see all the perks that you have versus someone else and they make the comparison.
• 51:15
  SPEAKER_02: I think that's just called marketing versus direct soliciting.
• 51:18
  SPEAKER_02: No, no teacher should be coming up to someone else's studio and saying you should come to mine.
• 51:22
  SPEAKER_02: That is absolutely wrong and needs to be stopped immediately.
• 51:26
  SPEAKER_02: And if you were recruited by someone else's studio, then you should maybe be thinking about what studio you're choosing to be at right now.
• 51:34
  SPEAKER_02: And you were one of the people recruited.
• 51:36
  SPEAKER_04: I had a student last year, actually, she s uh she switched my studio in her senior year, in the middle of her senior year, no less.
• 51:43
  SPEAKER_04: And she came to us because she was dealing with a toxicity at her studio that was very profound.
• 51:51
  SPEAKER_04: And when I met with her and her mom, I asked how she heard about us.
• 51:56
  SPEAKER_04: And she said that two years prior, she was at competition with her studio.
• 52:00
  SPEAKER_04: She had gone on stage and done her solo, and that me and my co-teacher had been standing backstage and we watched her.
• 52:06
  SPEAKER_04: And when she came off stage, we like stopped her.
• 52:10
  SPEAKER_04: We said, That was awesome.
• 52:11
  SPEAKER_04: You did an incredible job.
• 52:12
  SPEAKER_04: That was a really your solo was fantastic.
• 52:15
  SPEAKER_04: And she said that at the time, like she wasn't feeling a lot of support from her studio from her teachers or whatever.
• 52:20
  SPEAKER_04: And so two years later, when she'd finally she remembered that we had stopped her and offered her a compliment, which I think is good sportsmanship in general.
• 52:27
  SPEAKER_04: You should be able to acknowledge other good talent when you're at competition with them and not be, oh, darn it, they were good.
• 52:33
  SPEAKER_04: Like, so I think that even says more than saying to somebody, you should come to my studio, which you should, I guess that's in some ways a compliment because you're acknowledging, I like your talent.
• 52:43
  SPEAKER_04: I wish it were my it were under my name.
• 52:46
  SPEAKER_04: But we stopped this girl and we just said, Wow, that was awesome.
• 52:49
  SPEAKER_04: That was really you did a great job.
• 52:51
  SPEAKER_04: Like whatever it was that we said to her, and two years later, she remembered that and she wanted to come to us because she felt positively acknowledged and it made a difference in the end.
• 53:00
  SPEAKER_04: So I guess it's like you said, it's that ick where it's like, are you like you did nothing wrong there?
• 53:06
  SPEAKER_04: No, I know, no, I know I did nothing wrong because I'm like this girl, she was I remember once she told me the story, I was like, oh my God, yes, I remember you.
• 53:14
  SPEAKER_04: Yes, of course.
• 53:15
  SPEAKER_04: Like I remember stopping you and I remember what dance you did, and it was this song, it was this costume or whatever.
• 53:21
  SPEAKER_04: That I think is a very positive thing to do.
• 53:23
  SPEAKER_04: And I even I'm very grateful to other studio teachers and owners and choreographers when they stop my kids and come off stage and they say, Wow, that was that was beautiful.
• 53:32
  SPEAKER_04: That was really great.
• 53:33
  SPEAKER_04: I loved looking at that because it's a dance competition.
• 53:36
  SPEAKER_04: We're not like, why does it have to be this like cloak and dagger, like throughout looking at people, like sizing up the competition?
• 53:41
  SPEAKER_04: Like, just enjoy each other's company.
• 53:44
  SPEAKER_04: We're dancing.
• 53:45
  SPEAKER_04: This is great.
• 53:45
  SPEAKER_04: Like, like we were saying earlier, Leslie, like first world problems.
• 53:48
  SPEAKER_02: Right.
• 53:49
  SPEAKER_02: Absolutely.
• 53:50
  SPEAKER_02: Yeah, it's a big one in our industry.
• 53:52
  SPEAKER_02: So listening definitely is a wild one, but so many more things to cover, and let's jump into our next one, which is a hot topic.
• 54:02
  SPEAKER_02: And I think these are often parent perspectives uh coming to us on these clips.
• 54:08
  SPEAKER_02: So let's hear.
• 54:09
  SPEAKER_05: I'm sharing this on behalf of my dancer just to keep her expressly anonymous.
• 54:14
  SPEAKER_05: I wanted to share one red flag that she experienced, and that's when a studio has policies or discourages dancers from getting training outside of that studio.
• 54:27
  SPEAKER_05: I think that's a terribly bad idea.
• 54:29
  SPEAKER_05: It shows a lack of confidence on the studio.
• 54:32
  SPEAKER_05: It only harms the dancer, especially if the dancer wants to come back to that studio and compete for them.
• 54:38
  SPEAKER_05: I don't see what the harm is in letting them train outside the studio.
• 54:43
  SPEAKER_05: Or I get it, sometimes there might be bad ideas, you know, or places that dancers want to train that are not helpful to them that the studio can help guide or steer that.
• 54:54
  SPEAKER_05: But to just kind of make it a blanket statement or a policy that we don't allow our dancers to train outside of the studio is a bad idea.
• 55:03
  SPEAKER_05: I was surprised when we ran into this, but we absolutely did, and it caused us to change the studio that we were training at.
• 55:11
  SPEAKER_05: So I hope that helps.
• 55:12
  SPEAKER_10: Another red flag would be when studio owners get upset because the students want to go to other studios to get different classes, or when they want to attend master classes at other studios in in town.
• 55:29
  SPEAKER_10: Studio owners don't like that.
• 55:30
  SPEAKER_10: Um feel it's uh they feel it as a threat.
• 55:37
  SPEAKER_02: Squirrel Trench Audio offers stage-ready music mixes and edits for choreographers.
• 55:43
  SPEAKER_02: They also provide welcome soundtracks to include in your end-of-year performances.
• 55:47
  SPEAKER_02: Let's hear what they have to offer.
• 55:52
  SPEAKER_08: In addition to creating clean stage-ready song edits and mixes, Squirrel Trench Audio creates fabulous recital welcome soundtracks.
• 56:01
  SPEAKER_08: Each welcome is customized for your studio, theme, and theater rules.
• 56:06
  SPEAKER_00: Welcome to Studios on Main's 14th Annual Dance Showcase.
• 56:12
  SPEAKER_08: Merry Christmas and a jolly welcome room.
• 56:15
  SPEAKER_08: Step right up to the greatest show.
• 56:18
  SPEAKER_08: Welcome to Dance A Live.
• 56:20
  SPEAKER_08: Welcome to Dancing Little Storm.
• 56:21
  SPEAKER_08: Welcome, everyone.
• 56:22
  SPEAKER_08: Welcome, welcome aboard, welcome.
• 56:24
  SPEAKER_08: Your annual showcase deserves to start off right.
• 56:28
  SPEAKER_08: Preserve your 2025 welcome today.
• 56:34
  SPEAKER_02: Visit their website to learn more and grab your welcome soundtrack now at squirrel trench.com or click the link in our show notes.
• 56:42
  SPEAKER_02: Set the stage for your most amazing show yet with the welcome soundtrack from Squirrel Trench Audio.
• 56:54
  SPEAKER_03: I feel like this is such a tough one because I've heard of this as well.
• 56:58
  SPEAKER_03: And it actually did really shock me from the particular studio that I heard it about because they're so close to New York City.
• 57:04
  SPEAKER_03: And like we're all we're all very local here.
• 57:06
  SPEAKER_03: So like we have this opportunity, all these kids around the tri-state area have this unique opportunity to come and take class from you know, amazing people in the city, even if it's just a master class or a weekend class.
• 57:17
  SPEAKER_03: And the studio was saying you can't do that.
• 57:20
  SPEAKER_03: And I just, why would you not want your kid to have additional training?
• 57:24
  SPEAKER_03: It kind of blew my mind.
• 57:25
  SPEAKER_03: And people people still do it and they try to be kind of secretive about it and they don't post about it and they don't tell their friends and they still go to take the class.
• 57:31
  SPEAKER_03: But it feels like that's just so that's such a scarcity mindset of like, I can't afford to lose you as a as a client if you happen to go somewhere else.
• 57:40
  SPEAKER_03: And I feel like some people go somewhere else just because either you don't offer something that they need, but they love you and they want to stay for the majority of what you give them, but then they want to go take flamenco.
• 57:50
  SPEAKER_03: They want to go take ballroom, they want to go take whatever, you know?
• 57:53
  SPEAKER_02: Well, I think that in this scenario, I think it depends on a lot of factors, like in that example that you just said, Leslie, and having access to New York City, I think that that would be, I mean, obviously it sounds like it still wasn't, but I think in some of that, uh some of those scenarios for studios that have access to a major city and open open style training, uh, or whoever comes through the city, that to me, like if they go take a c class at Broadway Dance Center regularly or steps on Broadway, that is not a typically a direct competitor to the studio that they're training at on the regular.
• 58:26
  SPEAKER_02: And I think that's when it comes into sticky territory when studios have these types of rules because they don't want you to go to a direct competitor of theirs down the street and take advantage of extra classes.
• 58:39
  SPEAKER_02: And I think it depends again, depends on are you regularly taking like class within the season with this competitor studio, or are you loyal and dedicated to this studio and you signed a contract here, but the studio down the street is hosting a masterclass that your studio doesn't have access to.
• 58:54
  SPEAKER_02: So should they be allowed to go take that masterclass as long as we still know that you are in a commitment with my studio and that you need to finish out the obligations here and that you're not gonna jump ship and move over to that studio, because that's that has happened to so many studios that people are scared.
• 59:09
  SPEAKER_02: And that's why those rules exist because people do jump ship mid season.
• 59:13
  SPEAKER_02: And I think this goes hand in hand with what we were just talking about, soliciting, right?
• 59:17
  SPEAKER_02: So, like at the same time, like if there is a studio that is hosting a really exciting weekend intensive and your dancer who trains somewhere else wants to take that those classes.
• 59:27
  SPEAKER_02: They want to train, they want to get that experience, they want to connect and network with these teachers.
• 59:32
  SPEAKER_02: Should it be allowed for them to go?
• 59:33
  SPEAKER_02: I think yes.
• 59:35
  SPEAKER_02: Should that studio that is their home studio trust that the other studio isn't going to solicit?
• 59:40
  SPEAKER_02: We hope so.
• 59:41
  SPEAKER_02: We would like to, but what if that studio has a bad reputation of soliciting?
• 59:46
  SPEAKER_02: The parent doesn't know that.
• 59:47
  SPEAKER_02: So then the kids missing this opportunity primarily because the studio owner knows that they're gonna their goal with this intensive is to solicit dancers.
• 59:56
  SPEAKER_02: It's not about the education, maybe it is, but that's unfortunately the toxicity around a lot of studio cultures is well, I'm just gonna create this event so I can get a bunch of the s the dancers around the studio so then I can poach them and then I can solicit them to come to my studio next year, even if they can't come right now.
• 1:00:14
  SPEAKER_02: I'm gonna do exactly what the t the clip said not to do before and contact them individually and say how great and get them into the studio space so they see how grand their space is and see how cool.
• 1:00:26
  SPEAKER_02: Oh, they have video footage, they have lights.
• 1:00:28
  SPEAKER_02: You know what I mean?
• 1:00:29
  SPEAKER_02: Like there isn't sometimes intention behind why they're running these classes versus it being truly for the education.
• 1:00:37
  SPEAKER_02: And I think that the parents might not see it like that.
• 1:00:39
  SPEAKER_02: And I do think that there maybe should be some type of pre-approval to let allow dancers to go to some of these opportunities if it's a direct competitor.
• 1:00:48
  SPEAKER_02: If it's not a direct competitor and if it's out of state, like a studio that you would never go to miles away, or an open class studio in a city, then I think that's fair game, absolutely.
• 1:00:58
  SPEAKER_02: But then it's about prior commitments to your contract with your current studio as well.
• 1:01:02
  SPEAKER_03: I'm curious to hear from you, Joey, because you I'm wondering, do you deal with this?
• 1:01:06
  SPEAKER_04: I am of multiple minds here, and all of them conflict with one another up against my own self.
• 1:01:15
  SPEAKER_04: You know, what very ear much earlier in my dance education career, I sort of felt like I had to be an all-around everything, anything you need in your dance training, you can get from me, Mr.
• 1:01:27
  SPEAKER_04: Joey.
• 1:01:28
  SPEAKER_04: And it felt like if there was one thing or something I couldn't provide, I was a failure as a teacher, that I was falling short, that and it was very me-centric.
• 1:01:37
  SPEAKER_04: It was very self-reflective that had absolutely nothing to do with a kid wanting to either be better or find better opportunities or do more.
• 1:01:44
  SPEAKER_04: And so any reflex that I used to have about a student finding education or training in a supplementary capacity elsewhere used to make definitely make me feel a certain type of way.
• 1:01:57
  SPEAKER_04: Crossing into the business ownership side of it, I again am of two minds where because so I mentioned the cheer facility that we share space with, there's a lot of kids that do cheer, that do a tumbling there, that whatever they're there and they have a half hour gap, and we happen to have a leaps in returns class that they were like, Oh, I'll just go take that because it's literally we share a lobby.
• 1:02:17
  SPEAKER_04: So it's like you go in one door, you're in the dance studios, you go in another door, you're in the cheer gym.
• 1:02:23
  SPEAKER_04: And there was a situation with I think one family who they were on their very small kid, but they were on the competition team at another studio in the area, and she did cheer.
• 1:02:31
  SPEAKER_04: And the studio found out that she was taking a dance class with us, just in like a my sister's in cheer, and I'm sitting in the lobby with my mom anyway.
• 1:02:38
  SPEAKER_04: I might as well go into the dance studio that's there and take an extra dance class or something.
• 1:02:42
  SPEAKER_04: Um, and the studio wasn't having it.
• 1:02:45
  SPEAKER_02: Fair, I guess.
• 1:02:47
  SPEAKER_04: Well, is it is it I don't know, like I don't know.
• 1:02:50
  SPEAKER_04: Like I wasn't in my personally, I was not trying to solicit this kid to come compete for my mini team.
• 1:02:55
  SPEAKER_04: She was taking the leaps and turns class or whatever that was there, and that was great.
• 1:02:59
  SPEAKER_04: Like, thanks for coming.
• 1:03:00
  SPEAKER_04: We appreciate your tuition because we are a business and we're trying to keep things moving and flowing.
• 1:03:04
  SPEAKER_04: However, the other side of my brain that has now shifted into being a little bit more secure and knowing what I offer as a choreographer and a teacher and seeing what it is they're going about getting.
• 1:03:16
  SPEAKER_04: When I've had, I have one student who is going to a D1A college dance team next year after she graduates from us this year.
• 1:03:24
  SPEAKER_04: I have been a huge part in her dance education.
• 1:03:27
  SPEAKER_04: One thing that I know for a fact I cannot offer as a teacher, A, I'm not qualified, and B, I don't have the facility for it, is she goes to this other organization in Long Island.
• 1:03:35
  SPEAKER_04: It's literally, I call it like a personal trainer for dancers.
• 1:03:37
  SPEAKER_04: When she posts videos of her getting this training, she's on weight benches and has kettlebells and yoga blocks and this, that, and the other thing.
• 1:03:44
  SPEAKER_04: And it's like, no one's teaching her choreography at this thing.
• 1:03:47
  SPEAKER_04: She's literally going and physically training in a way that's geared towards dancers that I literally can't offer, that I don't have the facility for, that I don't have the supplies for, that I don't have that and it has only made her a better dancer for me in my facility and in for my team.
• 1:04:00
  SPEAKER_04: And she's going to a D1A team, yes, because of the dance education and the guidance I gave her and the choreographer and the way I taught her how to move and all of this.
• 1:04:08
  SPEAKER_04: Right.
• 1:04:08
  SPEAKER_04: But this other thing helped her level up even more and helped her get to that next level.
• 1:04:12
  SPEAKER_04: And so I think it's kind of sometimes looking at how is this in what way?
• 1:04:16
  SPEAKER_04: Like I think I would feel a certain type of way.
• 1:04:19
  SPEAKER_04: And I'm just being honest, maybe I don't know if it's in if it would be billed as toxic, but I think I would feel a certain type of way if kids who are on my competition team were going to one of my competitors for regular classes or a regular whatever.
• 1:04:32
  SPEAKER_03: Um, and I think too, I think it's this is always case by case.
• 1:04:36
  SPEAKER_03: And I think there's not never going to be a blanket statement that's gonna work for everybody.
• 1:04:39
  SPEAKER_03: But like for me and where I grew up, we did not take more than one or may I don't even think we took two ballet classes a week.
• 1:04:47
  SPEAKER_03: I took one ballet class a week.
• 1:04:48
  SPEAKER_03: Yes.
• 1:04:49
  SPEAKER_03: And my studio did not offer anything else for me to progress.
• 1:04:52
  SPEAKER_03: And I was the one who needed to go and take another ballet class at a neighboring competitor studio because they had another class.
• 1:04:59
  SPEAKER_03: I wasn't missing a class of my own schedule.
• 1:05:02
  SPEAKER_03: I was I was utilizing the time that I had available that if there was a ballet class at the dancer studio, I would have been there, but there wasn't.
• 1:05:08
  SPEAKER_03: So I had to go next door to take it over there.
• 1:05:11
  SPEAKER_03: And I don't nobody was felt any type of way about that because they knew I wasn't, you know, skipping out on my current class.
• 1:05:18
  SPEAKER_03: I was just supplementing elsewhere.
• 1:05:20
  SPEAKER_03: And so this is a good thing.
• 1:05:21
  SPEAKER_04: It's a really great point with ballet because ballet, as especially for competitive dance studios in Long Island, every studio owner that I'm friends with, every all of us are hard pressed to get our kids to show up to ballet class, like hungry to do better in ballet and sit in those kinds of like it is just it isn't across the board.
• 1:05:40
  SPEAKER_04: Every studio is always looking for a new ballet teacher because their last one quit because they had it with their kids like not being well behaved or working hard enough.
• 1:05:46
  SPEAKER_04: Like it's what it is.
• 1:05:47
  SPEAKER_04: So I actually have one or two kids that are going to um On Long Island.
• 1:05:51
  SPEAKER_04: There's a few like strictly ballet schools that are like lit, like they do Nutcrackers and they do Swamp Lake and like they're just ballet schools and they supplement.
• 1:06:00
  SPEAKER_04: I they do extra ballet and they do whatever because they do want to do better competition.
• 1:06:04
  SPEAKER_04: Like, is that ballet school going to come anywhere close to the jazz lyrical contemporary or tap choreography I, Mr.
• 1:06:09
  SPEAKER_04: Joey, can offer them?
• 1:06:11
  SPEAKER_04: Not a chance.
• 1:06:12
  SPEAKER_04: But you know, if I I acknowledge the importance of what ballet is in this particular case, or for my students that's going to college next year, that kind of strengthening and all that other stuff, how much it can benefit the power and the control and the grounding that you could have as a dancer.
• 1:06:28
  SPEAKER_04: And it is not something I can't force your other, like you want to come to ballet class and take it seriously, but your friends over here are giggling, so you can't get the most out of your ballet class.
• 1:06:35
  SPEAKER_04: So you're gonna go to another place.
• 1:06:37
  SPEAKER_04: And it is not again, like you said, Leslie, like she's not missing anything that I have on my roster for her.
• 1:06:42
  SPEAKER_04: She's still taking it, she's still committed committed to my team, whatever.
• 1:06:46
  SPEAKER_04: She's getting something that if I'm being self-aware enough that there is a finite amount of time, space, and and resources.
• 1:06:52
  SPEAKER_03: Yep.
• 1:06:53
  SPEAKER_04: I can't offer you a class of a two-hour ballet class because it just doesn't fit in my schedule.
• 1:06:58
  SPEAKER_04: And you want a two-hour ballet class so you can get the most out of a ballet class.
• 1:07:01
  SPEAKER_04: I encourage you to get more out of it because it really is at the end of the day, only going to enrich you as a dancer and at competition.
• 1:07:07
  SPEAKER_04: And you're going to become a stronger player on my team and you're going to continue to hit this upward trajectory.
• 1:07:13
  SPEAKER_04: So additional training, go to a BDC class, go to a go to a master class, even if you want to go to another studio because I'm not so insecure to think like, oh, you're mad because you followed this person who's whatever on this college dance team who happens to be teaching a class at this other studio, and you want to get FaceTime with that teacher and you want to see what that person offers doesn't mean you're going to switch to that studio like it's all good.
• 1:07:34
  SPEAKER_04: It's like you said though, Leslie, like it's on a by-case.
• 1:07:37
  SPEAKER_04: Like, I think I would feel a certain type of way about certain kinds of ways of doing it or worrying that certain other studios were going to solicit.
• 1:07:43
  unknown: Yeah.
• 1:07:44
  SPEAKER_03: I think too, it's like if if I'm if I'm a parent of a student who's the kid's like, oh, well, I would rather go to studio A over here for their lyrical class.
• 1:07:52
  SPEAKER_03: I still want to take jazz over here with Mr.
• 1:07:54
  SPEAKER_03: Joey, but I want to take lyrical at this other studio, missing Mr.
• 1:07:57
  SPEAKER_03: Joey's lyrical class.
• 1:07:58
  SPEAKER_03: That's a no.
• 1:07:59
  SPEAKER_10: Yeah.
• 1:07:59
  SPEAKER_10: Right.
• 1:07:59
  SPEAKER_03: Like if you've made the commitment, you you live here for the majority of the things.
• 1:08:03
  SPEAKER_03: But if there's something I can't offer you, or if there's something that I know you particularly, like you said, dance team girl, wants to go do, that okay, like, of course, you know, we can talk.
• 1:08:12
  SPEAKER_03: I think that's the sort of consideration behind this that like it feels toxic if there's a blanket no for everyone in every scenario.
• 1:08:22
  SPEAKER_03: You can't even talk to me about this.
• 1:08:23
  SPEAKER_03: We can't even have a conversation about me training elsewhere for this one thing, this one day.
• 1:08:28
  SPEAKER_03: Like, that feels a little too staunch.
• 1:08:30
  SPEAKER_03: And that's where that studio that I was mentioning earlier, that's where if it's like, mmm, mmm, that feels like that.
• 1:08:35
  SPEAKER_02: Well then it becomes a controlling aspect of controlling and that is very controlling.
• 1:08:39
  SPEAKER_02: And that is toxic.
• 1:08:40
  SPEAKER_02: I do think that the dancers should be open to outside opportunities that aren't just structured around what the studio picks.
• 1:08:48
  SPEAKER_02: There's so many opportunities now for dancers, and everybody uh left, right, center is having an intensive, a masterclass of this, uh that, uh whoever.
• 1:08:57
  SPEAKER_11: Everybody's trying to compete.
• 1:08:58
  SPEAKER_02: Yeah, and exactly.
• 1:08:59
  SPEAKER_02: But I do think it is important.
• 1:09:01
  SPEAKER_02: Maybe instead of saying you can't do anything, maybe it is a you must ask us for consent and approval prior to signing up for that.
• 1:09:09
  SPEAKER_02: Because, like mentioned in one of the clips, there are some opportunities out there that are parents know nothing about.
• 1:09:15
  SPEAKER_02: They just see glitz and glam and flash and whatever, and they don't really know that this is not a legitimate ed educator.
• 1:09:22
  SPEAKER_02: This is not a legitimate studio that is hosting this masterclass.
• 1:09:25
  SPEAKER_02: Like those insider tips that dance teachers know, maybe they need to have that approval before they go and waste potentially waste their money on an opportunity that they thought was going to be grand and amazing, but really was not the best fit for their dancer to but it's also there's nuance here because, you know, like you said, like not everything is the same every single time.
• 1:09:46
  SPEAKER_04: Leslie brings that up.
• 1:09:47
  SPEAKER_04: Like when these are really great parallels for just interpersonal relationships in general.
• 1:09:53
  SPEAKER_04: Courtney, if you and I really enjoy going to see romance movies together, but you hate Star Wars movies, and Leslie's like, oh, I like Star Wars movies, and I go to a movie with Leslie, but you're like, How could you go to a movie without me?
• 1:10:06
  SPEAKER_04: But I'm like, you don't want, you're not offering me the Star Wars movie, and I really want to go see this Star Wars movie.
• 1:10:11
  SPEAKER_04: It's right.
• 1:10:12
  SPEAKER_04: There's synonyms for and parallels for just how people should relate to each other in general.
• 1:10:16
  SPEAKER_02: Sure.
• 1:10:17
  SPEAKER_02: Absolutely.
• 1:10:18
  SPEAKER_02: Yeah, it's a big one.
• 1:10:19
  SPEAKER_02: It's an it's a tough conversation for a lot of studios.
• 1:10:22
  SPEAKER_02: And I think that at the end of the day, most that have these rules have been burned or don't trust the locals around them, or the they don't some some of them might be insecure about what they're even providing, um, to a sense that they're afraid that they're not providing a top quality enough, but the studio down the street is.
• 1:10:41
  SPEAKER_02: So they have to create uh controlling aspects to keep their customers there.
• 1:10:47
  SPEAKER_04: Well, even going back to what we were talking about with knowing when to apologize, like okay, I need to know when I have to up my game.
• 1:10:55
  SPEAKER_04: When am when do I have to look inward and try to offer a little bit more for my students?
• 1:10:59
  SPEAKER_04: When do I have to look inward and say, you know what?
• 1:11:01
  SPEAKER_04: I as a teacher, Mr.
• 1:11:02
  SPEAKER_04: Joey, they've had me.
• 1:11:04
  SPEAKER_04: They've had me all year from September through May.
• 1:11:06
  SPEAKER_04: Maybe for my June intensive that's three weeks long, I get guest teachers in here and offer something a little bit different to keep it fresh for them, to keep it whatever.
• 1:11:13
  SPEAKER_04: I can't just bury my head in the sand and say, no, no, no, this is supposed to be my show, my thing, my education.
• 1:11:20
  SPEAKER_04: When, as a now a business owner, especially, is it my turn to look inward and say, when it's time to apologize, like we were talking about before?
• 1:11:27
  SPEAKER_04: Or when is it my time to look at say, oh, I think I have to up my game?
• 1:11:32
  SPEAKER_04: How do I maybe I can get this trainer in here and start doing privates out of my studio?
• 1:11:36
  SPEAKER_04: Maybe I can find a way to move with the current rather than resist it and say, no, this is my boat, try to sail with it, try to move forward.
• 1:11:47
  SPEAKER_02: Okay, so we are going to jump ahead to another really important topic um before Leslie has to depart from this episode because there's still so much more to continue to enjoy, and there will be a part two on platinum premium.
• 1:12:01
  SPEAKER_02: But we wanted to make sure that Leslie was a part of this discussion, which is all about inappropriateness at studios when it comes to training styles, outfit choices, song choices, it's a heavy topic, teacher choices.
• 1:12:15
  SPEAKER_02: There's a lot to cover here, and let's see how far we can get before Leslie has the jet on this episode topic.
• 1:12:23
  SPEAKER_02: But it's a long episode, y'all, because there's a lot of things that we are discussing.
• 1:12:27
  SPEAKER_02: And right now, let's hear from our anonymous clips.
• 1:12:32
  SPEAKER_06: A competition red flag is having anybody under the age of ten learning fuetes coming into class with basically a bikini on, and that goes with any age, and getting down to anything that has vulgar language or sexual connotations.
• 1:12:54
  SPEAKER_06: Studio owners that continuously bring back a pedophile to teach their students even after finding out that they have been accused of said SA.
• 1:13:06
  SPEAKER_03: And this is the issue though with the bringing in inappropriate uh faculty, teachers, guests, etc.
• 1:13:13
  SPEAKER_03: You don't know you, meaning the outside public dance parents.
• 1:13:18
  SPEAKER_03: You don't know unless you know.
• 1:13:21
  SPEAKER_03: So I I mean, I'm assuming everybody comes into a dance studio assuming that the people teaching your kids are, you know, background-checked people who are appropriate to be dealing with children.
• 1:13:32
  SPEAKER_03: You just kind of, I assume you automatically assume that.
• 1:13:34
  SPEAKER_03: That's what I hope you can assume.
• 1:13:36
  SPEAKER_03: But you, you know, you wouldn't necessarily know that somebody was accused of something unless you knew.
• 1:13:42
  SPEAKER_03: So that's really that's an unfortunate thing to have to realize, I think once you're in a s in a studio situation, and then that is gonna come back on the studio owner of like, well, why did you do this?
• 1:13:51
  SPEAKER_03: How how could you do this?
• 1:13:52
  SPEAKER_03: If did you know this?
• 1:13:54
  SPEAKER_03: And then that's where it becomes toxic.
• 1:13:55
  SPEAKER_03: But I don't know that that's something you necessarily know until you know, you know?
• 1:14:00
  SPEAKER_02: And I think that's the whole reason why it's a red flag because this like you said, the studio knows.
• 1:14:07
  SPEAKER_02: Right.
• 1:14:08
  SPEAKER_02: So now they're putting these children in a position where and I think there's the difference between someone who I mean, it's sad to say it, but like we've heard a lot of scenarios where we you're hired and you had a perfect clean record, you know, walking into the studio, and then unfortunately, some things have happened at the studio.
• 1:14:30
  SPEAKER_02: Right.
• 1:14:30
  SPEAKER_02: Right?
• 1:14:31
  SPEAKER_02: That like you didn't even know as the studio were happening.
• 1:14:33
  SPEAKER_02: I mean, that's like absolutely awful, worst case scenario.
• 1:14:36
  SPEAKER_02: We do not want that to happen.
• 1:14:37
  SPEAKER_02: But then those people get fired and move to the next studio because they no one knows and it's just and it stays hush.
• 1:14:45
  SPEAKER_02: And that that ke and it keeps happening until it hits the fan and it is out into the general dance public.
• 1:14:52
  SPEAKER_02: But typically that's often in the just the dance public.
• 1:14:55
  SPEAKER_02: And like you said, parents don't know.
• 1:14:57
  SPEAKER_02: But that's when a studio becomes toxic, is when a studio is continuing to employ someone who has this history, who who even if they weren't held you know, went to jail or whatever it is, even if there's rumbles of it, which I don't I feel like that that's enough for us to need to protect the children.
• 1:15:16
  SPEAKER_02: Why would you put your your dancers in that situation again, even if the dan if this person's better and blah, blah, blah, whatever excuse there is, it's there's no to me, there's no excuse to put kids in danger.
• 1:15:29
  SPEAKER_02: And I don't care if it means that you're gonna win first place because their choreography is brilliant.
• 1:15:33
  SPEAKER_02: It there's so many other great choreographers out there in this dance world that you could be hiring.
• 1:15:37
  SPEAKER_02: So to to me, it does fall back onto the studio that employed them and chose to employ them.
• 1:15:43
  SPEAKER_02: Again, knowing this information, and I don't think that there's and there's certain teachers out there who are still employed that studios are continuing to disregard and continuing to hire and employ them.
• 1:15:53
  SPEAKER_02: And I think that says a lot about those types of studios.
• 1:15:56
  SPEAKER_02: And oftentimes those studios are not are afraid to advertise openly that they are hiring these people.
• 1:16:02
  SPEAKER_02: And I think that's another red flag to be on the lookout for is is this is this person still getting the same amount of publicity on under the studio's umbrella that other master teachers might be getting if they're bringing them in for guest stuff, right?
• 1:16:16
  SPEAKER_02: Are they advertising them as actively or are they not for a reason?
• 1:16:19
  SPEAKER_02: And what's the reason?
• 1:16:20
  SPEAKER_04: These kids are in our care.
• 1:16:22
  SPEAKER_04: These kids are in our protection when they're in our classrooms, when they're in our buildings.
• 1:16:26
  SPEAKER_04: These kids are they are kids, they are children.
• 1:16:29
  SPEAKER_04: And especially in instances where there is public allegations, like I'm sure all three of us can list the stories that we've heard about X, Y, and Z choreographers, teachers, whatever.
• 1:16:39
  SPEAKER_04: Nothing is worth putting the kids at risk or putting them in your business in a situation to be looked at that way.
• 1:16:46
  SPEAKER_04: I come at this as a male dance teacher as well and realize that there is just certain things that I cannot, should not, and will not do as a male dance teacher, studio owner.
• 1:16:59
  SPEAKER_04: For example, I teach one ballet class during the week that is uh kids second through fourth grade, I think.
• 1:17:06
  SPEAKER_04: That door is open, the blinds are open.
• 1:17:09
  SPEAKER_04: I have an assistant in the room whenever my assistant can make it.
• 1:17:12
  SPEAKER_04: Parents can watch whenever they want.
• 1:17:14
  SPEAKER_04: When I need to fix a position or something like that, I literally always go on just using two fingers and I like like I'm using chopsticks to maneuver a foot or maneuver a waist.
• 1:17:25
  SPEAKER_04: Or I'm like, make sure your chin is looking.
• 1:17:27
  SPEAKER_04: I don't take, I don't ever take a kid by the head or point the nothing.
• 1:17:30
  SPEAKER_04: No, there is never to get it ever twisted all.
• 1:17:33
  SPEAKER_04: When we have costume fitting season, my secretary, my partner, my co-teacher, some other adult is in the room with me.
• 1:17:39
  SPEAKER_04: If something needs to be picked at, adjusted, whatever the case it is.
• 1:17:42
  SPEAKER_04: If it looks like a costume's writing up, I'm like, can you check her rear end for me, or can you pull on her strap for me, or can you tell her to turn around or whatever the case is?
• 1:17:50
  SPEAKER_04: Every so I am so protective of myself and making sure nothing can ever get anywhere remotely close to twisted.
• 1:17:57
  SPEAKER_04: The people that I have in the doors at my studio, these kids are in our protection.
• 1:18:02
  SPEAKER_04: These kids are in our care.
• 1:18:04
  SPEAKER_04: And if the parents are paying you, they're trusting you with the people that you're bringing into your space as well.
• 1:18:09
  SPEAKER_12: Yes.
• 1:18:10
  SPEAKER_04: To go down the rabbit hole of, you know, appropriateness and costumes and music or whatever.
• 1:18:15
  SPEAKER_04: Yeah.
• 1:18:16
  SPEAKER_04: I won't put if there is an instance where I put anyone under the age of 10 in a two-piece costume, that thing has sleeves and a skirt down to the knees.
• 1:18:27
  SPEAKER_04: You know what I'm saying?
• 1:18:28
  SPEAKER_04: Where it might show a little bit of the belly or something like that.
• 1:18:30
  SPEAKER_04: If, you know, I I constantly in my personal studio, again, this is I understand this is a separate hot button issue with whatever tights versus no tights.
• 1:18:41
  SPEAKER_04: But there are so many times where my parents come to me at competition and they say, like, even if we came in second, third, fourth and didn't win, they're like, thank you for not having our girls do burlesque on stage.
• 1:18:53
  SPEAKER_04: Thank you for thank you for letting our children dance like children.
• 1:18:57
  SPEAKER_04: Thank you for the subject matter you gave them for production being magical, mystical, and fun and not a reenactment of Moulin Rouge.
• 1:19:07
  SPEAKER_04: You know, and I take the I take that compliment very much to heart when parents say that to me because it means that my, again, especially as a male dance teacher, who am I really to tell you that you need to gyrate like this, that you need to wear this, that you need to whatever.
• 1:19:20
  SPEAKER_04: Like my taste, style, and creativity are not limited to a sexualizing youth.
• 1:19:27
  SPEAKER_04: And if there is a certain song that might have a whatever, Justin Timber, like I'm bringing sexy back, whatever, uh, you know, those girls are in long sleeves and a leotard, and the dance is not suggestive to go with it, and they are in 16 and up or something like that.
• 1:19:40
  SPEAKER_04: You know what I mean?
• 1:19:40
  SPEAKER_04: There's like a there's a way that you tell the line of taste and giving the kids something that they're gonna enjoy and like, not over because we've always said like age appropriateness goes in the opposite direction.
• 1:19:51
  SPEAKER_04: You shouldn't have a graduating senior dressed as Ursula the Sea Witch for in a party city costume or formerly party city because party city's gone.
• 1:19:57
  SPEAKER_04: Oh, you know, but you know, not the this you're absolutely right.
• 1:20:04
  SPEAKER_04: It and it's it's a it's a very fine line.
• 1:20:07
  SPEAKER_04: It's a very, you know, I would be interested to hear what you guys think sometimes because I do go both ways and sort of thinking girls deserve to not be reduced to how much skin can they show.
• 1:20:18
  SPEAKER_04: But at the same time, if you're in a bra top and shorts, you deserve not to be victimized for that.
• 1:20:22
  SPEAKER_04: Also, like you deserve to be in comfortable clothing and attire for class and realize that just because you're in a sports bra and shorts, it doesn't mean that you're you should be sexualized like that either.
• 1:20:33
  SPEAKER_04: Like you should be able to be comfortable in your skin and train in whatever attire you feel comfortable in without it being sexualized in general.
• 1:20:40
  SPEAKER_04: Why does that mean that it's a a bad thing?
• 1:20:42
  SPEAKER_04: So I think it kind of again nuanced and the spirit in which things are delivered.
• 1:20:47
  SPEAKER_04: But the thing that it really comes down to is these kids are on our care and we have to care for them.
• 1:20:51
  SPEAKER_04: If there's an allegation, if there's a thing, it's your job to re it's your job as a studio to research the people that you have coming in and out.
• 1:20:57
  SPEAKER_04: I don't care how much is that double platinum Grand Duchess, blue diamond, whatever you want to call it, platinum pro, how much is that really worth at the end of the day if these kids are going to move on from where you are and have possibly had a traumatic experience that was very, very avoidable.
• 1:21:12
  SPEAKER_03: Very avoidable.
• 1:21:13
  SPEAKER_03: Well, and I think that, like I said, you know, for the parents who, you know, may not know any of these choreographers that have been hot button, you know, people that we've heard of over the years being accused of things.
• 1:21:24
  SPEAKER_03: And, you know, if they don't know that, they don't know that.
• 1:21:26
  SPEAKER_03: So that's not their fault.
• 1:21:27
  SPEAKER_03: However, in order to trust the studio owner, like I would be, if I was a parent, I would be asking the question before I come to the studio.
• 1:21:34
  SPEAKER_03: Hey, do you guys do background checks on your faculty?
• 1:21:37
  SPEAKER_03: That's a very reasonable question to ask.
• 1:21:39
  SPEAKER_03: And I assume people ask it.
• 1:21:40
  SPEAKER_03: I don't know if everyone does, but like, you know, and and you could probably ask for that.
• 1:21:44
  SPEAKER_03: That, you know, if people are asking enough, it's gonna become the norm, you know, for people that work with children.
• 1:21:49
  SPEAKER_03: And I know that, like, at least in school systems, that is a thing you have to do before you can work with a child.
• 1:21:54
  SPEAKER_03: Some states, I assume you have to do that before you work with a child.
• 1:21:57
  SPEAKER_03: So that's a question to ask if you, you know, are are looking at a studio to take your children to.
• 1:22:03
  SPEAKER_03: And if you don't get the answer you want, then maybe you're gonna go to another studio.
• 1:22:07
  SPEAKER_02: And as the teacher, I have maybe 10% of my entire career ever been told that I need to take a background trek before I work anywhere.
• 1:22:15
  SPEAKER_02: So that's another issue in general in our entire industry, especially as an independent contractor.
• 1:22:21
  SPEAKER_02: Why aren't more people asking me?
• 1:22:22
  SPEAKER_02: Are you just trusting that I am who I am and that I'm telling giving you facts?
• 1:22:26
  SPEAKER_02: I could be lying up and down with my resume and my bio and my experience.
• 1:22:30
  SPEAKER_02: You know nothing about me.
• 1:22:32
  SPEAKER_02: You don't know if I have a track record or history.
• 1:22:34
  SPEAKER_02: So I think that background track should become more of the norm and that doesn't stop some of the predators that do exist in our industry because they might not have ever been accused and what you know, whatever the case may be.
• 1:22:46
  SPEAKER_02: Convicted or anything.
• 1:22:47
  SPEAKER_02: Convicted, yes.
• 1:22:48
  SPEAKER_02: But I do think it's a step in the right direction, and I do agree that those questions should be asked more often from the customers.
• 1:22:55
  SPEAKER_03: I think the other thing that you mentioned that I think is something I wouldn't have even thought of, but I've I've noticed it on the professional side of things a little bit lately too, that I think is probably happening in the commercial stance studio industry as well.
• 1:23:08
  SPEAKER_03: Courtney, you mentioned are certain masterclasses or opportunities being advertised under the studio's name fully and transparently?
• 1:23:16
  SPEAKER_03: Or are is somebody getting a direct message and that's the only way you're hearing about this?
• 1:23:22
  SPEAKER_03: Or is that choreographer posting, hey, I'm teaching class, DM me for the location?
• 1:23:27
  SPEAKER_03: Why aren't you telling us the location?
• 1:23:29
  SPEAKER_03: Why is this a secret?
• 1:23:31
  SPEAKER_03: Because if it's a secret, then you have something to hide.
• 1:23:33
  SPEAKER_03: Are you trying to limit the amount of people that know you're teaching?
• 1:23:36
  SPEAKER_03: Are you trying to limit it to an audience?
• 1:23:38
  SPEAKER_03: It's a little, it's a little unnerving, you know.
• 1:23:41
  SPEAKER_03: So I would, I would also just, you know, take note of that if you're looking for other opportunities outside of your studio, like, okay, is it fully being advertised that everybody knows where it is, when it is, who it is, because then I'd I'd be more inclined to maybe trust it as opposed to like, hey, come to my masterclass DM.
• 1:23:59
  SPEAKER_03: Right.
• 1:23:59
  SPEAKER_03: Weird.
• 1:24:00
  SPEAKER_02: Yeah, a studio should be proud of who they're bringing in to their studio.
• 1:24:04
  SPEAKER_02: And I guess there might be a difference between whether you're allowing an outside company to rent your studio space and you're not affiliated, or if it is hosted under your studio where you contacted the person you are handling the transact the transactions and it is under your roof and company name, then those are two kind of different scenarios of what I've heard can happen in this dance world.
• 1:24:27
  SPEAKER_02: But I do think that those could be some red flags to be on the lookout for.
• 1:24:33
  SPEAKER_02: Thanks for tuning in to our latest episode all about red flags to look out for in dance studios.
• 1:24:39
  SPEAKER_02: This episode is a two-part series, which is continued on our Platinum Premium subscription.
• 1:24:45
  SPEAKER_02: So if you'd like to hear more on the topics including micromanaging, changing choreography, safety and training and spaces, students teaching class, and the treatment of dancers who leave a studio, then join us on our Platinum Premium subscription service now to hear the rest of this episode where Joey and I round out the chat.
• 1:25:04
  SPEAKER_02: And special shout out to IDA Judge and guest Joey for joining us on this episode and the pod.
• 1:25:10
  SPEAKER_02: Be sure to follow him on social media at Joey Orto.
• 1:25:15
  SPEAKER_03: Don't forget to follow Making the Impact on Apple Podcasts, Spotify, Amazon Podcasts, and pretty much everywhere you listen to podcasts.
• 1:25:22
  SPEAKER_03: And if you want more exclusive episodes, support our podcast by joining our Platinum Premium membership for only$5 a month.
• 1:25:28
  SPEAKER_03: Subscribers receive free Making the Impact stickers, shout-outs live on the air, ad-free listening, and exclusive access to our QA episodes for members only.
• 1:25:36
  SPEAKER_03: Join now at Impact Dance Adjudicators.com slash Platinum Premium or click the link in our show notes.
• 1:25:42
  SPEAKER_02: Check out IDA's Online Judges Critiques.
• 1:25:45
  SPEAKER_02: Our seasoned judges will provide you with the video critique of your routine, just like you'd receive at competition.
• 1:25:51
  SPEAKER_02: But with IDA's online judges critiques, we take it one step further with our post-critique additional feedback.
• 1:25:57
  SPEAKER_02: Your judge will go through your routine again, pausing the video to give you even more detailed and personalized feedback.
• 1:26:04
  SPEAKER_02: You can even request a judge that specializes in your style of dance.
• 1:26:08
  SPEAKER_02: This game-changing service has helped countless dancers prepare for the competitive stage and is available year round.
• 1:26:14
  SPEAKER_02: With critiques starting at only$35, what are you waiting for?
• 1:26:18
  SPEAKER_02: Click the link in our show notes or visit our website at Impact DanceEducators.com slash online critiques.
• 1:26:25
  SPEAKER_03: Season six of Making the Impact is nearly over, but we have a few more episodes coming your way, including the perfectionist mindset, music we don't want to hear next season, and a day in the life of a studio owner.
• 1:26:36
  SPEAKER_02: We'll see you next week for some more great episodes on making the impact.