Kalief Robinson on The Project: Honest Dance Competition Feedback, Family Energy, and Ambassadors Who Include Everyone

Kai “Kalief” Robinson describes The Project as a family-owned dance competition built around honest scoring, specific judge feedback, fair competition, and a home-like atmosphere for dancers and their families. He says he and his wife created it after moving to South Carolina and not being able to bring their dance studio with them, using their own experience as dancers and studio owners to build something more inclusive. At The Project, Kai wants dancers to feel known, challenged, and supported—not just handed a medal and sent home.

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a note from the interviewer, Prisha:

it was SO fun getting to pick kalief’s brain about all things running a competition circuit. i’m already doing enough, probably, but it’s definitely an avenue i’d love to explore someday. :)

it was so interesting hearing how intentional he is about picking judges, crafting the actual competition experience, and genuinely getting to know every studio owner he works with. that community connection is SO important, and i loved hearing how much thought he puts into it.

and honestly, if your studio can afford to add another competition, i’d definitely put The Project on your list.

TL;DR

•The Project is a family-owned dance competition created by Kai Robinson and his wife after they moved to South Carolina and could not bring their studio with them.

•Kai believes dance competitions should feel real: “Not everybody’s gonna get first place.” [02:29.2 - 02:31.4]

•Judges are selected through resumes, critique samples, interviews, and personality fit—not just credentials on paper.

•The event separates recreational and competitive experiences so dancers are challenged fairly.

•The Ambassador Program spotlights dancers while also helping other dancers feel included, comfortable, and excited to participate.

The Project Started From Family, Dance, and a Need for More Inclusivity

Kai Robinson—who later introduces himself as Kalief Robinson and says everybody calls him Kai—doesn’t talk about The Project like it’s just another dance competition. He talks about it like something he and his wife built from lived experience.

He explains that he and his wife met through dance, owned a dance studio together, and moved to South Carolina about five years earlier. When they couldn’t bring the studio with them, they opened The Project.

“We are a family-owned dance competition.”

That family piece matters because, to Kai, the competition was created in response to something he felt was missing. As competitive dancers and studio owners, he says they saw a lack of inclusivity for dancers. The Project was designed to help dancers come out of their shells, feel like they were entering a family atmosphere, and experience competition as more than “everybody’s just looking for a medal.”

Kai’s goal is direct: dancers need a safe space, and The Project was built to feel like home.

What Kai Thinks the Future of Dance Competitions Needs: Reality

When asked about the future of dance event experiences, Kai’s answer is not polished marketing language. It’s blunt, practical, and very much his point of view: dance competition should actually be competition.

He believes the competition world can become too focused on bringing in as many studios and students as possible because, at the end of the day, it is a business. But The Project is trying to hold onto the reality of competition.

“Not everybody’s gonna get first place.”

Kai says he is not there to give everyone a first-place trophy. In his view, dancers who work hard for it earn it, and that reflects real life.

“Those who work hard for it earn it, and that’s just the real life.”

That does not mean The Project is trying to tear dancers down. Kai frames it as honesty with support. If a dancer receives a silver instead of a gold, he wants judges and staff to explain why—with feedback about technique, stage presence, timing, feet, hands, fingers, and the details that help dancers actually grow.

His concern is that dancers may have received many first places elsewhere without being told what they needed to hear. The Project, he says, tries to avoid a “sunshine and rainbows” approach and instead give feedback that is useful.

The Home Atmosphere: Knowing Dancers, Parents, Grandmas, and Little Brothers

Kai’s version of “different” is not only about judging. It is also about how people are treated when they walk into the event.

He says The Project makes an effort to know dancers’ names—and not just dancers. They know moms, grandmas, and little brothers. They have conversations. They give high fives. They create encouraging moments.

That matters because Kai wants participants to feel like they are returning to a familiar place, not entering a cold competition room where nobody knows them.

He also says he and his wife are instructors at the intensive connected to the competition. That gives dancers familiar faces before they step onto the stage. His hope is that The Project can feel like home “for generations and generations to come.”

How The Project Handles Recreational and Competitive Dancers Fairly

Kai is clear that he wants The Project to feel like a true competition—but that does not mean throwing every dancer into the same environment without thought.

For recreational dancers, he wants the experience to be encouraging and appropriate. He does not want a child who just started dancing competing against someone who can hit a whole turn sequence. He also does not want a newer dancer to get on stage, see three aerials and a triple pirouette, and leave discouraged.

At the same time, he wants dancers who are seriously studying and working at their craft to compete against others doing the same. His reasoning comes back to the real world: if two dancers are auditioning for a spot in a music video, they both show up, and the competition is the competition.

Kai’s view is that competition should be fair—but not evasive. He does not want dancers “dodging” or “hiding.” If they are there for competition, he wants the structure to reflect that.

How The Project Chooses Judges: Resumes, Critiques, and Real Feedback

The Project’s judging process begins with resumes, but it does not stop there.

Kai says they thoroughly review judges’ resumes, then ask for a sample critique. That sample might be based on a routine of the judge’s choice or a routine from The Project. The point is to hear how the judge actually talks about dance.

He is not looking for someone who only says a routine was great. He wants to know if the judge can correct technical issues, timing, and other specific details.

“We don’t want anybody just to say, ‘That was a great routine.’ We actually want feedback.”

Kai also makes a distinction between controlling scores and understanding scores. He says THE PROJECT does not have a say in how judges score, but they want judges who can back up their scoring. If a dancer or parent says a routine was always “high platinum” somewhere else, Kai wants the judge’s critique to show what was seen: feet, timing, placement, hands, fingers, and more.

To him, a qualified judge sees beyond the overall routine and keys in on the details.

The Right Judge Has Skill, Energy, and Personality

After the resume and critique sample, The Project interviews potential judges to make sure their energy fits the event.

Kai says dancers go off energy, so he does not want judges who only sit with a pad and paper, look up, write notes, and offer little engagement. He wants judges with personality—people who can give kids the same energy those kids are bringing to the stage.

That connects directly to the wider The Project atmosphere. Judges are not treated as distant figures hidden behind a table. They are part of the environment dancers feel when they arrive.

Why Judges Also Teach Intensives at The Project

Kai says The Project has also used judges as intensive instructors. The reason is simple: if dancers learn from the judges before they perform, the judges become familiar faces instead of intimidating strangers.

Kai says this can reduce the tense feeling of competition. He does not want to call it fear or stage fright exactly, but he says the familiarity gives dancers more comfort so they can perform the way they know they can.

A Well-Versed Judging Panel Matters Across Styles

The interviewer raises a common concern: what happens when a judge does not understand the style being performed?

Kai says he understands that issue. His answer is to build a judging panel that complements itself.

For example, if one judge has a strict ballet background, another judge may have more experience with creativity or a fusion style. The ballet-focused judge may look closely at pointed feet, passé placement, and technique, while another judge may understand a dancer’s creative choices differently.

He brings up tap and hip hop as styles where specific experience matters. Not everybody can judge tap, he says, so he wants someone with tap experience. Hip hop can also be difficult because there are many varieties, and different people bring different technique and versions of the style. Kai wants judges who can stand on what they know best while contributing to a well-rounded panel.

Why Kai Loves the Ambassador Program

Kai lights up when talking about The Project’s Ambassador Program. He says it is something he wanted to do for the first couple of years and that they really got into it during the last two years and the current year mentioned in the transcript.

The program connects two of his passions: dance and photography. Kai says he is a photographer, and after owning a dance studio and doing photography, the Ambassador Program became a way to combine both.

More than anything, he says he loves giving the next generation opportunities. He also mentions sponsors from other dance conventions because he wants dancers to “go and do what they love.”

How THE PROJECT Selects Ambassadors

Ambassador selection is not based only on dance ability. Kai says The Project looks at how dancers are on social media: how they post, what they post, their follower count, and whether they can help share positive things about The Project.

If someone does not have much social media content, Kai says that may not work for the program because ambassadors need to share things.

But the selection is not a strict rubric. The Project has had recreational dancers, competitive dancers, and even a youngest ambassador who was three years old. Kai says she was passionate, loved what she did, and was adorable.

The program is about fit, personality, interaction, and whether the dancer can represent the environment The Project wants to create.

Ambassadors Are There to Include Other Dancers

One of the strongest parts of Kai’s Ambassador Program philosophy is that ambassadors should not just be spotlighted—they should help other dancers feel seen.

Kai says he notices the dancer in the back first because he used to be a back-row dancer. The transcript timestamp becomes malformed during this section, but the idea is clear: he wants ambassadors who can help dancers come out of their comfort shell and feel like they are part of the event.

That matters during master classes and intensives. If a dancer is uncomfortable with a style and sits down, Kai wants ambassadors who can encourage that dancer to participate.

The ambassador role is not just about being featured. It is about helping create the inclusive atmosphere The Project promises.

Ambassador Benefits: Photos, Headshots, Reels, Demos, and a Dance Music Video

Kai says ambassadors receive free photos and free headshots, which he connects to the professional world where those things matter. The Project also does a dance reel day and a dance demo to introduce dancers and give them something fun.

He says his wife and his wife’s little sister—who he describes as his content creator—help create Ambassador Day. For the year discussed, he says he thinks Ambassador Day is October third. They rent out a hotel space with a ballroom, learn choreography, shoot headshots and dance portraits, and film a dance music video to promote the next competition season.

The point is both practical and emotional: ambassadors get usable materials and a memorable experience.

Familiar Faces Change the Competition Vibe

Kai explains that ambassador content also helps future participants see familiar faces before they arrive. He gives the example of an ambassador named Brooklyn being featured for a South Carolina competition, so dancers can recognize her when they get there.

That recognition makes the event feel less intimidating. Instead of only arriving, competing, and going home, dancers see someone they already connected with through content.

“This is a whole different level and a whole different vibe that we go for.”

For Kai, that is the point. THE PROJECT is still a competition, but it is not meant to feel like a cold transaction.

Kai’s Final Invitation to Studio Owners and Dancers

He returns to the heart of The Project: experience, family, and personal connection. He says The Project gets to know studio owners, dancers, and parents on a personal level.

“At the end of the day, dance is dance, but family is family.”

That sentence captures the whole interview. Kai wants dancers to work hard, receive honest feedback, and compete fairly—but he also wants them to feel at home from beginning to end.

How Kai Says Studios Can Register

Kai says The Project is in South Carolina in March, Georgia in April, and North Carolina in May. He also says the goal is to eventually add on and go across the world, but that growth depends on support.

For registration, Kai says interested studios can visit www.theprojectde.com and register. He also mentions an early bird special with an extra percent off, but the exact percentage is unclear in the transcript.

Kai emphasizes affordability, saying The Project is not trying to be one of the most expensive competitions. His message to studios is simple: do not feel like you can only bring one or two solos.

“Bring the whole studio, you know?”

4. FAQs

What is The Project dance competition?

The Project is described by Kai Robinson as a family-owned dance competition. He says he and his wife created it after moving to South Carolina and being unable to bring their dance studio with them. The event is built around inclusivity, honest feedback, fair competition, and a family atmosphere.

Who is Kai Robinson?

Kai introduces himself as Kalief Robinson and says everybody calls him Kai. He is connected to The Project as part of the family-owned dance competition with his wife. He also says he is a photographer and previously owned a dance studio with his wife.

How does The Project choose judges?

Kai says The Project reviews judges’ resumes, asks for critique samples, and interviews judges to evaluate their feedback style, energy, and personality. The goal is to choose judges who can give detailed, useful critiques and fit the atmosphere of The Project.

Does The Project support recreational dancers?

Yes. Kai says recreational dancers are treated as recreational dancers, and he does not want newer dancers competing against dancers with much more advanced skills. He wants the competition experience to be fair and not discouraging.

What makes The Project’s judging different?

Kai says The Project wants judges who give real reasons behind scores. Instead of only saying “great job,” judges should be able to explain technique, timing, stage presence, foot placement, hand placement, and other details.

What is The Project Ambassador Program?

The Ambassador Program is a dancer opportunity connected to The Project. Kai says ambassadors may receive photos, headshots, reel opportunities, demo work, choreography, portraits, and participation in a dance music video. He also wants ambassadors to help other dancers feel included.

How does someone register for The Project?

Kai says interested studios can visit www.theprojectde.com and register. He also mentions an early bird special.

Sarah Keeler on the Real Work of Owning a Dance Studio: Teach Well, Know Your Numbers, and Stay Human

Owning a dance studio is not simply a way to teach more dance. Sarah Keeler’s experience suggests that successful ownership requires a distinctive reason to exist, a willingness to learn the business and administrative work, clear policies that still leave room for humanity, and a sustained commitment to excellent teaching. Her advice is to start small, build trust visibly in the community, know your numbers, pay yourself, and remember that students are people—not spreadsheet entries.

TL;DR

•Start with what already works, then make thoughtful changes instead of reinventing everything from scratch—or copying every old model exactly.

•Before opening a studio, test the work in a low-overhead setting and make sure you want the management, communication, and administrative responsibilities as much as the teaching.

•In a small or crowded market, offer something specific and genuinely different, then build trust through relationships and visible community presence.

•Enforce policies without becoming rigid. Dance is an educational art form built on human-to-human connection.

•Protect the quality of teaching, understand cash flow, and put yourself on payroll rather than treating your own labor as free.

Studio ownership is not a blank slate—or a museum piece

When Sarah Keeler talks about misconceptions around studio ownership, she sees two opposite mistakes. One is the belief that no one else has done things the right way, so the new owner should ignore every industry norm and build the entire model from scratch. The other is the belief that the studio must operate exactly as it has in every previous generation.

Keeler recognizes herself in the first mistake. Early on, she wanted to reject the established way of doing things. By years four or five, experience had changed her perspective. She began to see why studios charged for costumes, attached fees to certain services, and used processes such as auditions.

“There’s a reason that studios charged for costumes.”

Her lesson is not to follow tradition blindly. It is to understand why a practice exists before deciding whether to change it. Existing systems may contain hard-earned knowledge, even when they are imperfect.

The same balanced approach applies to the business itself. A studio owner is not only teaching dance. The job also includes finance, bookkeeping, marketing, custodial work, administration, and strategy. Keeler describes the dance portion as only a small fraction of the full ownership role.

That distinction matters for teachers considering the leap. If what someone truly wants is to focus on teaching dance, Keeler suggests teaching at existing studios first. That experience can help reveal whether the business, administrative, and strategic sides of studio ownership are genuinely motivating—or merely attached to the dream of teaching.

Test-drive the work before taking on a full studio

A dance teacher does not have to begin with a large facility, a full staff, and a major overhead commitment. Keeler recommends starting with something smaller, such as offering classes in a rented community-center space.

The point is not only to test demand. It is to test the owner’s relationship with the work. A small start lets a teacher find out whether they can manage their schedule, communicate with parents and clients, and handle the people-facing responsibilities required to support a brand and business.

“You don’t have to dive all in and get a 6,000 square foot studio and hire a bunch of staff right away.”

The wording of Keeler’s advice is practical: take it piece by piece. A low-overhead beginning creates room to learn before the costs and complexity become overwhelming.

That approach also creates a more honest answer to the question, “Do I want to own a studio?” Wanting to teach is not the same as wanting to manage a studio. The test is whether the person can tolerate—or even find satisfaction in—the scheduling, communication, administration, and relationship-building that make the teaching possible.

A crowded market needs a real reason to choose you

Keeler’s experience is rooted in rural markets, where a small town can still have several dance studios competing for a limited population. In the kind of market she describes, the studios may become nearly identical copies of one another.

Her advice is direct: a new studio needs to offer a service that is very different from its competitors, or deliver a service that is significantly better. The studio’s “why” cannot simply be “I want to teach dance,” because teaching can happen inside an existing business.

Instead, the reason to open should connect to a service and brand experience that the market does not already offer. That requires looking at what families can currently access, what they are missing, and what the new studio can deliver with enough specificity to matter.

The question is not whether the owner has a personal desire to teach. It is whether the studio has a meaningful reason to exist for the people it hopes to serve.

In a rural market, specificity and trust do the marketing

Keeler found a clear place in her market by focusing on classical ballet. There were no other local studios with that emphasis, so her school became the place families could go when they wanted more serious ballet or wanted ballet to be the central focus.

That kind of specificity makes word of mouth more useful because people have a simple way to describe the studio. They are not only recommending “a dance school.” They are telling someone where to go for a particular experience.

Keeler also emphasizes the visibility required to make that recommendation possible. Her studio operated in a former butcher shop, and even after a decade, people still walked in and asked whether the space had once been a butcher shop.

“I’ve been here 10 years. How did you not know I was here?”

Her point is not that the studio had necessarily marketed badly. In small towns, people can keep seeing a place as what it used to be. Change can happen slowly, and residents may continue to see what they are accustomed to seeing.

So the owner has to make the studio visible in person. Keeler mentions going to the farmers market, introducing herself, inviting people in, building relationships with fellow business owners, and participating in community events.

A flyer can announce that a studio exists. It cannot create the same level of trust as a relationship. In the rural and small-town markets Keeler describes, trust is an essential part of the decision to enroll.

The strongest personal brand is the experience people repeat

Keeler is candid that personal branding is not her specialty. She came of age with a different understanding of branding, one that emphasized separating a business brand from personal life.

Still, she has a clear view of what creates a reputation. Be genuine, kind, and caring toward existing customers. Live the values the studio claims to hold. Make students feel seen and appreciated, and make parents feel heard.

That does not mean allowing customers to disregard boundaries. Keeler specifically separates care from “rolling over and letting them walk all over you.” The goal is not unlimited accommodation. It is consistency between the studio’s stated values and the experience it delivers.

When that experience is strong, the reputation travels. Keeler recalls hearing people say, “Oh, you gotta go see Miss Sarah for ballet.” That kind of recommendation is personal, specific, and rooted in what families actually experienced.

“If you’re genuine, and you care, and you do your best, and you make an effort to make parents feel heard and make students feel appreciated, like that’s 90% of it.”

For a local studio, that may be more valuable than trying to manufacture a polished personal brand. The founder’s behavior becomes part of the brand because customers are not only buying a class. They are deciding whether they trust the person and the environment behind it.

A post-studio-owner career can begin with relationships

Keeler is now working in freelance consulting, teaching, writing, and Pilates teacher training after selling her second studio. She is careful not to present herself as an authority on building a consulting practice because she is new to that phase.

Her move into consulting happened organically. Friends of friends in other states were dealing with studio issues, and she began helping with policies and other problems. That experience showed her that she could continue using her studio-management knowledge after ownership.

For studio owners considering a similar transition, her advice is intentionally simple: make connections, introduce yourself to other owners, support people in their journeys, and be there when they need you.

The insight is consistent with her approach to rural marketing. Relationships are not an extra layer added after the real work. They are one of the ways the real work finds its next form.

Policies need boundaries, but boundaries should not erase humanity

Managing a studio means making decisions about rehearsals, makeups, schedules, costumes, families, and many other moving parts. Keeler’s central boundary is that an owner cannot please everybody.

“You can’t please everybody, but you do have to please someone.”

For her, that means accepting that the studio will not be right for every family. New owners can become so focused on avoiding conflict that they move rehearsals for every request, offer exceptions constantly, or fail to create and enforce policies at all.

But Keeler also identifies an opposite overcorrection. After allowing people to walk over them, an owner may suddenly assume the worst of every parent, become inflexible, and develop a reputation for being difficult to work with.

Her position is firm but not mechanical: stand up for yourself, create policies, and enforce them. At the same time, do not lose the human element.

“Don’t lose the human element of it.”

Dance is an art form and an educational service. Keeler sees a tension between the need to run a profitable business and the emotional, human-centered nature of arts education. A studio cannot be managed as if every interaction were a formula copied from a business coach.

The practical lesson is not to choose between boundaries and compassion. It is to use policies to create structure while continuing to respond to people as people.

A student performance is also a show for the audience

Keeler dislikes the word “recital,” partly because of her ballet background, and says she used terms such as “dance concert” or “student performance” at her studio. Whatever the label, she wants studio owners to think carefully about what they are producing.

The event is about the students, but it is also a show for an audience. That means it needs flow, a musical and artistic order that makes sense, and enough momentum to keep the audience engaged.

Keeler pushes back on long performances filled with speeches and mid-show slideshows. She acknowledges that a slideshow may sometimes be needed for costume changes, but her guiding principle is to avoid lulls and make the event feel well-produced.

“It can’t be four hours long with 10 speeches in the middle.”

Her final student performance reinforced the value of that approach. Families and extended family members told her they had attended many dance-studio shows and that hers were the best. Keeler attributes that response to quick transitions, thoughtful planning, and attention to the audience’s experience.

That attention has a business impact as well. Keeler describes the end-of-year performance as the studio’s best marketing tool and best advertisement. Families do not only remember what their dancers did on stage. They remember what it felt like to attend the event.

The first performance is learned by doing

Keeler’s own studio was small: about 30 dancers in a town of 3,000, where, as she puts it, there were literally more cows than people. Producing a coherent show with a small group still created complex logistical problems, especially when some dancers appeared in many of the dances.

Her first student performance came when she was 22 and about eight months pregnant with her son. She was terrified because she did not know how to put a show together.

The solution was not prior mastery. She used what she knew from years of dancing, tried it, and learned from each performance. Each year gave her more information and changed the decisions she made the next time.

“You just use the information you have from your years of dancing. You try it, you do it, and then you learn each time, each year.”

Her performance company’s annual “Nutcracker” created another major production challenge. Keeler calls managing it “its own whole other category of insanity.” Even so, the pattern remained the same: do the work, learn from it, and make the next version better.

Keep the teaching strong, know the numbers, and pay yourself

Keeler’s closing advice begins with her identity as a teacher. Studio owners may need to learn cash flow, profit margins, marketing, and business strategy, especially because many come from an arts background. She is not dismissing those subjects.

She is warning against allowing profit to become the only measure of success. With private equity entering parts of the dance industry, she sees pressure to make profit “the king of everything.” Her answer is not to ignore the finances. It is to hold financial responsibility alongside the quality of the education.

Keeler’s three priorities are clear:

1.Do not lose sight of curriculum and teaching quality. Students are human beings who deserve to be taught as well as the studio knows how to teach them.

2.Know the money. Understand what is coming in and going out, including cash flow and profit.

3.Pay yourself. Put yourself on payroll and make yourself an employee of your own business rather than taking money only from whatever profit remains.

“Put yourself on payroll right away.”

She believes that excellent teaching may grow more slowly than a flashy marketing tactic or the trendiest program of the moment. But it can attract students and families who value what the studio actually offers.

“Your students are not just numbers on a spreadsheet.” — Sarah Keeler, 21:08.7–21:17.2

The final formula is compact: focus on amazing teaching, know your numbers, and pay yourself.

FAQs

What is the biggest misconception about owning a dance studio?

One misconception is that an owner should reject every existing industry norm and create everything from scratch. The opposite misconception is that the studio must operate exactly like every previous studio. Keeler recommends learning from what already works, then making thoughtful changes.

Should a dance teacher open a studio simply because they want to teach?

Not necessarily. Teaching dance and owning a studio involve different responsibilities. Keeler suggests testing the administrative, communication, scheduling, and business sides before taking on a full studio.

How can someone test a dance-studio idea with less risk?

Start small and keep overhead low. Keeler suggests offering classes in a rented community-center space instead of immediately leasing a large facility and hiring staff.

How can a rural dance studio stand out?

Offer something specific that is not already available in the market. Keeler’s studio focused on classical ballet in an area without another studio centered on that discipline. She also recommends community visibility, relationships with local business owners, and word of mouth.

How should studio owners handle difficult policies or parent requests?

Create and enforce policies, while keeping the human element. An owner cannot please everybody, but becoming rigid or assuming the worst of every family can damage the studio’s reputation.

What makes a strong end-of-year dance performance?

A strong performance considers both the students and the audience. It should have musical and artistic flow, avoid unnecessary lulls, limit long speeches, and feel professionally produced.

What financial habit does Keeler recommend for studio owners?

She recommends understanding cash flow and putting yourself on payroll rather than treating your own labor as something paid only from leftover profit.

Katherine Horrigan

a note from the interviewer, Prisha:

easily one of the most info-dense podcast episodes i've ever done. honestly, i think anyone running a business in the arts can learn something from this, whether you're building tech, running a studio, or creating content. katherine has opened a studio during covid and expanded it to two locations, and she shared so much practical advice on how she got there. it also reminded me why i started DanceVibes and danZING in the first place- to make dance life easier for comp dancers!

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How to Build a Successful Dance Studio: Leadership, Culture, and More Than Competition

a note from the interviewer, Prisha:

oh my gosh, the conversation with jenn was such a gem. i loved hearing how she's thinking about expanding her studio and reaching more students across both comp and rec. if you're a studio owner or just interested in the business side of dance, this is definitely a must-read.

TL;DR

A successful dance studio is about more than great classes or winning competitions. In a conversation with Jennifer from Area 15, several themes stood out: strong studio leadership starts at the top, culture must be intentionally protected, and studio owners need systems that support the business without losing sight of the people at its center. Competition can be an important part of a studio, but it should not define the entire studio experience.

What Makes a Successful Dance Studio?

Running a dance studio requires much more than teaching dance.

Behind every class, rehearsal, competition, recital, and student experience is a significant amount of planning, communication, logistics, and leadership. Studio owners and directors are simultaneously responsible for their dancers, teachers, families, schedules, finances, operations, and the culture of their organization.

So what actually makes a dance studio successful?

In a conversation with Jennifer from Area 15, one idea became especially clear: building a strong dance studio starts with strong leadership and an intentional culture.

A successful studio isn't simply a place where dancers train. It is an environment where dancers, teachers, and families understand what the studio stands for and feel connected to it.

1. Studio Leadership Starts at the Top

One of the most important lessons for dance studio owners is simple: leadership starts at the top.

The attitudes, priorities, and behaviors of a studio director influence the entire organization.

If leadership prioritizes communication, professionalism, respect, and a positive environment, those values are more likely to become part of the studio culture. If leadership is inconsistent, those inconsistencies can quickly filter down to teachers, dancers, and families.

This means studio owners cannot simply create a list of values and expect the culture to follow.

They have to model those values.

What does strong dance studio leadership look like?

Strong studio leadership can include:

• Clearly communicating expectations

• Modeling professionalism

• Supporting teachers and staff

• Creating consistency across classes and programs

• Making decisions based on the studio's values

• Listening to dancers and families

• Protecting the environment the studio is trying to create

Ultimately, the culture of a dance studio is heavily influenced by the people leading it.

2. Protect Your Studio Culture

As a studio grows, protecting its culture becomes increasingly important.

Growth can bring more dancers, more teachers, more classes, more competition opportunities, and more revenue. But growth can also make it harder to maintain the environment that made the studio successful in the first place.

That is why culture needs to be intentional.

A studio's culture influences how dancers treat one another, how teachers interact with students, how families communicate with staff, and how people respond when things don't go according to plan.

For studio owners, the question shouldn't only be:

"How do we grow?"

It should also be:

"How do we grow without losing what makes our studio special?"

That distinction matters.

A studio can increase enrollment and expand its programs while still maintaining a strong sense of community—but doing so requires deliberate leadership.

3. Don't Build Your Entire Studio Around Competition

Competition can be an incredible part of the dance experience.

It can teach dancers discipline, teamwork, performance skills, resilience, and commitment. A competitive team can also create strong friendships and a meaningful sense of community.

But competition should not necessarily become the entire identity of a studio.

One of the key ideas from Jennifer's perspective is that a studio can't only be about competition.

Not every dancer has the same goals.

Some dancers want to compete at the highest level. Others dance primarily for recreation, performance, creativity, friendships, fitness, or personal growth. Some may eventually want professional dance careers, while others may simply want dance to remain an important part of their lives.

A strong studio can make room for different types of dancers.

Why this matters for studio owners

Creating a studio experience that extends beyond competition can help studios:

• Serve a broader range of dancers

• Create more opportunities for students

• Build a stronger community

• Reduce the perception that competition is the only path to success

• Make dance more accessible to different types of families

• Create a more sustainable studio culture

Competition can be one part of the studio—not the definition of the studio.

4. The Business Side Matters, Too

It is easy to focus on the artistic side of running a dance studio and overlook the business and operational work happening behind the scenes.

But strong logistics are what allow the artistic experience to function.

Enrollment, scheduling, communication, staff management, competition planning, payments, attendance, events, and other administrative responsibilities can quickly become overwhelming as a studio grows.

That is why studio owners need systems that make the operational side of the business easier.

The goal isn't to spend less time caring about dancers.

The goal is to spend less time fighting administrative chaos so there is more time to focus on dancers, teachers, and the studio itself.

Technology can play an important role here. Studio management systems and organizational tools can help centralize information, streamline communication, and reduce the amount of manual work required to keep a studio running.

5. Build the Studio You Actually Want to Lead

Perhaps the biggest takeaway for studio owners is that culture, leadership, and operations are interconnected.

You can't build a healthy studio culture without strong leadership.

You can't effectively lead a growing studio without reliable systems.

And you can't build a sustainable business by focusing exclusively on one part of the studio experience.

The strongest studios think about the entire ecosystem.

Ask yourself:

• What do we want our studio to be known for?

• What values do we want dancers to experience every day?

• Are our leaders actually modeling those values?

• Are we protecting our culture as we grow?

• Are we creating opportunities beyond competition?

• Are our systems helping our staff—or creating unnecessary work?

• Does the experience we're creating match the studio we say we want to be?

These questions can reveal gaps that aren't always visible through enrollment numbers or competition results.

6. Success Is Bigger Than Trophies

Competition results can be an easy way to measure success.

But they aren't the only measurement that matters.

A successful dance studio can also be measured by the dancers who feel like they belong, the teachers who feel supported, the families who trust the organization, and the culture that continues to thrive as the studio grows.

The best studios aren't simply producing successful competition teams.

They're building communities that dancers want to be part of.

And that starts with leadership.

Frequently Asked Questions

What makes a successful dance studio?

A successful dance studio combines strong leadership, a positive and intentional culture, effective operations, quality dance education, and a strong sense of community. Competition results can be one measure of success, but they shouldn't be the only one.

How can a dance studio build a strong culture?

Studio culture starts with leadership. Directors should clearly define their values, communicate expectations, model those values consistently, and intentionally protect the environment they want dancers and teachers to experience.

Why does leadership matter in a dance studio?

Studio leaders influence the expectations, communication, professionalism, and overall environment of the organization. Because leadership starts at the top, directors have a significant role in shaping how teachers, dancers, and families experience the studio.

Should every dance studio have a competitive team?

Not necessarily. Competition can be valuable, but studios serve dancers with different interests and goals. A strong studio can offer competitive opportunities while also creating meaningful experiences for dancers who don't want competition to be their primary focus.

How can dance studios manage growth without losing their culture?

Studios can protect their culture by clearly defining their values, hiring and supporting people who align with those values, maintaining consistent communication, and regularly evaluating whether growth is changing the student and teacher experience.

What role does technology play in running a dance studio?

Technology can help studios manage administrative responsibilities such as enrollment, communication, scheduling, files, events, and competition logistics. The purpose isn't to replace personal connection—it is to reduce unnecessary administrative work so studio leaders and teachers can focus on their people.

What should dance studio owners focus on besides competition results?

Studio owners should also consider dancer retention, teacher satisfaction, family trust, community, culture, communication, student development, and the overall experience dancers have at the studio.

Breaking Through: How to Crush Common Rehearsal Roadblocks

TL;DR: Summary of Rehearsal Hacks

• Acknowledge the energy: If focus is fading, change the rehearsal intent rather than just repeating the steps.

• Prioritize clarity: Use choreography notes and video reviews in the Dancing app to ensure everyone is on the same page.

• Keep it moving: Avoid stagnation by changing perspectives and setting clear, trackable goals for every session.

Roadblocks are just a sign that you’re pushing the work to the next level. How do you handle it when things get stuck in the studio?

We’ve all been there—you’re halfway through a rehearsal, and it feels like you’re hitting a wall. Maybe it's a specific section of choreography that just won’t click, or perhaps the energy in the room is just... off. These rehearsal roadblocks are totally normal, but they can seriously kill your momentum if you don't know how to handle them.

As a director or choreographer, being able to identify these hurdles quickly is what separates a "good" season from a "gold" season. Here are some of the most common issues I see and how to pivot like a pro:

1. The "Mental Fog" Funk

Sometimes, dancers aren't struggling with the steps; they’re struggling with the focus. Whether it’s school stress or just a long day, mental fatigue is a real roadblock.

• The Quick Fix: Instead of drilling the same section for the 20th time, change the "brain state". Have them run the piece with different intentions—maybe do a "silent" run-through or focus entirely on eye contact.

• The Long-Term Fix: Build in short, high-intensity focus blocks followed by a quick "brain break" to keep the energy from dipping too low.

2. The Communication Gap

Communication is a two-way street, and roadblocks often pop up when there's a disconnect between your vision and what the dancers are actually hearing.

• Check for Clarity: Don't just ask "Does everyone have that?" because you'll usually get a bunch of blank stares or "yes" nods even if they're lost.

• Use Your Tools: This is where having a central hub like the danZING app is a lifesaver. Being able to pull up a video review or specific choreography notes on the fly means you spend less time explaining and more time dancing.

3. The Stagnation Slump

You know that feeling when a piece is "fine," but it’s just not growing anymore? Stagnation is the sneakier cousin of the roadblock.

• Switch It Up: Change the formation, flip the front, or have different groups watch each other. Seeing the work from a new perspective often shakes loose whatever was stuck.

• Accountability Check: Use your dance studio management tool to set specific goals for the next rehearsal. When dancers know exactly what corrections they’re responsible for, stagnation doesn't stand a chance.

Miss Mares All About Dance

a note from the interviewer, Prisha:

this was such an amazing conversation with maryann. we talked about what's happening in the dance studio space right now, what studio owners actually need, and what to think about when growing your brand. but honestly, one of my biggest takeaways was how much giving dancers an amazing experience matters—and that's exactly what i want to do with danZING for competitive dancers and studio owners. definitely check out the interview right here if you want to hear the full conversation.

Beyond the Checklist: How Ali Phillips is Redefining Inclusive Dance Studio Leadership

Inclusive dance studio leadership requires shifting away from rigid checklists and perfectionist assumptions, embracing teacher confidence, and designing operational systems that place the human being—both studio owner and student—ahead of relentless hustle. By adopting creator consciousness and establishing clear, repeatable processes, dance directors can build profitable, deeply welcoming communities without burning out.

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a note from the interviewer, Prisha:

I don’t think I’ve ever had a more energetic or passionate conversation with a studio owner. If you’re deep in comp season, looking to expand your inclusive dance offerings, or just want a fresh perspective from someone who’s taught across Australia, the U.S., and Canada, this episode is for you. By the end of our conversation, my DanceVibes notebook was completely full of notes, and I think you’ll want to have one nearby too. Talking with Ali also reminded me why I started ⁠DanceVibes ⁠and ⁠danZING⁠—I saw the same kind of opportunity in the digital dance world that she saw in inclusive dance.

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TL;DR Key Takeaways

•Human First, Studio Second: Studio owners must prioritize personal values and lifestyle freedom to prevent chronic burnout.

•Inclusion is a Feeling, Not a Checklist: Wheelchair ramps and sensory accommodations matter, but true inclusion is an emotional culture of belonging.

•Teacher Confidence Over Certification: Families do not demand perfection; they want welcoming spaces where their children belong.

•Systems Create Freedom: Documenting recurring studio processes allows owners to step out of the daily trenches and plan years ahead.

•Creator vs. Victim Consciousness: Shifting from blaming external challenges to asking "What is the lesson here?" empowers sustainable growth.

Why Must Dance Studio Owners Adopt a "Human First" Philosophy?

The competitive dance industry possesses a unique ability to consume its founders. Early in her career, Ali Phillips experienced this firsthand, working tirelessly until she burned out completely. Reflecting on nearly two decades of business ownership, she emphasizes that sustainable studio leadership begins by honoring oneself as a human being first.

Studio ownership is frequently romanticized as an around-the-clock commitment, but Phillips argues that the entire purpose of breaking away from traditional 9-to-5 employment is to cultivate genuine lifestyle freedom. When directors fail to design their businesses around their core personal values, they become trapped in systems of their own making. Successful leadership starts with deliberate annual planning that protects personal time, mental health, and family relationships long before financial metrics are evaluated.

How Can Conscious Leadership Transform Studio Culture?

Inspired by foundational management philosophies such as The 15 Commitments of Conscious Leadership, Phillips established Conscious Dance Leadership to challenge prevalent industry mindsets. Too often, dance educators default to victim consciousness—complaining about external market conditions, client unpredictability, social media algorithms, or historical precedents.

Operating in creator consciousness changes everything. Instead of asking why external forces are hindering growth, empowered leaders ask transformative questions: What is the lesson here? What am I meant to learn? What choices do I have right now? By eliminating finger-pointing and embracing radical personal accountability, studio directors model resilience and emotional maturity for their faculty and students alike.

What Role Do Systems Play in Eliminating Studio Burnout?

The primary reason studio directors find themselves trapped in daily operational firefighting is a lack of structured systems. Every dance studio experiences predictable, recurring cycles: recital planning, competition seasons, costume ordering, teacher onboarding, and seasonal registration.

Phillips advises studio owners to pause operations—even taking a dedicated week away from teaching—to audit their time and document step-by-step standard operating procedures. By turning recurring tasks into plug-and-play workflows, directors eliminate the mental exhaustion of reinventing the wheel for every new session. Furthermore, effective systems must be supported by long-term strategic planning. While struggling owners operate week-to-week, successful leaders map their institutional calendar years in advance, ensuring that high-intensity periods like competition season never catch them off guard.

How Did BAM Evolve into an International Movement?

Ali Phillips did not set out to build an internationally recognized inclusive dance organization. As a high school student volunteering at a monthly dance party for adults with developmental disabilities hosted by her sister, she was simply asked to run a structured dance class. Armed with a classic hip-hop track ("Bust a Move" by Young MC) and zero prior disability training, she ran her first class and fell in love instantly.

Operating on a mobile studio model that rents spaces across Toronto and Australia, BAM maintains a strict philosophy: they are not dance therapy; they are a recreational, play-based, dance-centered community.

By 2015, this grassroots initiative expanded to a major international stage when Phillips took her dancers to perform at the Special Olympics World Games in Los Angeles, raising over $60,000 and touring with integrated performance troupes. Her journey underscores how powerful movements often begin simply by saying yes to unexpected community invitations.

Why Is Community More Important Than Perfection in Inclusive Dance?

One of the greatest deterrents keeping traditional dance studios from opening their doors to students with disabilities is a pervasive fear of inadequacy. Many directors assume they need specialized medical certifications, highly technical therapeutic frameworks, or flawless instructional methods before welcoming disabled dancers.

Phillips dismisses these barriers outright:

"All of it is bullshit. Like, it doesn't matter. People with disabilities are not looking for perfection. Their families are not looking for teachers to be perfect, to be qualified, to be certified. They are looking for community. They are looking for their child and for themselves to have a place to belong."

Families do not evaluate studios based on clinical credentials; they evaluate them based on hospitality and willingness to embrace every human being without hesitation.

What Is the Real Barrier to Disability Inclusion in Dance Studios?

Interestingly, the obstacle preventing more studios from offering inclusive programming is rarely choreography, lesson planning, or facility layout. Most dance studio owners already employ fabulous, highly capable teachers.

Instead, the true bottleneck is teacher confidence and entrenched cultural stigma. Society treats disability as a taboo subject, fostering a quiet fear of saying the wrong thing or causing offense.

Phillips emphasizes that until the dance community becomes comfortable openly discussing disability and dismantling blanket assumptions—recognizing that individual needs vary wildly from person to person—true inclusion cannot take root. Teacher training must focus on mindset coaching and confidence-building rather than rigid curriculum adjustments.

Why Must Studios Throw Away the "Inclusion Checklist"?

Comparing dance studio cultures across Australia and North America reveals fascinating psychological patterns. While Australian and Canadian studio owners often lean toward rule-following and administrative checkbox mentalities, North American directors display a more rebellious streak.

However, across all cultures, the traditional dance industry is fundamentally rooted in a quest for perfection, exclusivity, and competitive validation.

This perfectionist framework clashes directly with the true nature of accessibility. As Phillips asserts:

"Inclusion is not a checklist. You can't just say, 'Okay, we've got dim lighting and we've got sensory accommodations and we've got a wheelchair ramp. Okay, cool. We're inclusive.' Inclusion is a feeling. It is an energy. It is a practice. It is a commitment. It is the willingness to get things wrong."

Because dance is inherently the most accessible of all art forms requiring nothing more than a human body moving to rhythm—any exclusivity present in a studio is entirely a product of the facilitator, not the art form itself.

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Frequently Asked Questions (FAQs)

1. What is a mobile dance studio model, and how does it work?

A mobile dance studio model eliminates the overhead of maintaining a permanent brick-and-mortar commercial lease. Instead, founders rent existing dance studio spaces, community centers, and school facilities across different neighborhoods. This approach reduces financial risk, brings programming directly to families, and makes inclusive classes highly accessible to local communities.

2. How can dance studio owners overcome the fear of starting inclusive classes?

Studio owners must recognize that families of dancers with disabilities are not seeking clinical perfection or specialized certifications; they are seeking a welcoming community and a genuine sense of belonging. The key is to abandon rigid assumptions, embrace the willingness to make mistakes, and focus on confidence-building for teaching staff.

3. What is the difference between victim and creator consciousness in business?

Victim consciousness involves feeling at the effect of external circumstances—such as economic shifts, client complaints, or staff turnover—and blaming outside factors. Creator consciousness empowers leaders to take full responsibility, view challenges as learning opportunities, and ask proactive questions like "What choices do I have to resolve this?"

4. How far ahead should dance studio owners plan their annual calendar?

While many struggling studio owners operate on a stressful week-to-week basis, successful leaders map their operations 18 months to several years in advance. By pre-planning around major operational hurdles like recital and competition seasons, directors prevent chronic burnout and protect their personal time.

5. Why are standard gym CRM systems often inadequate for dance studios?

General gym management software is typically designed for rolling memberships and fitness classes rather than semester-based dance curricula, recital costuming, multi-tier tuition structures, and competitive team management. Specialized registration workflows are essential to handle the unique operational demands of a dance school.

The Future of Dance Training: Tech, Trends, and Taking the Leap

TL;DR: The Future of Training

• Embrace the Tech: Stop resisting dance technology; use it to streamline your rehearsals and communication.

• Centralize Everything: Move your choreography notes and video reviews into one central hub like the Dancing app to eliminate confusion.

• Focus on Accountability: Use digital tools to set individual goals and track corrections, making every dancer responsible for their own growth.

• Stay Connected: Build a studio culture that uses tech to support each other, from packing checklists to team notifications.

The future is bright (and way more organized). Are you ready to make the jump?

Let’s talk about the future of dance training, because honestly, the "old school" way of doing things is changing fast—and that’s a good thing. We’re moving into an era where dance technology isn't just a "nice to have," it’s the backbone of a successful studio.

If you feel like you’re constantly playing catch-up, it’s time to lean into the tools that make our lives easier and our dancers better. Here’s where the industry is headed and how you can stay ahead of the curve:

1. The Rise of "Smart" Rehearsals

The days of dancers relying solely on their memory (or a shaky video on a parent's phone) are over. The future is all about digital dance resources.

Using an all-in-one dance app like the danZING app allows your students to access choreography videos, cleaning notes, and music tracks the second they leave the studio. When dancers can review their "smart" notes at home, they show up to rehearsal ready to work, not just remember.

2. Hyper-Personalized Feedback

Generic corrections are out; personalized, trackable growth is in. With the right dance studio management tools, you can give dancers specific, individual feedback that they can refer back to weeks later. This kind of dancer accountability ensures that no correction gets lost in the shuffle, leading to faster improvement and higher scores at competition.

3. Community Beyond the Studio Walls

We’re seeing a huge shift toward building a "no-excuse" culture that lives outside of scheduled class times. It’s about creating a digital space where the team feels connected. Whether it’s through packing checklists for away comps or shared video uploads for inspiration, the future of training is about keeping the momentum going 24/7.

From Drop-In Classes to Injury Prevention: Innovative Strategies for Dance Studio Owners

a note from the interviewer, Prisha:

I’ve worked with so many of Hailey’s dancers through DanceVibes and danZING, so this episode was a long time coming because I finally got to sit down with Hailey herself! I truly admire everything she’s building at The Space—from giving dancers the freedom to create through student choreography to offering drop-in classes, prioritizing injury prevention, and fostering such a strong creative environment. If you’re looking for ways to bring more of that into your own studio, this episode is definitely worth a listen. And if you’re curious about danZING or want to see the file and correction updates that Hailey’s dancers helped shape, you can check them out at the link right here.

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TL;DR:

•Embrace Flexibility: Offering drop-in classes alongside competition requirements helps dancers manage busy schedules.

•Prioritize Cross-Training: Implementing non-dance-specific strength training reduces muscle imbalances and prevents injuries.

•Empower Artistry: Student choreography showcases and teaching opportunities help dancers find their unique artistic voice.

•Leverage Authentic Content: Encourage students to film and share class combos for organic, free social media marketing.

•Protect Your Peace: Taking time away from the studio is essential to avoid burnout and show up as the best version of yourself.

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Welcome back to another episode of the Chief Studio Officer podcast! Today, we're diving into the realities of dance studio management with Hailey, the owner of The Space Dance Company in Kalamazoo, Michigan. Hailey took over her studio just as it was heading into its fifth season, transitioning from company director to full-time owner. Her journey offers incredible insights into running a modern, flexible, and dancer-focused studio.

Whether you're a seasoned studio director or just starting out, Hailey's approach to scheduling, injury prevention, and social media is something every dance studio owner can learn from. Let's break down some of the most impactful strategies she shared.

How Can Drop-In Classes Benefit a Competition Studio?

One of the most unique aspects of The Space Dance Company is its drop-in class model. While they have a dedicated competition team with specific weekly requirements (like ballet, technique, and cross-training), the studio doesn't force dancers into a rigid schedule.

Instead, dancers are placed in specific levels but have the freedom to choose which classes they attend each week. If a dancer has a choir concert or needs to study for an exam, they aren't penalized for missing their usual Tuesday technique class. They can simply drop into another technique class that fits their schedule.

This flexibility is a game-changer during the busy competition season. It allows dancers to meet their training requirements while still managing their lives outside the studio. It reduces stress for both the dancers and their parents, making the studio environment much more supportive and adaptable.

Why is Cross-Training Essential for Injury Prevention in Dancers?

With a double major in dance and exercise science, Hailey brings a crucial perspective to dancer health. She noticed that many dancers focus heavily on cardio, which they already get plenty of during regular classes. What they often lack is targeted strength training.

Dance involves a lot of repetitive movement, which naturally creates muscle imbalances. These imbalances are a primary cause of common dance injuries, particularly in the hips, knees, and ankles. To combat this, Hailey designed a cross-training program specifically for her dancers.

The key? Training dancers like "normal humans." Instead of just doing dance-specific conditioning, her program focuses on traditional strength training exercises to target those weaker, underutilized muscles. By consistently focusing on specific muscle groups over several weeks, dancers can correct imbalances and significantly reduce their risk of injury. If you're a studio owner, consider looking into personal training certifications or partnering with a specialist to bring this kind of targeted strength training to your dancers.

How Do You Help Dancers Find Their Artistic Voice?

At The Space Dance Company, the philosophy is that great dancers are trained, not just born. A huge part of that training is helping dancers discover who they are as artists, beyond just executing impressive tricks.

Hailey's studio offers an "Exploring Artist" class where students can create choreography and teach their own classes weekly. But the real standout is their annual student choreography competition.

During the summer, interested students host auditions, cast their peers, cut music, and develop a complete vision for a piece. At the end of the summer, they present their work to a panel of judges who provide feedback on dynamics, formations, and spatial awareness. The winning piece is selected for the upcoming competition season, and that student gets to act as a rehearsal director. It's an incredible pipeline for developing future choreographers and giving dancers a profound sense of ownership over their art.

What's the Best Way to Handle Dance Studio Social Media?

If you've ever stressed about getting enough content for your studio's Instagram, Hailey's approach will be a breath of fresh air. Her strategy is simple: let the dancers do the work.

Because The Space operates on a drop-in basis, Hailey posts the daily schedule on their Instagram story, often using quick clips from classes. But the real magic happens at the end of choreography-based classes. She gives dancers five minutes to grab their phones and film themselves doing the combo in small groups.

This does two things. First, it gives the dancers material for their own reels and auditions. Second, it provides the studio with a constant stream of authentic content. When dancers post these videos on their own accounts, it acts as free advertising. Even without making tags mandatory, the studio's name gets out there organically. It's a brilliant way to build your brand without taking away from valuable class time.

The Hardest Lesson: Avoiding Studio Owner Burnout

When Hailey first took over the studio, she was thrilled to finally make a living doing what she loved, allowing her to quit her restaurant job. But that excitement quickly turned into a grueling schedule. She found herself at the studio seven days a week, often for 12 hours a day.

It took a literal wake-up call—getting kicked in the head and suffering a concussion—to force her to step away. That forced break made her realize she was running herself into the ground.

Her biggest piece of advice for any studio owner? It is okay to take time for yourself. The studio will not burn down if you take a day off. In fact, your students need you to show up as the best version of yourself, not a depleted, exhausted version. Setting aside at least one day a week where you do absolutely nothing dance-related isn't neglecting your job; it's taking care of yourself so you can do your job better.

The Dream Dance Studio Software

As we wrapped up, I asked Hailey what her dream dance studio software would look like. Her answer resonated with so many studio owners I've spoken to.

She envisions a streamlined system that handles class scheduling, payroll, and billing all in one place, without needing 74 different workarounds. Specifically, she wants a feature where dancers are placed in a level on their account, and they only see the classes available to them. If a dancer is in intermediate technique, they shouldn't even see the advanced class as an option. This would eliminate confusion for parents and ensure dancers are only signing up for classes they are truly ready for.

It's a fantastic idea, and it's exactly the kind of problem we're looking to solve here at DanceVibes.

Final Thoughts

Hailey's final piece of advice is something every dance teacher should keep close to their heart: "Be the studio owner, be the dance teacher that a younger version of yourself always needed."

The impact you have on these kids, whether small or large, lasts a lifetime. Never take those smiles and hugs for granted. Let that positive impact drive you through the stressful moments of the year.

If you want to see what Hailey and her dancers are up to, you can find them on Instagram at @thespacedanceco, on their website at thespacedanceco.com, and on Facebook and TikTok as The Space Dance Company.

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FAQs

Q: How can drop-in classes benefit a competition dance studio?

A: Drop-in classes provide flexibility for busy dancers, allowing them to meet their weekly training requirements (like ballet and technique) while accommodating other life commitments, reducing burnout and stress.

Q: Why is cross-training important for dancers?

A: Dance involves repetitive movements that create muscle imbalances. Non-dance-specific strength training helps correct these imbalances, strengthening underutilized muscles and significantly reducing the risk of common injuries in the hips, knees, and ankles.

Q: How can I encourage student choreography at my dance studio?

A: You can offer dedicated classes for exploring artistry or host a summer student choreography competition. Allow students to audition peers, create a piece, and present it to judges, with the winning piece featured in the upcoming competition season.

Q: What is an easy social media strategy for dance studios?

A: Allow students 5 minutes at the end of class to film themselves performing combinations. This gives them content for their own reels and provides the studio with authentic, organic content that acts as free advertising when students share it online.

Q: How can dance studio owners prevent burnout?

A: Studio owners must prioritize taking at least one full day off per week away from the studio. Recognizing that taking breaks allows you to show up as the best version of yourself for your students is crucial for long-term success and mental health.

Q: What features should I look for in dance studio management software?

A: Look for software that streamlines scheduling, payroll, and billing into one system. A highly requested feature is the ability to restrict class visibility based on a dancer's assigned level, preventing them from signing up for classes they aren't ready for.

Navigating the Dance Entrepreneur Journey: Insights from Studio Pop Founder Aislyn Benjamin

a note from the interviewer, Prisha:

Ever since I came across Aislyn and Studio Pop on my feed, I knew I had to have her on the podcast. This conversation came at exactly the right time for me—I had been feeling uncertain about growing DanceVibes, and her reminder to stop waiting, work hard, and fight for what you want really stuck with me. It’s the same mindset I’ve had since starting DanceVibes and danZING: I don’t have everything figured out, but I’m learning and building one day at a time. If Aislyn’s story resonates with you, be sure to check out danZING.

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Aislyn Benjamin, founder of Studio Pop, shares invaluable insights for dance entrepreneurs and dancers alike, emphasizing the critical role of a dedicated home practice space, the realities of building a physical product, strategic content creation, fostering a growth mindset in dancers, and the non-negotiable importance of self-care for business owners. Her journey highlights that passion alone isn't enough; resilience, delegation, and a belief in one's vision are paramount.

TL;DR:

•Home Practice is Key: Dancers need dedicated home spaces like Studio Pop to supplement studio training and accelerate skill development.

•Embrace the Entrepreneurial Grind: Building a physical product involves overcoming skepticism, iterating on prototypes, and trusting your vision despite challenges.

•Strategic Content & Delegation: Professional help for content creation and learning to delegate are crucial for managing multiple ventures and maintaining social media presence.

•Mindset Matters: For dancers, consistency, setting intentions, and focusing on personal growth over comparison builds confidence and drives improvement.

•Self-Care is Non-Negotiable: Business owners must prioritize mental and physical well-being to avoid burnout and sustain high performance.

The Spark Behind Studio Pop: A Dancer's Home Advantage

What inspired the creation of Studio Pop?

For Aislyn Benjamin, the inspiration for Studio Pop struck during a deeply personal moment. While supporting her mother through chemotherapy, she stumbled upon an Instagram video showcasing a fitness closet. In an instant, a lightbulb went off: dancers needed this for their homes. Aislyn, a lifelong dancer and cheerleading enthusiast, immediately recognized the gap in the market. She envisioned a dedicated space where dancers could refine their craft outside the studio, a mini studio at home that offered more than just basic accessories.

Why do dancers need a dedicated home practice space?

Aislyn, who trains numerous athletes in acro skills—a significant component of modern dance—observed a critical need. While an hour a week in the gym or studio is beneficial, it's often insufficient for true mastery. Dancers who consistently improve are those who extend their practice beyond formal training. Aislyn recalls her own childhood, noting that some dancers would go home and continue practicing in their living rooms or in front of any reflective surface, while others would disconnect. Studio Pop was designed to bridge this gap, providing a space with a large mirror, a spring floor, and customizable cube storage. This setup allows dancers to see themselves train, rep routines, and build strength in an environment tailored to their needs, fostering consistent growth and skill development.

From Idea to Physical Product: The Entrepreneurial Leap

How did Aislyn overcome the challenges of building a physical product?

Venturing into physical product development is often advised against for new entrepreneurs due to its inherent complexities. Aislyn admits to initial nervousness and hesitation, recognizing the immense undertaking. The pivotal moment came when she had to ask herself, "Do you really believe that this can work and that people will like this product?" Despite some industry veterans discouraging her, citing shipping difficulties and perceived lack of demand for a large product, Aislyn trusted her intuition and her understanding of what athletes truly needed. Her journey began with building a prototype alongside her father, whom she affectionately calls "the best handyman ever." Through countless Home Depot runs and numerous setbacks, each challenge provided clearer insights into the final product. The positive feedback from dancers who tested the prototype, coupled with an overwhelming global response on social media, solidified her conviction and fueled her motivation.

Mastering Content and Delegation in the Dance Industry

What are Aislyn's strategies for growing a social presence and managing content?

In today's digital landscape, a strong social media presence is vital for any business, especially in the visually driven dance world. Aislyn, with a background in journalism and media communication, initially managed her personal social media, editing her own reels and cultivating a strong on-camera presence. However, for Studio Pop, she made a strategic decision to hire a professional videographer. This allowed her to delegate the demanding task of content creation, ensuring high-quality, appealing visuals that wouldn't be skipped. This delegation was crucial, as she was already balancing the development of the product with managing four other social media accounts. Aislyn emphasizes the importance of finding passionate professionals who believe in their craft, as it makes all the difference. Her advice to fellow dance business owners is clear: learn to delegate. One person can only handle so much, and relying on industry professionals frees up time and energy to focus on other critical aspects of the business.

How does Studio Pop approach collaborations and ambassadorships?

Studio Pop has garnered significant interest from dancers worldwide eager to collaborate or become ambassadors. While Aislyn plans to establish an ambassador program, she is taking a measured approach. Her priority is to finalize production details before officially launching such initiatives. With only one prototype currently available, she isn't in a position to ship products to ambassadors. This cautious strategy ensures that when the program does launch, it will be well-structured and sustainable, avoiding premature commitments that could overwhelm the nascent business.

Cultivating a Growth Mindset in Dancers

What habits distinguish fast-improving dancers, and how can others adopt them?

Aislyn has observed that the dancers who improve most rapidly share a common trait: consistency driven by internal passion and motivation. In the highly competitive dance industry, she encourages her athletes to set intentions before each training session. Not every day will be perfect, but the goal is to identify specific areas for improvement, even if it's just a "2% better" gain. This focused approach helps dancers understand what they are working towards. For Aislyn, remembering why one started dancing is paramount, as it combats the autopilot tendency of merely showing up for class. True growth comes from actively developing one's craft and skill set in every session.

How can dancers build confidence and overcome comparison?

Comparison, especially in the age of social media, is a pervasive challenge for dancers. Aislyn acknowledges that while it's subconscious, it's crucial to navigate these feelings and transform them into something positive. Instead of comparing oneself to others, she advocates for being proud of who you are as a person and an athlete. This means putting your heart into training, giving your all in every conditioning exercise, and finishing each session knowing you truly gave it your best. This internal validation, rather than external comparison, builds confidence over time. She stresses that dance should be a safe and happy space, and constantly picking oneself apart can lead to anxiety. Celebrating small milestones and acknowledging personal achievements are vital for mental well-being and sustained confidence.

The Entrepreneurial Balancing Act: Time Management and Self-Care

How does Aislyn manage her time and energy across multiple businesses?

Aislyn candidly admits that she isn't the best at traditional time management, often working non-stop. However, she views exhaustion and burnout as crucial signals. These moments prompt her to reflect on where she might be lacking, often pointing to a deficit in self-care. As an entrepreneur, she expects herself to operate at 100% constantly, but recognizes this is impossible without prioritizing mental, physical, and spiritual well-being. Her self-care routine includes walking her dog, journaling, working out, and stretching. These activities help her achieve a calm, relaxed state, enabling her to wake up motivated and effectively balance her businesses.

What is the biggest misconception about opening a dance business?

The biggest misconception, according to Aislyn, is that passion for dance alone is sufficient. While she fell in love with dance and cheerleading at a young age, running a business involves a myriad of "outside things" that extend far beyond the art form itself. These include parent communication, class structure, safety plans, billing, and payroll. Her advice is to carry a strong work ethic, embrace uncomfortable moments, and never give up. Most importantly, a founder must believe in themselves and be their biggest cheerleader. The moment a founder doubts their own vision, they begin working against themselves, undermining the very foundation of what they are building.

FAQs

Q1: What is Studio Pop?

A1: Studio Pop is a home practice space designed for dancers, featuring a large mirror, spring floor, and customizable storage, allowing them to train and practice routines outside of a traditional studio setting.

Q2: Who is Aislyn Benjamin?

A2: Aislyn Benjamin is the founder of Studio Pop and a co-owner of NorCal Elite, an all-star cheerleading gym. She is a lifelong dancer and entrepreneur dedicated to supporting dancers' growth and well-being.

Q3: Why is home practice important for dancers?

A3: Home practice provides dancers with additional time and a dedicated space to refine skills, rep routines, and build strength beyond their regular studio hours, accelerating their progress and confidence.

Q4: What are the key challenges of starting a physical product business in dance?

A4: Challenges include overcoming skepticism, managing complex logistics like shipping, and the iterative process of prototyping. Success requires strong belief in the product and resilience.

Q5: How can dance business owners improve their social media presence?

A5: Aislyn recommends delegating content creation to professionals, focusing on high-quality visuals, and strategically planning collaborations rather than rushing into them.

Q6: What is the most important mindset for a dancer to develop?

A6: Dancers should focus on internal passion, setting intentions for improvement in each session, and building self-confidence by acknowledging their efforts and personal growth rather than comparing themselves to others.

Q7: Why is self-care crucial for dance entrepreneurs?

A7: Self-care is essential to prevent burnout and maintain optimal performance. Prioritizing mental, physical, and spiritual well-being allows entrepreneurs to sustain their motivation and effectively manage multiple ventures.

Q8: What is a common misconception about opening a dance studio or business?

A8: A common misconception is that passion for dance is enough. In reality, running a dance business involves extensive administrative tasks, communication, safety planning, and financial management beyond the artistic aspects.

Dance Studio Management: Scaling, Culture, and Competition Success

What is the most crucial aspect of running a successful dance studio? Running a successful dance studio, as shared by a 20-year veteran, fundamentally revolves around people management and cultivating a strong, positive studio culture. Beyond the technicalities of dance, a studio owner navigates the diverse personalities of dancers, parents, and staff, striving to create an environment where everyone feels valued and engaged. This focus on human connection and a supportive atmosphere is paramount for long-term growth and retention.

TL;DR: Key Takeaways for Dance Studio Owners

•Culture is King: Building a desired studio culture takes time and consistent effort, but it's the foundation of success.

•Dual Perspectives: Experience in both dance education and elementary teaching offers invaluable insights into child development and classroom management.

•Engage the Youngest: Keeping young dancers engaged requires dynamic teaching methods and a performative teaching style.

•Strategic Scaling: Expanding to multiple locations can significantly broaden community impact and creative opportunities, despite initial challenges.

•Nationals as a Team-Building Experience: With meticulous planning and a focus on fun, national competitions can be less chaotic and more about fostering relationships.

What is the hardest part of being a dance studio owner?

For many studio owners, the most challenging aspect isn't the dance instruction itself, but rather the intricate dynamics of managing diverse personalities within the studio community. As Kendal, the seasoned owner and director of Northern Lights Dance Academy (NLDA), reflects, "I'm very fortunate with the parents I have, but I feel like it's hard to deal with all the different personalities of parents and dancers." This sentiment is particularly true in competitive environments, where ensuring every dancer feels good about themselves amidst competition requires continuous positive conversations and a clear focus on individual growth. The host, Prisha, echoes this, noting that the dance studio business is inherently a "people business," involving teachers, dancers, and parents, all of whom must coalesce into a cohesive culture.

How do you build a strong studio culture that lasts?

Building a strong studio culture is not an overnight endeavor; it's a journey that unfolds over time. Kendal emphasizes, "building, like, the culture you want, I think is a huge thing, and that... it really does just take time. So it's not gonna happen in one or two years. Like, it, it's gonna definitely take time." This long-term perspective is crucial. It involves consistently reinforcing values, fostering open communication, and addressing issues proactively. For Kendal, this means setting clear expectations with parents at the beginning of each year, encouraging them to communicate directly with her if concerns arise, rather than engaging in gossip. This approach helps to "nip that right away" and maintain a positive, supportive environment where everyone feels comfortable and heard.

How does experience as an elementary school teacher benefit a dance studio owner?

Kendal's unique background as both a dance studio owner and an elementary school teacher provides a compelling perspective on effective dance studio management. While she started with the studio, her decision to pursue elementary education later in life, after having her own children, proved to be a transformative experience. "Going through... all the classes for elementary education really taught me a lot about just, like, more about, like, lesson planning for my classes at the studio," she explains. Beyond lesson planning, her elementary teaching experience significantly enhanced her classroom management skills, a challenge many educators face. This dual expertise allowed her to understand child development stages better, enabling her to guide her staff on age-appropriate expectations, attention spans, and engaging lesson delivery.

How do you keep young dancers engaged in class?

Engaging younger dancers, particularly those in the five-year-old age group, is often cited as one of the most challenging aspects of dance instruction. Kendal, however, finds these classes to be her favorite, noting that they offer the most visible growth. Her strategy for keeping them engaged is rooted in constant movement and variety. "I always was changing or I'm always changing, like, what we're doing," she shares. This involves a dynamic flow of activities—a short dance, moving across the floor, returning to the center for new steps—all designed to maintain their attention. She also adopts a "Miss Kendal" persona, a performative teaching style that transforms her naturally shy demeanor into an energetic presence, much like Beyoncé on stage. This dedication to performance and continuous engagement ensures that young dancers remain captivated and eager to return.

How do you manage multiple dance studio locations effectively?

Scaling a dance studio from one location to two is a significant undertaking that presents both challenges and immense opportunities. Kendal's journey to opening a second NLDA location, 40 miles from her home base, was initially met with hesitation, especially as she had just had her son. However, her sister, who serves as an assistant director and manages the competition program, played a pivotal role in convincing her. The opportunity arose when another studio owner in a nearby community was looking to retire, and the community rallied to support NLDA in taking over. The initial three years were demanding, involving extensive travel, setting up new classes, and transitioning existing dancers to NLDA's distinct approach, particularly in introducing them to the world of competitive dance.

Despite the initial hurdles, the expansion proved incredibly rewarding. Kendal now feels just as close to the families at the second location as she does to those at her original studio, fostering a larger, more interconnected dance community. This growth has also enabled larger-scale productions, such as their renowned production line, which now boasts 56 dancers by combining talent from both locations. The expansion has also created unique social opportunities, with dancers from both studios forming strong friendships, an aspect Kendal cherishes, reflecting on how she would have loved such connections in her own youth.

How do you organize a stress-free dance competition season, including nationals?

Organizing a dance competition season, especially when it includes nationals, can quickly become chaotic without meticulous planning and a clear division of labor. Kendal and her sister operate as a highly efficient team. Her sister handles the registrations and music uploads, while Kendal manages the communication, schedule building, and sharing with families. This collaborative approach ensures that the logistical complexities are streamlined.

For nationals, NLDA typically travels every other year, often to Wisconsin, an 8-hour drive. However, this year they opted for a closer national competition, just an hour and twenty minutes away, which contributed to a more relaxed experience. Kendal observes that their nationals tend to be more "chill" than regional competitions because events like solos, duos, and trios are spread out over several days. This allows for a less frantic pace, enabling dancers and families to enjoy the experience more fully. Her philosophy is simple: "This should be fun. For me, I just feel like if it's not fun, then we shouldn't do it." This mindset extends to encouraging dancers to view nationals as another competition, reducing performance anxiety and emphasizing enjoyment and memory-making. Beyond the stage, these trips foster deeper relationships among families through team dinners, mini-golf outings, and zoo visits, building connections that extend beyond the studio walls.

What is involved in planning a dance studio's competition schedule?

Planning the annual competition schedule is a comprehensive process that Kendal begins well in advance, aiming to have the entire next year's schedule finalized by early July. It starts with mapping out the regular class schedule, followed by the weekend-based production line and hip-hop teams, which typically meet one Sunday afternoon a month. She leverages the previous year's calendar, noting recurring patterns like "the third Sunday in September," to build the new schedule efficiently. Key dates for conventions are integrated once released. NLDA participates in only two regional competitions annually, strategically chosen to allow for rehearsal time in between, ideally one in March and one in April, to clean routines and make necessary adjustments. External factors, such as school trips or holidays like Easter, are carefully considered to avoid conflicts. Recitals are also fixed events, with the home base recital on the second Saturday in May and the second location's recital the following week. This intricate puzzle of dates, rehearsals, and performances requires a dedicated "studio planner" where Kendal tracks not only studio events but also individual dancer commitments, such as Pilates training or family vacations, to ensure comprehensive oversight.

FAQs for Dance Studio Owners

Q1: How long does it take to build a strong dance studio culture?

A1: Building a strong dance studio culture is a gradual process that requires consistent effort and time. It typically doesn't happen in just one or two years but evolves as values are reinforced and community bonds strengthen.

Q2: What are common misconceptions new dance studio owners have?

A2: A common misconception is underestimating the "people business" aspect. New owners often don't anticipate the complexities of managing diverse personalities among dancers, parents, and staff, especially in competitive settings.

Q3: How can I keep young dancers (e.g., 5-year-olds) engaged in class?

A3: To keep young dancers engaged, incorporate frequent changes in activities, maintain a dynamic flow of movement, and adopt an energetic, performative teaching style. Constant variety and enthusiasm are key.

Q4: Is it worth opening a second dance studio location?

A4: While challenging initially, opening a second location can be highly rewarding. It expands your community reach, offers more opportunities for dancers, and can lead to larger-scale productions and stronger inter-studio relationships.

Q5: How can dance studio nationals be made less stressful for dancers and families?

A5: Strategic planning, clear communication, and a focus on the "fun" aspect are crucial. Spreading out performances over several days, fostering team-building activities outside of competition, and emphasizing enjoyment over intense pressure can significantly reduce stress.

Q6: What software features would greatly assist a dance studio owner?

A6: Dream software features include automated scheduled email capabilities and an integrated inventory system for items like tights that automatically charges accounts upon distribution, streamlining administrative tasks.

Conclusion: Dancing Towards a Thriving Studio

Kendal's two decades of experience at the helm of Northern Lights Dance Academy offer a masterclass in navigating the multifaceted world of dance studio ownership. Her journey underscores that success isn't solely about dance technique; it's about cultivating a vibrant community, mastering the art of people management, and embracing continuous learning. From the strategic expansion to multiple locations to the nuanced art of keeping young dancers captivated, her insights provide a beacon for both aspiring and seasoned studio owners. The core message resonates: prioritize fun, foster positive relationships, and remember that every challenge is an opportunity to strengthen the studio's foundation.

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a note from the interviewer, Prisha:

Talking with Kendal was such a treat because it was fascinating to hear how she’s grown her studio, expanded her programs, and built two thriving locations in two communities. There were so many practical insights in this conversation for studio owners who are thinking about sustainable growth without losing what makes their studio special. As we talked about everything that goes into running a studio, I was reminded exactly why I built danZING: to take competition team management off a studio owner’s plate by giving dancers and teachers the tools to stay accountable, so owners can focus on growing their business instead of chasing logistics. If you’re ready to save time this competition season, start your free one-month trial of danZING here, lock in 25% off for the lifetime of your subscription, and book a free personalized onboarding call with me!

Beyond the Barre: Sam Bower on Building a Thriving Dance Studio Community

Sam Bower, owner of The Performing Arts Connection (TPAC), builds a thriving dance studio community by anchoring every decision in core values, implementing robust systems for operational efficiency, and fostering a deeply intentional studio culture. She emphasizes developing students both on stage and in life through leadership programs, continuous feedback, and strong alumni engagement. Her approach to marketing, particularly on social media, is authentic and leverages personal experience to connect with her audience, demonstrating that sustained growth and community are achieved through deliberate, values-driven actions.

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TL;DR: Key Takeaways for Studio Owners

•Values-Driven Decisions: Every operational and programmatic choice at TPAC is filtered through a set of core values, ensuring consistency and alignment across all departments and staff.

•Systematized Growth: To manage the complexities of a growing studio, Sam prioritizes documenting all processes. This ensures consistency, smooth onboarding for staff, and effective problem-solving by identifying system gaps.

•Holistic Student Development: TPAC goes beyond dance steps, offering programs like Star Leadership and an apprentice program to cultivate life skills, leadership, and community engagement in students.

•Authentic Social Media Engagement: Sam's successful Instagram presence stems from being herself, embracing the seasonality of dance studio life for content ideas, and learning from what resonates with her audience, rather than relying on generic AI-generated content.

•Community and Support Networks: Recognizing the solitary nature of studio ownership, Sam advocates for connecting with like-minded studio owners and building strong alumni relationships to foster mutual support and continued engagement.

How Does a Dance Studio Owner Logistically Manage Diverse Programs While Maintaining Quality?

For Sam Bower, the owner of The Performing Arts Connection (TPAC) in Sudbury, Massachusetts, managing a comprehensive performing arts studio that offers dance classes, competition teams, musical theater, voice, and acting classes, all while ensuring high-quality experiences, begins with a steadfast commitment to core values. Entering its 20th anniversary season, TPAC has grown significantly, and Sam attributes much of its success to this foundational principle.

"Our core values are at the center of every decision... things like growth and empowerment and service. And so every decision that is made through the business, we put through the lens of those core values."

This approach ensures that despite the diversity of programs and the number of staff members, the studio's offerings remain consistent and aligned with its overarching mission. It prevents departments from operating in silos and ensures that every student receives a similar, high-quality experience, regardless of their teacher or class.

What Are the Biggest Operational Challenges for a Growing Dance Studio, and How Are They Managed?

Growth, while desirable, inevitably brings new operational challenges. Sam notes that as the studio expands, so do the complexities: "The more students we have, the more layers of challenges that we're going to experience, and new things will pop up that we might not have considered before." This includes an increase in parent inquiries and potential issues. To navigate these challenges, TPAC relies heavily on robust systems.

Sam firmly believes that if a process "lives in your head, it's gonna die when you leave the studio." Therefore, documenting everything is crucial for consistency year over year. This systematized approach extends to staff onboarding, ensuring that every new team member receives the same training and messaging. When problems arise, the focus is not on blame but on identifying gaps—whether in training, systems, or communication—and proactively addressing them to prevent recurrence. This forward-thinking mindset, coupled with a positive approach, allows TPAC to continuously refine its operations.

Cultivating More Than Dancers: Life Skills and Community

How Does TPAC Develop Students On Stage and In Life?

TPAC's mission extends far beyond teaching dance steps; it's about nurturing well-rounded individuals. Sam emphasizes that dance studio owners are essentially teaching life skills and communication. This holistic development is integrated into the studio's fabric through several intentional strategies and programs.

One key element is the hiring process, which is designed to ensure a cultural fit. Staff members are selected not just for their technical skills but for their alignment with the studio's mission and values, ensuring that the life skills curriculum is consistently reinforced from the top down. TPAC also offers programs that encourage community engagement and leadership:

•Leadership Program: This program, developed by studio owner Tracy Wozney, is part of TPAC's apprentice program. Teens and tweens assist in classes, acting as leaders and further developing their own leadership skills through dedicated training.

•Apprentice Program: Initially born out of a need for assistance and students' desire to help, this program formalizes mentorship opportunities. It allows older students to gain valuable experience and build deeper relationships with their teachers, fostering a sense of responsibility and community.

•Student Leadership within Dance Teams: Team captains play a vital role, participating in leadership activities and contributing to the team's cohesion.

How Does TPAC Maintain a Strong Studio Culture and Gather Feedback?

Maintaining a positive studio culture is paramount for Sam. She describes it as an "intentional practice that has to be nurtured every single day by every single person on your team." This protective stance ensures that everyone feels good when they enter and leave the studio. To measure the effectiveness of their programs and ensure student goals are met, TPAC employs a strong culture of feedback.

Families and students are surveyed multiple times a year, particularly after performances and mid-year. These surveys gather insights on what the studio is doing well and areas for improvement. This data-driven approach helps TPAC ensure they are effectively instilling confidence, providing leadership opportunities, and teaching kids how to contribute to their community. The studio also boasts a strong alumni program, with former students returning to work, help at recitals, or simply remain part of the TPAC family. This continued engagement is a testament to the lasting impact of the studio's culture and its focus on developing individuals for life beyond dance.

Mastering the Digital Stage: Social Media for Dance Studios

How Can Studio Owners Build an Authentic and Engaging Instagram Presence?

Sam Bower's personal Instagram presence has garnered significant attention for its relatable, funny, and authentic portrayal of dance studio life. Her journey into social media began unexpectedly when a personal TikTok video went viral. This experience opened her eyes to the potential of social media, leading her to experiment with content that resonated with her audience, particularly through humorous skits about "dance moms."

Her advice for other studio owners looking to grow their Instagram presence is simple yet profound: "just to be yourself." She found that content created authentically, allowing ideas to flow naturally, performed far better than anything she "tried too hard" to produce. Key strategies for effective social media engagement include:

•Embrace Seasonality: Align content with the natural rhythms of dance studio life (e.g., nationals, class placements, fall registration, recitals). This ensures relevance and resonates with what the audience is currently experiencing.

•Follow Your Success: Analyze which posts perform well and understand why. While some viral moments might be inexplicable, identifying patterns in successful content helps refine future strategies.

•Authenticity Over AI: Sam explicitly states that AI-generated content (like ideas from ChatGPT) has been "terrible" for her, emphasizing the importance of drawing from personal experiences and observations of real-life studio situations.

•Watch Content: Staying updated with trends and observing what other studio owners are doing can provide inspiration and help identify popular formats or topics.

•Strategic Hashtag Use: While opinions vary, Sam finds consistent use of a few core hashtags, with one or two rotating ones, to be beneficial for discoverability.

Her journey highlights that building a strong online presence is an iterative process of learning, experimenting, and staying true to one's unique voice, ultimately helping to market the studio and foster a broader community.

What is Sam Bower's Vision for The Performing Arts Connection's Future?

As TPAC celebrates its 20th anniversary, Sam's vision is one of continued growth, community celebration, and unwavering commitment to its mission. The studio is planning a grand gala, a return trip to Disney World for its dance team, and a performance on a Royal Caribbean cruise for its adult glee club. The most significant development, however, is a massive 9,000-square-foot expansion of the studio space, including a playground, which will open up new possibilities for programs like summer camps.

Despite this physical and programmatic expansion, Sam's core focus remains on the studio's mission: "where everyone gets to be in the limelight, where we are continuing to foster a community where kids feel safe and supported and happy." She envisions TPAC as a well-run organization that gives back to the community through charity concerts, food drives, and financial aid programs, always leading with love and kindness. Her broader hope for the dance world is increased inclusivity, using her platform to advocate for a more welcoming and supportive environment for all.

What Are Common Misconceptions for New Dance Studio Owners?

Drawing from her two decades of experience, Sam shares crucial advice for aspiring and current studio owners, highlighting common pitfalls and often-overlooked aspects of the business:

1.Legal Compliance: "Like anything to do with your state laws." Many owners underestimate the importance of legal compliance, from required posters to proper employee classification (e.g., ensuring staff are W-2 employees, not 1099 contractors). She stresses the value of a good attorney to ensure ethical and lawful operations.

2.Financial Realities: The true costs of running a studio and the amount of financial acumen required are often underestimated. Sam advises bringing in financial expertise to manage the numbers effectively.

3.The Need for a Support Network: Studio ownership can be a lonely journey, especially for solopreneurs. Sam strongly recommends joining groups of like-minded studio owners. These networks provide invaluable support, a sounding board for ideas, and a shared understanding of the unique challenges of the profession. Organizations like "More Than Just Great Dancing," "Dance Life," and the "Dance Studio Owner Association" are cited as examples of places to find such communities.

What is the Dream Software for a Dance Studio Owner?

When asked about her dream software, Sam articulates a common frustration among studio owners: the lack of a single, comprehensive solution. She currently uses two separate database software groups because no single product on the market can meet all of TPAC's needs. Her ideal software would be a unified database service that combines "all the pros and benefits of the various dance studio softwares that are out there into one that can kind of do it all."

Conclusion: Remembering Your Why

Sam Bower's journey with The Performing Arts Connection is a testament to the power of passion, intentionality, and community. Her final words of advice resonate deeply with any entrepreneur: "Find ways to remember why you love what you do... remembering why you got into this, why you love it, why it's important to you, why it's important to the world." In the face of inevitable challenges and hard days, having tangible reminders—like kind emails from happy parents—can provide the necessary anchor to stay motivated and continue making a life-changing impact on every child who walks through the studio doors.

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Frequently Asked Questions (FAQs)

1. How important are core values in managing a dance studio?

Core values are paramount. They serve as a lens through which all decisions are made, ensuring consistency in quality, programming, and staff conduct, especially as the studio grows and diversifies its offerings.

2. What kind of leadership programs can dance studios implement for students?

Studios can implement apprentice programs where older students assist in classes, formal leadership training programs like TPAC's Star Leadership, and student leadership roles within dance teams (e.g., team captains) to foster responsibility and community engagement.

3. What are effective social media strategies for dance studio owners?

Effective strategies include being authentic, aligning content with the seasonality of dance studio life, analyzing past successes to inform future posts, drawing content ideas from real-life studio experiences, and using hashtags strategically. Avoid generic AI-generated content.

4. What are common overlooked aspects of dance studio ownership?

New owners often overlook legal compliance (state laws, employee classification), the significant financial management required, and the critical need for a strong support network of fellow studio owners to share experiences and advice.

5. How can dance studio owners maintain a positive studio culture?

Maintaining a positive culture requires intentional daily effort from every team member. Key strategies include anchoring decisions in core values, fostering open communication, gathering regular feedback through surveys, and building strong relationships with students, parents, and alumni.

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a note from the interviewer, Prisha:

Ever since I came across Lavender’s mom on Instagram, I knew I wanted to sit down with Sam. I was so curious about how she’s built such a strong studio community while also creating content, expanding her programs, and balancing it all behind the scenes. This conversation is a must-listen for any studio owner who wants to grow a community that lasts and learn how to make content without letting it take over their business. It also reminded me exactly why I built danZING—to save studio owners time by simplifying competition team management while giving dancers and teachers one place to stay on top of rehearsals, costumes, schedules, and everything else. If you’re ready to spend less time managing logistics and more time growing your studio, start your free one-month trial of danZING below and lock in 25% off for the lifetime of your subscription as an early customer.

The Studio Owner’s Guide to Running a Thriving Dance Studio

How do you run a successful dance studio while maintaining your sanity and creative spark? The secret lies in building robust organizational systems, setting firm boundaries with parents and staff, and fostering a growth mindset that prioritizes long-term student development over short-term "wins." By implementing clear contracts, detailed recital-season workflows, and a culture of consistent feedback, studio owners can transition from chaotic management to intentional leadership.

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TL;DR: Key Takeaways for Studio Owners

•Systems Over Chaos: Use detailed checklists and labeled systems for everything from costumes to recital cues to ensure a seamless experience.

•Boundaries are Essential: Learn to say "no" to misaligned expectations. Firm boundaries with parents protect your studio’s culture and your own energy.

•The Power of Repetition: Real growth happens when students (and owners) embrace the "six-time rule"—mastery requires doing the hard things repeatedly.

•Contracts as Communication: Use contracts not just for legal protection, but as a tool to set clear expectations and ROI for both parents and dancers.

•Founder-Led Voice: Your unique perspective and story are your studio's greatest assets; don't be afraid to lead with them.

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How Can I Build a Sustainable Dance Studio Culture?

Building a sustainable culture starts with the founder’s vision and a commitment to relationship building. I’ve been running my own studio since I was thirteen, and if there’s one thing I’ve learned, it’s that people don't just come for the dance—they come for the connection.

“We’ve grown from a small "mom and pop" setup to expanding into new locations, but we’ve kept that core intimacy. It’s about creating a safe space where dancers feel they can find their voice. This means moving away from the "competitive stereotype" and toward a community that values the artist inside the dancer. When you prioritize the person-to-person side, the business side naturally thrives.” (Erin)

Why is Setting Boundaries with Dance Parents So Difficult (and Necessary)?

Setting boundaries is one of the hardest parts of the job, but it’s the only way to protect your niche. There’s a constant pressure to "give parents whatever they want," but that’s a recipe for burnout and a diluted studio identity.

“I’ve had to learn the hard way that saying "no" is a practice. Whether it’s about extra classes that don't fit the schedule or parents trying to dictate the curriculum, you have to stand by your standards. We use "signing season" as an opportunity for deep conversations, not just about money, but about the investment in the journey. If a parent isn't aligning with our mission, it’s better to address that early than to let it create friction later.” (Erin)

What is the Best Way to Organize a Seamless Dance Recital?

“Recital season is notoriously chaotic, but it doesn't have to be. The best recitals I’ve ever run were the ones where I leaned into my "Type A" nature and systemized every single moving part.” (Erin)

The Costume Tracking System

“We don't just hand out costumes; we have a full "behind-the-scenes" status for every piece. Each costume is labeled, tracked, and associated with a specific hairstyle, rehearsal time, and light cue.

•Costume Cards: We use multiple items and label them clearly so there’s zero confusion for the parents.

•Master Lists: We keep a thorough readout at the front desk. As dancers arrive, we mark them off, ensuring every child is accounted for and ready."” (Erin)

Leveraging Your Team

“Don't try to be everywhere at once. I bring in all my teachers for both dress rehearsals and the final show. We set up specific routines for backstage management, where teachers are stationed throughout the space to support our senior non-teaching staff. This allows me to focus on the "big picture" while the team handles the light and sound cues seamlessly.” (Erin)

How Do I Help Dancers Overcome the "Shut Down" Mentality?

We’re seeing a trend where young dancers shut down the moment something feels hard. If they can’t get a movement right away, they give up. As an educator, you have to address this head-on.

“I will literally stop an hour-long class to talk about mindset. We slow things down, focus on the specific muscles being taxed, and remind them that they are artists. The "mental unlock" happens when they realize that being tired or sweating isn't a sign of failure—it’s a sign of growth. We encourage them to find their favorite details in a movement and practice the new steps until they feel like their own.” (Erin)

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FAQs: Running a Successful Dance Studio

How do I handle tough conversations with parents?

The secret is to rely on your contract and your expectations. Don't make it personal. Refer back to the signed agreement and the shared goals you established at the beginning of the season.

What should be included in a dance studio contract?

Beyond the basics, include clear boundaries regarding communication, recital expectations, and the studio’s philosophy on competitive vs. community dance. It should be a roadmap for the season's ROI.

How can I manage recital stress as a studio owner?

Systemize everything. Use labeled costume bags, master check-in lists, and a clear chain of command for your teaching staff. The more you automate the logistics, the more you can enjoy the artistry.

How do I encourage a growth mindset in young dancers?

Lead by example. Share your own struggles and "unlocks." Stop the class to discuss the "why" behind the movements and celebrate the effort of repetition rather than just the final performance.

How do I know when to expand my studio?

Look for the signs of thriving—consistent enrollment, a strong team connection, and a community that is actively seeking more from you. Expansion should feel like a natural next step, not a desperate reach.

Conclusion: Keep Dancing, Keep Leading

“Running a studio is a journey of constant learning. My biggest advice? Don't be shy, and don't listen to the noise that tells you to compromise your vision. You are the business, and your niche is your strength. Keep investing in your craft, your team, and those "tough" conversations—they are the building blocks of something truly amazing.” (Erin)

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a note from the interviewer, Prisha:

Talking with Erin was such a treat because one of the hardest parts of running a studio isn’t choreography—it’s navigating the tough conversations with parents, dancers, and families. I really appreciated how openly she shared the lessons she’s learned and the strategies that have helped her lead those conversations with confidence and empathy. If you’re a studio owner in the middle of auditions or already planning for next season, this episode is full of practical advice you can apply right away. It’s also exactly why I built danZING: to make managing your competition teams simpler, so you can spend less time on logistics and more time leading your studio. Start your free one-month trial of danZING and lock in 25% off for the lifetime of your subscription right here.

How to Build a Dance Studio Culture That Supports Competition, Growth, and Community

Building a strong dance studio culture means creating a space where dancers can compete at a high level without losing community, kindness, or growth. It also means understanding that studio ownership is not just about teaching dance — it is about leadership, systems, communication, and designing pathways that help different dancers thrive in different ways.

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TL;DR

If you run a dance studio, the biggest lesson is that passion alone is not enough. You need structure, culture, and a clear idea of what success looks like for your dancers.

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What most people do not realize about studio ownership

A lot of people think opening a dance studio is mainly about loving dance and teaching classes. That is part of it, but the reality is that a studio is also a business, which means the job quickly grows into something much bigger. You are managing people, marketing, finances, events, scheduling, and the overall culture of your studio.

That is one of the biggest misconceptions people have about studio ownership: it is not just a creative role, it is an entrepreneurial one. When a studio grows, the responsibilities grow with it. At first, you might be teaching a few classes a week. Later, you might be managing staff, planning recitals, creating content for social media, and making decisions that shape the entire student experience.

And honestly, that part matters. Because the reason so many studio directors stay in it is not just because they love teaching — it is because they get to walk alongside dancers through years of growth. They get to watch kids become leaders, performers, and even teachers. That kind of connection is what makes the work so meaningful.

How do you keep competition positive?

Competitive dance can be intense, but it does not have to turn into a cold or toxic environment. The key is to make the culture clear from the beginning. Dancers should know that competition is about excellence, but it is also about encouragement, respect, and showing up for each other.

At a healthy studio, dancers are expected to cheer for one another, support each other after a tough result, and build each other up backstage and outside the stage lights. Those expectations cannot be left unsaid. They have to be part of the conversation early, so dancers understand that being competitive does not mean being disconnected.

That is what creates the “dance family” feeling people always talk about. It is not accidental. It comes from intentional leadership, repeated conversations, and setting the tone before competition day even begins. When dancers know the standard, they rise to it.

How do dancers grow in different ways?

One of the most important lessons from this conversation is that not every dancer grows the same way. Some dancers are motivated by competition. Others love performance. Some are interested in leadership, while others want structure, fitness, or a clear exam-based pathway. A strong studio makes room for all of that.

That is why it helps to build what can be thought of as multiple pillars of opportunity. Instead of forcing every dancer down the same path, the studio can offer different routes based on what each dancer needs and wants. That might include community classes, performances, competition, leadership roles, and exams.

This approach is powerful because it makes dance feel more accessible. A dancer who does not want the intensity of competition is not pushed out — they are redirected into a path that still keeps them connected to the studio. That kind of flexibility helps dancers stay engaged through different life stages, whether they are young children, teens, or older students balancing school and university.

What does a strong program actually look like?

A good studio program does not start with random ideas. It starts with a clear question: What do I want dancers to be able to do by the end? Once that is clear, the rest of the structure becomes easier to build.

That mindset works for any class level. You can look at one year of training and map out the exact skills, habits, and confidence you want dancers to leave with. Then you build classes, levels, and opportunities around that outcome.

For a studio, that creates something much more sustainable than guessing as you go. It gives you a big-picture vision, but it also helps you stay practical. If you are starting small, you may need to combine age groups or simplify the structure at first. But if the long-term map is already there, growth becomes much easier later.

Why does mapping the year matter?

Mapping out the year gives dancers and studio directors a clearer path forward. It turns a dance season into something intentional instead of reactive. Instead of just hoping students learn “something,” you know what each season, class, and event is designed to build.

In this conversation, that idea showed up clearly in the way the studio planned around different opportunities across the year. Exams, performances, and competition each have their own place in the calendar, and each one serves a different kind of dancer growth. That kind of structure makes a studio feel more organized, more supportive, and more professional.

It also helps with sustainability. When your classes, age groups, and goals are all mapped out, you can adapt more easily as your studio grows. You are not starting from scratch every time you add a new class or bring in a new student group. You already have the foundation.

What kind of software do studio families actually want?

The dream software for a studio is not complicated. It is simple, easy to use, and built for families who need quick access to the information they actually care about. That includes class notes, updates from instructors, studio chat, reminders, and shared files in one place.

What matters most is user-friendliness. A studio director may be willing to work through something more complex on the back end, but the family experience has to be smooth. Parents and dancers should be able to get what they need without confusion or extra steps.

That detail says a lot about what modern studios need. It is not just about teaching dance anymore — it is also about communication, organization, and making the experience feel accessible for everyone involved.

What advice matters most for aspiring studio directors?

The best advice here is simple: if you are on the fence, go for it. If you are already in it, keep going. Studio ownership is a roller coaster, but if you have a vision, that vision exists for a reason.

That is probably one of the most founder-like truths in the whole conversation. So much of building something meaningful comes down to staying with the idea even when it takes time, even when it is messy, and even when you cannot see the full outcome yet. Passion matters, but consistency matters too.

For studio directors, that means trusting the process while still doing the hard work of building systems, culture, and programs that actually serve dancers. That is what turns a studio from a place where people just take class into a place where dancers grow, belong, and become more confident in who they are.

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FAQs

What is the biggest misconception about owning a dance studio?

The biggest misconception is that it is only about teaching dance. In reality, studio ownership includes business management, staffing, marketing, finances, event planning, and culture-building.

How do you build a positive competitive dance culture?

You build it by setting expectations early, encouraging dancers to support one another, and making kindness part of the studio standard. Culture has to be intentional, not assumed.

How can studios support dancers with different goals?

Studios can offer multiple pathways such as competition, performance, leadership, exams, and community-focused classes so dancers can choose what fits their interests and stage of life.

What is the best way to design a dance program?

Start by asking what you want dancers to be able to do by the end of the year or program. Then build classes and levels around that outcome.

Why is studio mapping important?

Mapping helps create structure, supports long-term growth, and makes it easier to build a sustainable studio system as you expand.

What features do dance studio families need in software?

Families usually want simple access to class notes, reminders, studio communication, and shared files in one easy-to-use place.

What advice would a studio director give to someone starting out?

If you have the vision, keep going. Studio ownership is difficult, but the passion and purpose behind it are worth pursuing.

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a note from the interviewer, Prisha:

This conversation with Nicole was one of the most tactical ones I’ve had to date—so many valuable insights on expanding a studio and its offerings while still protecting your sanity :) and maintaining a strong team culture. I’d highly recommend this episode to any dancer or aspiring studio director curious about how programs like competition teams are actually built, and to current studio directors looking to grow their programs intentionally.

More than anything, though, this episode was such a good reminder to just go for your dreams—what’s really stopping you? That’s something I’ve had to keep coming back to while building and rebuilding DanceVibes, and while creating danZING for dancers and comp teams who need a simpler way to stay organized. If this episode got you thinking about how much smoother training, team communication, and studio systems could be, you can check out the danZING to see what I’ve been building.

The Reality of Running a Dance Studio: Community, Culture, and Scheduling Chaos

TL;DR

In this episode of Chief Studio Officer, Shana Bonetti from Epic Dance Company shares the realities of dance studio ownership. She debunks the myth of the "ideal schedule," emphasizing the 24/7 nature of the job. Shana highlights the importance of creating a safe, inclusive environment where dancers can build confidence and focus on quality over quantity. She also discusses her communication strategies using The Band app and the meticulous, visual process of creating a studio schedule with the help of her sister. Her ultimate advice? Ask for help, remember why you started, and focus on community over competition.

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When you picture owning a dance studio, you might imagine spending your days choreographing beautiful routines, mentoring young dancers, and enjoying the flexibility of being your own boss. But as any seasoned studio director will tell you, the reality is often much more demanding.

In a recent episode of Chief Studio Officer, we sat down with Shana Benetti, the owner and director of Epic Dance Company in Flemington, New Jersey. Shana opened up about the true challenges and profound rewards of dance studio management, offering actionable insights for anyone looking to grow their dance studio.

The Biggest Misconception About Studio Ownership

Many aspiring studio owners believe that working for yourself means creating an ideal, flexible schedule. While you do have autonomy, Shana points out a crucial reality check:

"I think that the biggest misconception is that it's easier than it's going to be, and that you are, as the owner, going to be able to have some free time when really you're working 24/7 nonstop as a studio owner."

From sunup to sundown, studio directors are juggling schedules, answering emails, and making decisions that impact both individual students and the studio as a whole. It’s a labor of love, but it’s undeniably a labor-intensive one.

Cultivating Confidence and a Safe Space

Epic Dance Company’s mission is to create confident, quality, versatile young dancers. But how does a studio actually translate that mission into daily practice? For Shana, it all starts with safety.

"In order for a child to be able to feel confident, they need to feel safe," she explains. Whether it's a two-year-old in a recreational class or an 18-year-old competitive dancer, the goal is to make the studio feel like a second home. When dancers feel supported by their teachers and peers, they are more willing to take risks, fail, and try again.

This focus on emotional well-being naturally leads to higher quality dancing. Epic Dance Company prioritizes "quality over quantity," focusing on fewer routines executed at a higher caliber rather than overwhelming students with sheer volume.

Streamlining Dance Studio Communication

Effective communication is the backbone of any successful dance studio marketing and management strategy. To keep everyone informed without causing overwhelm, Shana relies on a multi-channel approach:

1.Email: Used for formal, detailed information.

2.Social Media: A vital tool for building community and showcasing the studio's culture to current and prospective families.

By making herself as available as possible and utilizing these tools, Shana ensures her "village" operates smoothly.

Maintaining Culture During Studio Growth

As a studio grows and achieves competitive success, maintaining a positive, family-like culture can be challenging. Shana combats the potential for toxic competitiveness with a few core philosophies:

•"If you're the best person in the room, you're in the wrong room." This encourages dancers to view their peers as inspiration rather than competition.

•"Be where your feet are." In a fast-paced world, Shana reminds her students to stay present and leave outside stressors at the door.

She also emphasizes that culture trickles down from the top. By modeling a deep love for the art form and a commitment to mentorship, her staff and older dancers naturally adopt the same inclusive, supportive behavior.

The Nitty-Gritty of Dance Studio Scheduling

Perhaps the most daunting task for any studio owner is creating the weekly schedule. Shana is committed to supporting the "whole child," meaning she works hard to accommodate dancers who are also involved in high school dance teams, drama clubs, or varsity sports.

Her scheduling process is a fascinating blend of visual creativity and methodical logic. She teams up with her sister (who has a numbers-oriented brain) and uses a massive visual board with color-coded Post-it notes.

"We basically just start moving, take a break, take a step back from it... It takes a lot of time and even sometimes we think we're done and then we're like, oh, wait, actually, I don't think that that's going to work."

It’s a painstaking process, but it ensures that the schedule works for the staff, the studio space, and most importantly, the dancers.

Final Advice for Studio Directors

Shana’s parting advice for her fellow studio owners is simple but profound: Ask for help.

"We as studio owners feel sometimes like superheroes because we are really managing so much, but remembering that we are not actually, in fact, superheroes and we can ask for help... is what is going to help us continue that superhero status."

Whether it's bringing in a family member to help with scheduling or delegating tasks to trusted staff, sharing the load is essential for long-term success and avoiding burnout.

Running a dance studio is not for the faint of heart, but as Shana’s journey with Epic Dance Company proves, it is an incredibly beautiful and rewarding endeavor. Remember why you started, lean on your community, and always be where your feet are.

a note from the interviewer, Prisha:

This conversation came at exactly the right time for me! Dance spaces can sometimes become competitive or overwhelming, so hearing Shana's perspective on community, encouragement, and the positive impact we can have on one another was a powerful reminder of why so many of us fell in love with dance in the first place.

Throughout our conversation, it was clear that strong studio culture doesn't just happen—it is intentionally nurtured every day. That belief is at the heart of danZING by DanceVibes. I created it to help studio directors foster better communication, greater accountability, and stronger connections so dancers can focus on growing, learning, and supporting one another.

If you're working to build a studio culture where every dancer feels seen and supported, I'd love for you to visit the danZING landing page and learn more about what we're building.

How to Grow a Dance Studio from 50 to 600 Students with a Heart-Centered Approach

TL;DR

Owning a dance studio is 20% dancing and 80% business maintenance. In this episode of Chief Studio Officer, Sarah from Dance Star Academy of Performing Arts shares how she scaled her studio from 50 to 600 students by focusing on a recreational, child-first philosophy, teaching life lessons over strict perfection, and keeping recitals short, sweet, and family-friendly.

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Welcome back to another interview with Chief Studio Officer, the go-to space for aspiring and current studio directors to learn, grow, and inspire one another. Today, I am sitting down with the incredible Sarah, owner of Dance Star Academy of Performing Arts.

Nine years ago, Sarah purchased a small, existing dance studio with just 50 students. Today? They are serving over 600 dancers. What makes this growth even more jaw-dropping is that Sarah’s studio is located within a 5-to-10-minute radius of several massive, famous dance studios.

So, how do you grow like wildfire when you are surrounded by industry giants? You find your niche, you protect your culture, and you focus on the heart.

The 80/20 Rule of Studio Ownership

For those dreaming of opening their own doors, there is a major misconception floating around the industry. Many dancers assume that owning a studio means you get to spend all day choreographing, dancing, and creating.

Sarah quickly sets the record straight:

"A lot of people think you just love dance, and that's it. But owning a studio is 20% dance and 80% maintenance."

From managing people and resolving conflicts to handling administrative tasks and marketing, the "behind-the-scenes" workload is massive. It is the creative, artistic moments with the kids that make it an incredible career, but without preparing for the heavy lifting of business operations, burnout happens fast.

If you are just starting out, Sarah’s advice is simple: Start small, stay simple, and learn from the bottom up. This allows you to scale at a pace that matches your budget, your time, and your personal life.

An Unconventional Path: The Non-Traditional Dance Director

Interestingly, Sarah didn't grow up in the typical studio environment. Unlike most directors who started dancing at three or four years old, Sarah didn't dance as a youth. Instead, she fell in love with dance during college, trained heavily across genres for eight years, and earned a degree in elementary education.

This unique background became her secret weapon. Because she wasn't raised in a traditional, hyper-competitive studio culture, she didn't feel boxed into copying anyone else's model. She merged her deep understanding of childhood development, patience, and pedagogy with her love for movement to create a completely fresh concept.

Before the age of smartphones, Instagram, or TikTok, Sarah built her initial business from scratch by mailing physical packets to 100 local schools. She built a traveling dance program that serviced local schools for 15 years while raising her own children, eventually transitioning into the brick-and-mortar studio space as her family grew.

Culture Over Competition: Teaching Life Skills Through Dance

When asked about the secret behind her massive growth from 50 to 600 students, Sarah attributes it directly to her "child-first" philosophy.

While many neighboring studios pour all their energy and resources into the naturally talented, elite dancers, Sarah built a safe haven for everyone.

• Inclusivity: Giving opportunities to children who might be turned away or overlooked at highly competitive studios.

• Technique with Heart: Prioritizing excellent technical training without sacrificing a child's self-esteem.

• Life Lessons: Using dance as a vehicle to teach teamwork, resilience, kindness, and how to win gracefully.

Ultimately, most students will not grow up to be professional dancers, but they will carry the confidence, work ethic, and character they learned at the studio into adulthood.

Managing the Non-Stop Studio Calendar

Studio life is a marathon. Sarah notes that the hustle is completely non-stop—just last night before the interview was their major competition banquet, and today she is back in the office prepping for recital season, with auditions looming just a week after that.

To survive the madness and keep families happy, Sarah relies on a few strategic boundaries—especially when it comes to the dreaded, marathon-length dance recital.

Her signature approach? Keep recitals short, sweet, colorful, and memorable. By designing high-energy shows that don't drag on for three or four hours, she keeps the audience engaged, the energy high, and—crucially—saves the dads and brothers from recital fatigue!

Building a successful dance studio isn't about competing with the biggest names in town; it’s about knowing exactly who you are, serving your community with integrity, and keeping the kids at the center of everything you do.

a note from the interviwer, Prisha:

What an inspiring conversation with Sarah! One of my biggest takeaways was her reminder that there isn't just one path to success in the dance industry. It was refreshing to hear how she built something unique while staying true to her vision and values. Even more inspiring was her dedication to creating a kind, supportive environment where dancers can thrive.

That focus on people is what led me to create danZING by DanceVibes. Behind every successful studio is a strong community, and strong communities need tools that make communication simpler, clearer, and less stressful for everyone involved. My goal with danZING is to help studio directors spend less time managing confusion and more time building the culture they want dancers to remember.

If Sarah's perspective resonated with you, I encourage you to take a look at the danZING landing page and see how we're helping studios create more connected dance communities.

What It Really Takes to Run a Dance Studio: Suzanne Citere on Business, Communication, and Community

TL;DR

Suzanne Citere, founder of RealDance Studio, shares what it really takes to run a dance studio: the job is about much more than dance. She breaks down common misconceptions, the importance of business skills, and why relationships with students, families, and staff are the heart of studio ownership

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Welcome to the first interview for Chief Studio Officer, a podcast by DanceVibes created for aspiring studio directors and current studio directors who want to learn from each other. In this conversation, we’re joined by Suzanne Citere of RealDance Studio in Lighthouse Point, Florida, who shares what it really means to build and run a dance studio.

Suzanne has been a dance teacher for more than 40 years and opened Real Dance in 2003. She just completed her 23rd year in business and is preparing to start season 24 in the fall. Beyond teaching, she says she genuinely loves mentoring new studio owners, teachers, and anyone just getting started. Her DMs are always open, and that generosity comes through in the way she talks about the dance community.

One of the biggest misconceptions new studio directors have, Suzanne says, is believing that most of the job will be about dance. In reality, 90 percent of her time is spent handling things that have nothing to do with choreography, classes, or performances. She mentions everything from air conditioning maintenance and landlord issues to taxes and insurance. Running a studio, she explains, is really like running any other small business.

That’s why she believes aspiring studio owners need an affinity for business just as much as they need an affinity for dance. Loving dance is important, but it is not enough on its own. The day-to-day reality of studio ownership often includes inspections, repairs, scheduling, operations, and problem-solving behind the scenes. For anyone who dreams of opening a dance studio, that business side is not optional; it is the work that makes everything else possible.

Suzanne also points out that the early years can be especially demanding. When a studio is just getting off the ground, the staff is usually small, which means the owner often has to do everything. In her case, she says that changed over time. After more than two decades, she now has a strong team, including a studio manager and faculty she trusts, which allows her to delegate more effectively. Still, she remembers how hard it was in the beginning and how much of the load she carried herself.

Even with all the responsibilities, Suzanne says she stays connected to the parts of the job she loves most. For her, one of the greatest joys of studio ownership is watching students perform, seeing them shine on stage, and being part of that experience. She makes sure to protect competition weekends and show up for the kids because those moments matter to her.

What makes studio ownership truly meaningful, though, is the community built along the way. Suzanne says the best part of owning a dance studio is the relationships she has formed with students, alumni, parents, and faculty members. Those connections are what turn a studio into more than just a business. They create a space where people grow, stay connected, and come back long after their time as students ends.

For anyone thinking about becoming a studio director, Suzanne’s advice is clear: be ready for the business, not just the spotlight. A successful dance studio is built on organization, flexibility, leadership, and heart. And while the work may be more complicated than it looks from the outside, the relationships, performances, and long-term impact make it worth it.

a note from the interviewer, Prisha:

I absolutely loved this conversation with Suzanne. As someone who hopes to become a studio director one day, I walked away with a much deeper appreciation for both the challenges and rewards of leading a dance community. Suzanne spoke honestly about the unpredictability of studio ownership, but what stood out most was the fulfillment that comes from creating a place where dancers feel supported, inspired, and connected.

That commitment to culture is exactly what inspired me to create danZING by DanceVibes. Great studio communities don't happen by accident—they're built through clear communication, consistency, and making sure everyone feels included. danZING was designed to help studio directors strengthen those connections and keep their entire community moving together.

If you're passionate about building a studio culture like Suzanne's, I'd love for you to explore the danZING landing page and see what we're creating for dance studios.

Why Your Dance Team's Group Chat is Ruining Your Choreography Week

TL;DR

Ditch the chaotic web of group chats and endless emails. Discover how switching to a dedicated dance studio management app transforms competitive dance teams from forgetful and disorganized into self-sufficient, well-oiled machines during intense choreography weeks.

Let’s be real for a second: a lot of competitive dance teams are still completely stuck in the group chat model. You know exactly what I’m talking about. The teachers have a group chat. The parents have a group chat. The dancers have a group chat. And if your studio is trapped in the ultimate nightmare scenario, maybe everyone on the entire comp team is crammed into one giant, never-ending group chat.

It’s noisy, it’s chaotic, and stuff gets lost constantly.

We are officially stepping into audition and choreography season, which means it’s time to start prepping for a successful year ahead. Let’s walk through what a typical week in the life looks like for a competitive dance team without the group chat madness, and with a dedicated dance studio app instead.

The Old Way: Choreography Week Chaos

Picture a standard choreography week for your elite comp teens. In the past, the week probably kicked off with dancers completely forgetting when and where rehearsal actually started.

During practice, choreographers give crucial adjustments and notes. But the second the clock strikes, dancers rush out the door and run back to their cars for dear life. By the time they get home, those mental notes are completely gone.

Cue the administrative nightmare:

• Dancers and parents sending dozens of emails begging for music files.

• A gazillion text messages asking about corrections.

• Total confusion over which costume pieces need to be packed.

It’s pure chaos, a massive waste of your precious time, and it teaches dancers zero accountability.

The New Way: Streamlined Success with a Dance App

Now, let’s insert a modern dance studio app into the exact same choreography week- danZING.

Before rehearsal even begins, your dancers get a crisp mobile notification reminding them exactly when and where choreography starts. They also get an automated alert detailing the specific costume or practice wear they need to pack.

But here is where the real magic happens. Instead of sprinting to their cars the second rehearsal ends, the director or teacher gathers everyone up for just two to five minutes. They sit down, review the day's corrections, and log them directly into the app. This simple habit sets an immediate precedent. It builds an ecosystem of accountability, and suddenly, nobody is forgetting their spacing or notes anymore.

Building a Self-Sufficient Team

What about those endless requests for music and video files? Gone. Instead of flooding your inbox, dancers log into their app, open their team portal, and access the files themselves. Whether they uploaded it during practice or their teacher pinned it to the dashboard, the resources they need are right at their fingertips.

The result? You suddenly have a highly motivated, self-sufficient dance team. It’s not that they don’t need you anymore—it’s that they need you less for the tedious logistics, freeing up your schedule to focus on what you actually love: teaching, choreographing, and growing your studio business.

Ready to upgrade your studio? If you want to transform your dance team into a well-oiled machine this season, stop managing your business from a text thread. Email us or book a live demo call today to get your studio set up on the ultimate dance app.

Why the Next Generation of Winning Dance Teams Will Run Like Tech Companies

TL;DR Summary

The AI boom might be exhausting to hear about, but technology is quietly revolutionizing how competitive dance teams operate. The next generation of winning studios will run like high-performing tech companies—using the right tools to build a culture of accountability, streamlined communication, and rapid growth. By centralizing choreography, video reviews, and judge corrections in one place, tools like danZING bridge the gap between dancers, teachers, and parents to keep the whole team moving like a well-oiled machine.

In the middle of the massive AI boom we’re all living through right now, the very last thing you probably want to hear about is more technology—especially when it comes to dance. I completely get it. Dance is an art form rooted in human connection, sweat, and soul.

But take a breath: this isn't a post about AI replacing dancers. This is about technology as an empowerment tool and what it can do to elevate your artistry, organization, and competitive edge.

The next generation of competitive dance teams will run like top-tier tech companies. Or, more specifically, they will run like well-oiled machines—much like Abby Lee Miller’s famous Well-Oiled Machine contemporary piece.

Faster Growth, Better Systems

Let’s look at the facts: technology is getting better every day, and dancers are becoming more athletic and skilled than ever before. But imagine if your dancers could improve even faster. What if your competitive teams could accelerate their growth as a collective unit, empowering your students, your choreographers, and your local dance community as a whole?

This isn't a pipe dream. This is exactly what happens when dance teams start operating with the precision of a tech company.

So, how do you actually do that? It comes down to two things: the right tools and a strong team culture. Culture Starts with the Right Tools

We talk a lot about building a studio culture of accountability, preparedness, professionalism, and artistry. That’s a beautiful vision, and your studio likely already has the routines down—the rehearsals, the technique classes, the master workshops.

But do you have the infrastructure to back it up? If you don't have the specific tools designed to take your dancers over the competitive edge, a great culture can only get you so far.

That is exactly why danZING was created.

danZING is a centralized platform designed to keep your dancers, coaches, and teams completely accountable. If you take a look at the Danzing map, you can see studios and dancers all over the country who are already leveraging this approach to dominate the competition circuit.

Loop in the Parents, Level Up the Routine

Operating like a tech company means eliminating communication silos. With the danZING app, you get your team members onboarded, set up your custom training routines, and keep everything organized in one central hub.

• For Dancers: They can access everything from last week’s rehearsal videos to this week’s most recent technical corrections.

• For Coaches: Everyone is instantly notified when new notes are dropped, ensuring no one shows up to rehearsal unprepared.

• For Parents: Finally, parents are no longer left in the dark wondering what needs to be practiced at home.

The studios that are consistently placing at every single competition aren't just lucky—they are the ones running their teams like efficient organizations. They are constantly growing, constantly making gains, and constantly refining their systems.

Your team already has the heart and the culture. Let’s get you the tools to match.

Ready to Over the Edge?

I want to help you take your team to the next level. If you're ready to build the next great generation of dance teams, let's connect.

Feel free to email us, schedule a call, or even send us a text. We’ll get back to you right away. Who is ready to level up?

How Much Time is Your Competition Team Losing to Repetitive Questions?

TL;DR

Dance competition season shouldn't feel like an endless customer service loop. Between parents left in the dark, teachers juggling requirements, and dancers forgetting crucial corrections, competition teams lose days of productivity to the same repetitive questions. The danZING app fixes this chaos by centralizing music edits, packing lists, and time-stamped corrections into one easy-to-use platform, putting accountability back on the dancers and giving directors their time back.

Have you ever sat back and wondered exactly how many hours—or honestly, how many days—your competition team is losing to repeated questions every single season?

If you are a studio director or a competition coach, you know the feeling all too well. Dance parents are almost always left in the dark about the finer details of a chaotic competition weekend. Because they don’t know where else to turn, they resort to the only thing they know how to do: bombard your inbox with endless emails. At the same time, teachers are getting confused about changing seasonal requirements, and dancers are struggling to keep track of their own schedules.

It is a constant, exhausting cycle of communication breakdown, and it’s dragging your studio's progress down.

The Vicious Cycle of Disappearing Progress

When communication is scattered, routine progress over the course of a season naturally starts to degrade. It's a classic domino effect:

• Dancers forget the minor corrections, reminders, and adjustments made during last week's rehearsal.

• Parents forget to remind their dancers to review those notes at home.

• Teachers forget to follow up because they are managing dozens of different routines at once.

Before you know it, crucial logistical details start slipping down the funnel. Rehearsal times get mixed up, competition locations get confused, and call times are missed. The ultimate result? You end up with completely unprepared dancers showing up to major competitions, and a mountain of stress for the busy adults trying to keep it all together.

Build a Stronger Team with One Simple Solution

What if you could completely eliminate this entire cycle and build a stronger, more accountable team with just one simple app?

That is exactly where danZING comes in.

Danzing is everything your dance team needs, wrapped up into one super simple, intuitive app. It is designed so seamlessly that everyone in your ecosystem can master it instantly—directors, teachers, parents, and most importantly, the dancers themselves.

By putting the power in the hands of the dancers, the entire team stays organized. Parents and teachers no longer have to act as information referees; instead, they can use the app for basic administrative oversight and real-time transparency.

How It Works: Routine-Based Organization

Danzing operates on a routine-by-routine basis. You simply get your competition team members into the app, set up your active routines for the season, and let the platform handle the rest:

• Custom Packing Lists: Create designated packing checklists for every single competition event, rehearsal, or class so no one ever leaves their shoes or costumes behind.

• Time-Stamped Corrections: Log critiques and sync them directly to specific time stamps in your routine music, making it effortless for dancers to practice accurately at home.

• Centralized Media Storage: Securely save choreography videos, rehearsal audio, and performance files directly under the corresponding routine. No more expired links or missing video files.

Ditch the Chaos for Good

It’s time to step into a more professional, stress-free season. Say goodbye to cluttered group chats, endless text threads, and parents endlessly bombarding your inbox with the same questions. With Danzing, your entire studio gets a single source of truth.

Ready to give your studio its time back? If you want to learn more about how danZING can streamline your upcoming competition season, email us today or book a call to schedule a live demo!