How to Create Perfect Mime and Harlequin Makeup

Mode DionMimes painting the face white originated from stage shows dating back as far as 467 BC. This form of entertainment used gestures, mimics and dance, not words, to communicate and entertain. The purpose of the white face was to help the audience be able to see the performer from far away. The designs on the face helped bring the character to life and express emotion without words. For example, the tear drop in reference to saddness. Comedy arose from mime theater as well as satire. It is said that the first origin of show dancing, was a slow rhythmical song accompanied by the distinct movements and phases of dance mime.

The Athenians (sixth century B.C.) were the first people to introduce stage dancing with drama. The oldest of these dance dramas was called the “Delian Dance of the Labyrinth”, or the “Flight of the Cranes,” and was said to have been introduced by Theseus, King of Athens. These stage dances were the earliest representations of the Pantomime version of mime which has since been brought to such great perfection thru the ballet stage. Charlie Chaplin sprung from this art. Most cultures have some form or variation of the Pantomime in their history.

The Harlequin is characterized by his checkered costume. This character originated from an Itallian performance troup in the 16th century and became very popular in England and France. The character Harlequin was a light-hearted, nimble servant often acting to thwart the plans of his master. His main interrest was to win the love of Columbina, with wit and resourcefulness, often competing with the sterner and more melancholy Pierrot. Harlequin was a bit devious therefore sometimes depicted with a mask. Many villain characters later used this prop for drama. Without his mask he was often shown with a tear as he wept for Columbina.

These easy steps will show you how to get the perfect Mime Face for your next recital or performance:

Step 1. Wet White Pigment Paint and using a foundation brush dipped in a little water. Paint face until skin does not show through. Leave eye lids bare.

Step 2. Enhance eyes with matte eye shadows. Use black in outer corner, burgundy tone just above and across crease and cream color just below eyebrow. Create flush and drama with red toned cheek color at the outer eye bone. A little shimmer in the inner eye corner and brow arch will help add dimension to the eyes.

Step 3. Place eyeliner across lid and sweep up at the outer corner. Line across lower lashes and sweep down at the outer corner leaving lines apart. This creates an old fashioned “fishtail effect”. Apply white pencil in between lines to keep eyes looking wide. Using dry burgundy eye shadow, line over and just below lower line to round eyes and create a smokey effect.

Step 4. Apply red cheek color high on cheek rounds to flush.

Step 5. Line lips with a more brown tone lip liner, then lipstick to create a stronger lined lip look. Apply red lipstick over liner to enhance fullness. A smaller “rose bud” lip is often used.

Step 6. Paint a tear drop using the black eye shadow applied with a wet liner brush and fill in. Create reflection by applying glitter glue at reflective point of the tear and add a few glitter sparkles to help the drop look more realistic. Use same black eye shadow to line up from brow and below from center of lower lid down. A little glitter on the lips and at the center of eye lids can add more drama.

This tutorial will demonstrate:

Mode Dion Cosmetics has all the tools you need to get the look: White Pigment Paint, Eye Liner & Foundation Brush, Pro Pallet Eye Shadow Compact, Stage Red Cheek Color, Russet Lip Liner, Stage Red Lipstick, Shimmer Pot, Silver Glitter & Diva Glue. Click here to learn more.

By Christine Dion of Mode Dion.

Photo (top): Christine Dion’s model in Mode Dion Cosmetics mime makeup. Photo courtesy of Christine Dion.

The post How to Create Perfect Mime and Harlequin Makeup appeared first on Dance Informa Magazine.

Pointe Hurts…I Want to Quit!

By Laura Di Orio of Dance Informa.

Dance students new to pointe are always excited. They’ve been watching their favorite ballerinas since they were little, or they watched enviously in past years as their older peers got permission to get their pointe shoes. But now it’s their turn. They get fitted for their shoes, sew on their ribbons and elastics, maybe buy a special bag just for them, and then take the shiny satin shoes to class for the very first time.

And then…OUCH!

Maybe being en pointe doesn’t feel as dainty and pretty as one would have thought. Perhaps it feels, instead, uncomfortable. This sensation is common for dancers new to pointe, but it’s not something by which to get discouraged. Dancers don’t have to give up after one lesson, or even several. Dancers can get used to this new feeling of being on their toes, they can get stronger just by being up there, and they can learn some tips to make the transition easier and less painful.

Here, Dance Informa speaks with teachers from some of New York’s leading dance schools, as they offer advice and encouragement to those dancers feeling a bit weary of their new shoes.

Dancers are usually allowed to begin pointe between the ages of 10 and 12, although that depends entirely on individual assessment, regular attendance of ballet classes, technique and a teacher’s approval. It is recommended that each dancer be professionally fitted for their pointe shoes.

“Uncomfortable, unusual sensation and minor discomfort are all common,” says Jo Matos, director of the Children and Youth Ballet Programs at New York City’s Joffrey Ballet School. “Extreme pain is a good indicator that a shoe has not been properly recommended or fit for the student’s very individual needs, and if you aren’t taught proper techniques for manually breaking in your shoes.”

Kate Thomas, director of The School at Steps on Broadway, and also artistic director and choreographer of Ballet Neo, adds that a student’s ballet technique and alignment has a say in the success of her pointe work as well. “If the student is well-placed physically, there may be some discomfort involved in the initial work, but this should not be continual,” she says.

So, although some level of initial discomfort will exist, dancers should give their shoes a chance to break in.

“Discomfort, or what we call ‘good pain’, will pass with training,” Thomas adds. “If the shoe is fit properly and the student has trained properly, the transition to pointe work should be accomplished with little discomfort in a short time period.”

Other factors, such as a dancer’s bone growth and body development during adolescence, may affect a new dancer’s feeling of “pain” en pointe.

“This is a huge issue,” says Thomas. “Adolescent training is challenged by puberty and all the changes, both physical and emotional, that go along with the process. Growth plates behind the knee cause pain and weight gains before growth spurts cause problems, both emotionally and physically, that may affect dance and pointe training.”

Knowing that this is normal and occurs to everyone can be reassuring for dancers new to pointe and facing discomfort. Time will pass, the body will grow into its own, and any “growing pains” will soon cease.

There are also some things that dancers can do to make their time en pointe more comfortable and, in turn, more enjoyable.

Both Matos and Thomas stress the importance of strong abdominals for pointe work. It is a strong core, Matos says, that will help dancers lift their weight out of their shoes.

“Abdominal strength is crucial, as is proper body placement, while flexibility in the ankle and foot must be built before and during pointe training,” Thomas adds.

Matos advises dancers to learn to roll up onto pointe and down through the shoes to help strengthen the feet and ankles.

“This, coupled with strong core strength and clean technique, will aid in lessening the pain,” she says.

In addition, dancers must take good care of their feet. Matos recommends purchasing a good pair of Ouch Pouches for pointe shoes, and both she and Thomas encourage dancers to air out their pointe shoes between lessons. This will help prevent fungus and lessen bacteria, and will aid in decreasing unnecessary pain.

“Students should disinfect cuts or tears in the skin, and protect and deal with blisters,” Thomas adds. “All of this will aid in a pain-free dance experience.”

No dance teacher wants to see their students discouraged and in pain. Teachers like Matos and Thomas advise their students to approach a teacher or studio director if something feels wrong.

“Pain is not good,” Thomas says. “Pain means something is wrong – improperly fit shoes, weak placement or muscle strength – all should be discussed and addressed by the teacher and school administrators. Pressure on the toes should be minimal and not painful if all the other aspects of training and fit are addressed properly.”

“Work to strengthen your body, refine your technique, and the joy of floating across the stage with beauty, grace and ease will far outweigh the ‘pain’ of wearing pointe shoes,” Matos encourages. “Don’t give up!”

Photo (top): Students from The School at Steps on Broadway in New York City. Photo by Eduardo Patino.

The post Pointe Hurts…I Want to Quit! appeared first on Dance Informa Magazine.

Dance Recital Costume Guide

Attention DANCE TEACHERS
Dance Informa’s 2014 Recital Costume Guide is Out Now!

The 2015 costume ranges are just stunning!

Visit www.danceinforma.us/recital-costume-guide to be inspired and find the perfect costumes for your students from the industry’s best costume designers.

Wow your audiences, parents, and students this recital season!

Dance Recital Costume Guide

Click here to view Dance Informa’s Dance Recital Costume Guide.

The post Dance Recital Costume Guide appeared first on Dance Informa Magazine.

Dance Competition & Convention Guide!

Dance competition and convention season is starting! Where will you dance?

Dance Informa has compiled a guide of the hottest dance competitions and conventions this season.
Book your place!

Dance Informa’s Competition and Convention Guide can help you plan your dance season. These competitions, conventions and dance intensives provide great opportunities to learn, compete, grow and connect with industry leaders.

Each event is unique and may be just what you are looking for.
See what events will be in or near your city.

www.danceinforma.us/dance-competition-and-convention-guide

Dance Informa is proud to provide this free service for dance teachers, studio owners and students.

Dance Competition and Convention Guide

Click here to view the Dance Competition and Convention Guide

 

 

The post Dance Competition & Convention Guide! appeared first on Dance Informa Magazine.

7 Ways to Know it’s Choreography Season

By Paul Henderson.

The other day I happened to glance down at my wife’s feet. No shoes and no socks revealed a big toe toenail so long that I immediately christened it “dagger toe.” She explained that this toe situation was a direct result of owning a dance studio and would likely remain that way until choreography for the new season was completed. I felt a little guilty since my only obligation that day was making sure 20,000 lines of product data was imported safely into the Costume Manager system. I backed carefully out of the bathroom and fled to the kitchen.

Ten minutes later, she walked up to me and exclaimed “Look at this!” She was looking wide-eyed into my eyes and pointing at her face. I was reluctant to say that I had no idea what I was supposed to be looking at. For a few seconds I just looked stupidly at her while she looked expectantly back at me. I shrugged and said, “I don’t get it…what am I looking at?”

She said, “My eyelash!” And then I saw it. The crescent-moon shaped dagger-toenail was now perched delicately on the top of her eyelash.  Apparently, my comment had motivated her to trim the dangerous weapon from her foot. The toenail flew straight up and landed on her eyelid. She was then upset at me for not immediately figuring out a way to remove the thing. Eventually, the toenail was plucked away and life went back to normal… or as normal as life can be when your wife is in the middle of choreographing a few dozen dances for competition season.

Here are seven other ways to know when choreography is wreaking havoc on your spouse, your kids and your life:

1. Your spouse, if female, hasn’t shaved her legs since early September. If male, he shaves his face only when it itches too much to bear it any longer.

2. Normally you have late-night, pleasant, evening conversations with your spouse. You know it’s choreography season when you glance over at her and she’s curled up on the couch listening to something on her headphones with a notepad in her lap. Alternatively, she’s asleep while sitting up on the couch, with headphones in her ears and a notepad on the floor nearby.

3. Your spouse owns three outfits that are “wrinkle-free” and can be worn over a leotard and tights. These three outfits are the only attire you’ve seen on your spouse for eight weeks. She explains that “time” is the only thing that matters now. If she can save time, she will. Any. Way. She. Can.

4. You notice that you’re doing more and more of the laundry, but curiously, very little of your spouse’s clothes are ever in there. This is a result of the three wrinkle-free outfits I mentioned earlier. If you look under her desk at work or in her car (or giant purse-bag-thing), you will find five or six very old leotards, a couple pairs of wadded up tights and some very worn-out dance shoes.

5. There is a curiously large stash of microwavable frozen breakfasts dominating the freezer. These seem to be meals that are under 200 calories, can be nuked in less than two minutes and don’t require any stirring during the cooking process. They can also be eaten while standing at the kitchen sink or driving. You’ve never actually seen your spouse eat any of these, but someone’s eating them and it’s not you.

6. You get in the car for a family outing. One of your spouse’s pieces of edited music starts playing over the speakers and your children in the back seat start wailing, “No, no, no!  Turn it off!  Turn it off!” Upon further questioning, you discover that the only music they get to hear is the competition music and it’s driving them crazy. Your spouse shrugs and continues listening to the music.

7. You walk into your house and see a pair of lululemon pants standing up in the hallway all by themselves. These are your wife’s one and only pair of lululemons and she’s worn them every day for a few weeks. My suggestion is to buy three or four more pairs of them and surprise her with them. Yes, they are expensive, but the cost-per-use (Return on Investment) is actually extremely low if that’s all she wears. Cha-ching!

Now, I’ve got some online shopping to do. Hopefully this will all be over soon.

Paul Henderson

Paul Henderson

About Paul Henderson
Paul Henderson is an expert on administrative technologies for the dance industry and has been around the business for almost 30 years. His sisters were elite state champion gymnasts and dancers and his mother owned a dance studio and eventually a dancewear store. He managed the dancewear store for a few years before moving to the San Francisco Bay Area. He and his wife, Tiffany, currently own and operate Twinkle Star Dance™ – an online choreography and curriculum system for recreational dancers ages 2-11; seven successful dance studios in Northern California (www.tiffanydance.com) and one in Southern California. Tiffany’s Dance Academy’s annual enrollment of over 4,500 students caused Paul to invent ways to automate most of the day-to-day business transactions that take up so much of a studio owner/instructor’s time. Paul’s goal has always been to smooth out the business side of the dance studios so that his wife can spend more time in the studio doing what she loves…teaching. Automating online registration and monthly automatic tuition payments was achieved eight years ago but perhaps the most revolutionary invention is his web-based application – CostumeManager.com.

About CostumeManager.com
For the past six years, Paul Henderson has worked tirelessly with most of the major costume and dancewear manufacturers to consolidate their catalogs into one searchable website. Developing relationships with these companies has been crucial to the success of CostumeManager.com and his efforts have paid off for studios all across the United States and Canada. By creating one searchable website, it is possible for a studio owner to browse all catalogs simultaneously, assign items that they like to a dance class, establish their profit margin, create an online store or print a color worksheet for dancers explaining how they can order their required and or/optional items online or via toll free telephone. Dancers purchase their items securely online and CostumeManager.com orders, receives, sorts and ships the individually packaged items to the studio owner. The studio owner or instructor cashes their “commission” check, hands the bags of goods to the dancer and goes back to teaching. CostumeManager.com eliminates 90% of the work and all the worry associated with distributing costumes and dancewear to dancers while preserving all of the profit margin…if not more.

To connect with Paul Henderson and CostumeManager visit www.CostumeManager.com, www.TwinkleStarDance.com, or www.TiffanyDance.com.

The post 7 Ways to Know it’s Choreography Season appeared first on Dance Informa Magazine.

TutuTix is Too, Too, Awesome!

By Chasta Hamilton Calhoun, The Dance Exec.

Dance studios have long explored the best way to offer recital ticket sales—whether it is in studio (lines, lotteries, etc.), via box offices, or with mail requests. Eric Housh was standing in his daughter’s studio’s recital ticket line when he realized that his company, Ticket Biscuit, could potentially offer a niche market for dance studios to assist with this process, and, thus, in October 2010, TutuTix was born.

Utilizing a unique software program coupled with award-winning customer service, TutuTix offers a platform designed to meet a dance studio’s unique needs by allowing users to create custom promotional codes, separate selling options, and accommodating high demand capabilities. Over 600 studios throughout the United States have embraced this evolution and movement.

Print-at-home dance recital tickets.

Print-at-home dance recital tickets.

Prior to TutuTix, many studios had to facilitate ticket sales and distribution, including the elements of seating, ticket orders, and ticket exchange. This process is time consuming, frustrating, and burdensome. It can also be challenging to implement a fair and convenient process.

With TutuTix, a seating chart is submitted to TutuTix (based on your recital venue), and an online page is created for your studio’s ticket sales. Beyond that, your studio receives a custom ticket sales app for your studio’s Facebook page and a specific toll-free call center for your studio’s use. With your direction, your clients go online and or call to purchase their recital tickets. TutuTix can accommodate reserved seating, general admission, or hybrid requests (half reserved/half general admission). Attendees receive an e-ticket via their email, or for a nominal, additional charge,  a souvenir ticket custom designed with their child’s name.

For pricing, studios set their own ticketing price point(s). TutuTix receives a $1 per ticket commission and charges a  5% credit card processing fee, which is typically passed along to the patron at no cost to the studio owner. Ticket sales begin and end at your direction, and you have the ability to sell remaining tickets at the door. TutuTix pays out ticket proceeds weekly via direct deposit.

TutuTixTutuTix’s passion for the success of dance schools is evident, as they happily spent this summer traveling to varying teacher conferences so that they could continue meeting the specific needs of dance studios. In fact, a few years ago, Pamela Scheuerman, of the Tolbert Yilmaz School of Dance in Roswell, Georgia, met TutuTix at Dance Teacher Summit. Scheuerman’s studio converted to the TutuTix system, and the school’s management and client base have been beyond satisfied with the complete ease and convenience of the process. Other clients agree, as evidenced by overwhelmingly positive reviews.

At TutuTix, each and every order is handled with an incomparable level of customer service, professionalism, and attention to detail. The company truly understands the critical nature of the success of your recital, which includes the procedural element of ticket sales. Ultimately, TutuTix is committed to easing the ticket sales process and supporting the success of your studio, one ticket a time.

Right now, TutuTix is offering a special to Dance Informa readers. If you go online to www.tututix.com/getcrackin before September 30, 2014 and enter the promo code “INFORMA2014”, you can get a free seating chart set up, free overnight shipping of door tickets, and 100 free door tickets!


TutuTix dance recital ticketing

The post TutuTix is Too, Too, Awesome! appeared first on Dance Informa Magazine.

Dance Injury Prevention 101: Your Friendly Neighborhood Athletic Trainer

By Leigh Schanfein of Dance Informa.

Who is an athletic trainer?

The National Athletic Trainers Association (NATA) defines Athletic Trainers (AT) as “health care professionals who collaborate with physicians to provide preventative services, emergency care, clinical diagnosis, therapeutic intervention and rehabilitation of injuries and medical conditions.” They specialize in educating and treating patients in order to prevent injury and re-injury. As the name suggests, they primarily work with athletic populations but they may work with other patient groups under the umbrella of physical medicine and rehabilitation.

Considering all they do, I’m surprised I didn’t find out about Athletic Trainers until I was in college, which is when I discovered them through the assets of the university sports teams. Fortunately, I was able to access care because of my proximity to some massive sports funding, though I was left wishing I’d known about what ATs could do for dancers earlier in my training. A lot of dancers don’t realize they have access to the great expertise of ATs, particularly those at university.

The dancers at SUNY Purchase, however, know all about the amazing care dancers can get from a Certified Athletic Trainer (ATC). They have regular access to Lauren Kreha, ATC, Clinical Specialist at the Harkness Center for Dance Injuries, NYU Langone Medical Center in New York. Lauren provides clinical care as well as a great deal of preventative care for dancers in companies like Cedar Lake Contemporary Ballet and Ballet Hispanico, as well as at Purchase. She wants dancers to see her before they are injured so that they can avoid dance injuries.

Harkness Center for Dance Injuries

Lauren Kreha working with a dancer at the Harkness Center for Dance Injuries. Photo courtesy of Lauren Kreha.

“You don’t need to be hurt to see me. A lot of the time, dancers in my athletic training room just come for nutrition advice, to vent, or work on getting stronger. Athletic trainers have the opportunity to build rapport with dancers before they’re hurt, which makes it easier to comfort and treat them in those moments of crisis.” ATs like Lauren put in the extra work to make sure dancers like you don’t get injured, get well as quickly as possible, and return stronger so they don’t get injured again.

Can I trust them with my dance injuries?

Just as you would trust a doctor, physical therapist, masseuse or acupuncturist, an AT is a licensed health care provider, and whether or not you should trust them with your injury depends on what kind of experience they have with dancers and our somewhat unique needs. Fortunately, ATs are used to working with athletes who have extremely similar demands to those of dancers. Just as they know an athlete needs to get back onto the field or court, they will understand your need to get back into the studio or on stage as quickly and painlessly as possible. 

As Lauren points out, an AT’s training makes him or her ideal for working with dancers. “We understand the need for a dancer to return to peak physical condition as quickly as possible, and are highly skilled in finding ways to make that happen,” she said.

Also critical for dancers is getting help right away so an injury doesn’t get worse because care wasn’t available or the dancer was afraid to go to someone about his or her injury. Sometimes, this means getting help immediately in the wake of a serious injury that can threaten the overall health, livelihood, and even the life of the dancer. “Athletic trainers are also prepared to evaluate injuries right after they happen and make quick decisions about returning to activity or referral. One of the things that makes me most proud to be an athletic trainer is that you can not only trust me with dance injuries (e.g. ankle sprain) but also life-threatening injuries. I am ready to respond if your heart stops beating, and can save your life.”

Harkness Center for Dance Injuries

Lauren Kreha stretching a dancer at the Harkness Center for Dance Injuries. Photo courtesy of Lauren Kreha.

How does an athletic trainer differ from a physical therapist or a personal trainer?

Though they have a similar name, ATs and personal trainers have very different roles. ATs go to school for a bachelor’s and/or master’s degree in athletic training, and 46 states also require them to become certified (that’s the “C” in ATC). They work under the direction of a physician to prevent, diagnose and intervene in emergency, acute and chronic medical conditions. They are healthcare professionals. A personal trainer develops and implements exercise programs according to fitness goals and is not qualified to provide medical care.

Physical therapists and ATs have more in common when it comes to schooling, level of expertise, and what exactly they are permitted and expected to do with a patient.

After beginning an education that started out with a combined Athletic Training/Physical Therapy track, and learning the skills that both professions attain, Lauren realized she wanted specifically to pursue the AT because of the critical care component. “Athletic trainers (in the traditional sense) are there when an injury occurs. There’s a lot of excitement in immediate care and acute assessment that you don’t get in the clinic.”

How do I find a trustworthy ATC in my town?

Because ATs must practice under the direction of a physician, they will be associated with medical teams at clinics, hospitals, high school and university settings, and other medical organizations. Lauren makes a particularly important point about getting in to see an expert at your school or medical center: “If you don’t currently have access to their care, change that! One of my interns last summer was a dancer at my athletic training alma mater. We talked about getting the dancers access to the athletic trainers on campus, and then [she] went back to GVSU and made it happen!”

SUNY Purchase dance students

ATC Lauren Kreha working with a group of her SUNY Purchase students in a “Running for Dancers” workshop. Photo courtesy of Lauren Kreha.

Sometimes it’s not obvious how to find an AT, but if there are athletics in your town, there is probably at least one AT associated with that team, and you can seek them out or inquire if there is a branch of their services that non-team athletes can access. Never be afraid to ask, you might just find your new best friend in injury prevention and rehabilitation! 

Lauren Kreha, ATC, is a Clinical Specialist at the Harkness Center for Dance Injuries at NYU Langone Medical Center. She provides backstage coverage for Broadway shows and dance companies in New York City as well as injury prevention assessments and educational lectures to the dance community

Photo (top): ATC Lauren Kreha working with a dancer at the Harkness Center for Dance Injuries. Photo courtesy of  Lauren Kreha.

The post Dance Injury Prevention 101: Your Friendly Neighborhood Athletic Trainer appeared first on Dance Informa Magazine.

MOTION Dance Studio Management Software

MOTION [mo-shunNoun

The action or process of moving forward; Power of movement; The act or process of moving; The ability or power to move.

The word “motion” is defined as the action of constantly moving forward. It was this characterization at its core that was the inspiration and the namesake of the new dance studio management software, MOTION by TigerSix.

To understand the concept of MOTION and why it is so radically different, we need to go back to October 5, 1991 and look at the revolutionary software release of the Linux operating system. Linux revolutionized the software industry because it was the most prominent example of free open source software. In short, the program and its underling source code could be modified and changed by the user of the program. The Linux collaboration method allowed the users to freely contribute and change the software, allowing it to evolve into a more robust product. The more people who used it, the better it got because everyone could contribute to the program. It is this same collaboration methodology that was the inspiration and the driving force behind the development of the MOTION Dance Studio Management Software.

Now, let’s fast forward to 2014 and look at the typical studio management software on the market. The software is designed to be used for multiple industry segments. The software can be used to manage a dance studio, a gym, a karate studio, a spa or even your local town’s lacrosse program. This allows the software manufacturer to get the most “bang for their buck.” The problem with this model is that you need to have every possible feature in the software that will serve every industry segment that you are selling it to. The end result is software that is complicated to use and difficult to learn. You end up with screens, functions and fields that you simply don’t need to manage your dance studio. The compounding problem is that the manufacturer cannot modify the software for a specific user. Any changes to the software have to conform to every industry segment that it is being sold to.

MOTION powered by TigerSixIf you are currently using a software package to manage your dance studio, look at the program. How many fields are on each screen and how many of them do you really use? How complicated is the process of registering a student for a class? Can it handle complex table billing?

Now let’s look at MOTION. The team of software gurus at TigerSix developed MOTION using the Linux software model: Allow everyone to collaborate and contribute to the product. Allow every user of the software to submit their opinion and request new features. Evolve with the dance industry and provide the latest in technology in a simple, easy-to-use format.

It is this underling core value that sets MOTION apart. It is also the reason why MOTION cannot be used to manage a fitness center. MOTION was designed by dance studio owners, teachers, managers and the leaders in the industry, such as Dance Teacher Web, to be used for one thing, managing a dance studio.

After the initial release of MOTION in July 2013, the company asked the users of MOTION what they liked, what they didn’t like and what they needed to make the job of managing their dance studio easier. It was this collaborative model and the resulting input of the actual users that led to the release of some of the most innovative features: the Table Billing Module, Unlimited Discount Module, Automated Text Notification, and the integration of Discount Dance Supply and TuTuTIX. These are just a few of the many unique features developed, tested and released based on the needs of the MOTION users.  

For more information on MOTION, visit www.motionbytigersix.com or call 1-888-910-8060.

MOTION [the software]  

The action of providing the Dance Studio Owner with everything they need to manage their studio in one easy to use, affordable package.

Photo (top): © Neil270 | Dreamstime.com

The post MOTION Dance Studio Management Software appeared first on Dance Informa Magazine.

MOTION: A NEW view on an OLD problem

For those of you that haven’t heard, MOTION by TigerSix is the new dance studio management software for the industry. MOTION was designed to solve the specific “pain-points” of running and managing a dance studio. The team at TigerSix worked directly with studio owners, teachers and the leaders in the dance industry (Dance Teacher Web, Discount Dance Supply, Dance Informa, TuTuTix, to name a few) to develop a software solution designed specifically for the dance studio owner.

When you look at how the typical studio owner manages their studio, some use software, some use Word or Excel and some just do it the old fashioned way, using paper! Now add to the list, managing and updating their website, keeping up with social media and on top of all that, trying to communicate with their parents! How do they juggle it all? And how do they effectively communicate with the parents? Most use a free email service like Gmail or some enlist the help of a parent to re-text information to the class. As if that wasn’t enough, now consider recital season. This involves taking measurements, ordering costumes, coordinating a conflict-free performance order and then actually running the annual recital!

MOTION was designed to incorporate all of these components into one software package and give the studio owner a centralized means of managing all of their technology from one package and any location: the studio, home, tablet or smart phone.

MOTION powered by TigerSixWhen TigerSix looked at the users and the amount of time they had to dedicate to managing their studio, they realized that the software had to be simple to use and most importantly, fast. Most owners do not have set time for managing; they grab hours in-between classes and their personal life. They do not have a lot of time set aside for learning and installing new software, so TigerSix needed to make it simple to learn and simple to set up.

TigerSix’s research showed that the studio owner doesn’t keep banker’s hours. They need support on a moment’s notice at all hours of the day or night. So it was important to give them an account manager and a support infrastructure that would be responsive to the owners needs on their timetable. Therefore, every MOTION customer has the cell phone number of his or her dedicated account manager.

The most impressive thing about MOTION is it’s polymorphic nature. MOTION’s design and features are the result of the current users requests for new services and features. As a user of MOTION, you get to request new features that help you deal with a specific “pain point” in managing your studio. This procedure ensures that MOTION evolves based on the need of the studio owner and not the need to try and make it fit into a health spa application. 

For a free demonstration of the MOTION software or to find out what differentiates MOTION from other software management programs, visit motionbytigersix.com or call 888-910-8060 to speak to a Dance Studio Software Guru.

Photo (top): © Chupacabra47 | Dreamstime.com

The post MOTION: A NEW view on an OLD problem appeared first on Dance Informa Magazine.

Studio Owners: This is No Time to Relax!

“By failing to prepare, you are preparing to fail.” – Benjamin Franklin.

By Paul Henderson.

Your end of the season recital is over (or it will be in a matter of weeks), and you’re looking forward to that blissful feeling of accomplishment and pride as yet another successful dance season has passed.

Congratulations on shepherding your flock of students (and their parents) through the trials and tribulations of class after class, rehearsals, competitions, conventions and your annual recital. You’ve conquered the pitfalls along the way, from missing costumes and social media follies to recital ticket snafus and theater crew catastrophes.

Time to party! Time to relax, put your toes in the sand and order another margarita!

Not so fast. A friend of mine was recently explaining how she frequently tells her daughter, “Failing to prepare is preparing to fail.” I’ve heard that before, but I think it fits perfectly into this time of the year when our defenses are nearly shut down and we really need a break. 

Those of you who can dig a little deeper and surge just one more time will enjoy a more relaxed and profitable 2014-15 season. Before you sail off into the sunset, it’s time to prepare. 

Here are my Top 10 So-You-Can-Sleep Action Items for the summer and next season (and what we are doing at Tiffany’s Dance Academy):

1) Summer Classes and Camps – Keep promoting.
Example: Twinkle Star Dance developed a “Frozen” themed dance camp that we are using. At our seven studios, we have a total of 21 weekly “Frozen” camps with over 400 dancers participating! It’s a bonanza unlike anything we’ve seen in the past five years.
-Frequent emails to past and existing customers
Social media posts
-Website updates

-Newsletters

2) Marketing – Do you have your graphic art designed and your publications selected for your fall session promotions? We are using Val-Pak, Pennysaver, direct mail and a couple of magazine ads in local publications. Book your ads before you board that plane (or maybe while you are on that plane with Wifi!)

3) Registration – What registration specials are you offering? Get the word out!

Back in April, we started with “free registration for one day” (normally $39.) Then we went to “Save $20 on registration” for a few weeks, and later we will go to “Save $10 on registration.” It gives us a reason to email our customers and different coupons to advertise.

4) Dress Code – In this hyper-competitive industry, you’re going to need every penny of profit to compete with the other studios in your area. If you aren’t profiting on your dress code, vow to start right now.

It’s no surprise that at TDA we use CostumeManager.com’s Storefront and Virtual Dance Boutique to display the products we want our dancers to wear to class and on-stage. It’s a free service and increases our profit per student by $100 per season. No brainer. Here’s an example of our Fremont studio.

5) Winter Show – Consider producing a Winter Holiday performance or Nutcracker project. It will foster loyalty amongst your students, their parents and your faculty and will increase your studio’s net profit.

We will do a Winter Showcase for dancers ages 2-6 and a full Nutcracker. Here is a previous article on the subject.

6) Curriculum – Stop reinventing the wheel. Research available, proven curriculum systems. Here’s an analogy that will help. If you’re a math teacher, you don’t rewrite the math curriculum every year do you?

TDA uses Twinkle Star Dance for curriculum and choreography. It’s proven to increase revenue by $113,000 per season on average.

7) Choreography – Similar to curriculum. Research available choreography options now to get a jump, find inspiration and lower your stress level.  An added bonus is that sometimes choreography plans pair dances with age-appropriate, affordable costume ideas. This can help you avoid the $57,000 Boogie Woogie Piggie.

8) Theater booking – confirm it today.  You never know what might happen to your theater next season. Since we own 7 studios, we use three different theaters and have 23 shows this June.  Those contracts are incredibly important.

9) Summer Learning – Attend a gathering of like-minded professionals. We are attending Dance Teacher Summit and the Twinkle Star Dance User – Rediscover Freedom Conference. The Dance Teacher Web conference is also great and is held in a resort in Las Vegas for a real getaway experience. They all have inspirational and informative content that will motivate and inspire you just when you need it most.

10) Organize – Clean your office and your studio. Give away the trophies. Store the props, costumes and other various recital paraphernalia. Start fresh! It may seem obvious, but de-cluttering will astound your senses and make you infinitely more productive and happier.

 Okay, go knock these out real quick and enjoy your blissful summer vacation. Next month’s article will focus on the importance of Dress Code. Start dreaming of what you want your dancers to wear to class.

Paul Henderson

Paul Henderson

About Paul Henderson
Paul Henderson is an expert on administrative technologies for the dance industry and has been around the business for almost 30 years. His sisters were elite state champion gymnasts and dancers and his mother owned a dance studio and eventually a dancewear store. He managed the dancewear store for a few years before moving to the San Francisco Bay Area. He and his wife, Tiffany, currently own and operate Twinkle Star Dance™ – an online choreography and curriculum system for recreational dancers ages 2-11; seven successful dance studios in Northern California (www.tiffanydance.com) and one in Southern California. Tiffany’s Dance Academy’s annual enrollment of over 4,500 students caused Paul to invent ways to automate most of the day-to-day business transactions that take up so much of a studio owner/instructor’s time. Paul’s goal has always been to smooth out the business side of the dance studios so that his wife can spend more time in the studio doing what she loves…teaching. Automating online registration and monthly automatic tuition payments was achieved eight years ago but perhaps the most revolutionary invention is his web-based application – CostumeManager.com.

About CostumeManager.com
For the past six years, Paul Henderson has worked tirelessly with most of the major costume and dancewear manufacturers to consolidate their catalogs into one searchable website. Developing relationships with these companies has been crucial to the success of CostumeManager.com and his efforts have paid off for studios all across the United States and Canada. By creating one searchable website, it is possible for a studio owner to browse all catalogs simultaneously, assign items that they like to a dance class, establish their profit margin, create an online store or print a color worksheet for dancers explaining how they can order their required and or/optional items online or via toll free telephone. Dancers purchase their items securely online and CostumeManager.com orders, receives, sorts and ships the individually packaged items to the studio owner. The studio owner or instructor cashes their “commission” check, hands the bags of goods to the dancer and goes back to teaching. CostumeManager.com eliminates 90% of the work and all the worry associated with distributing costumes and dancewear to dancers while preserving all of the profit margin…if not more.

To connect with Paul Henderson and CostumeManager visit www.CostumeManager.com, www.TwinkleStarDance.com, or www.TiffanyDance.com.

The post Studio Owners: This is No Time to Relax! appeared first on Dance Informa Magazine.