Jacqueline Graham & Kate-Elissah Tallamy

First, there was a studio – then there wasn’t.

It was during an interregnum in one of Melbourne’s 6 Covid lockdowns – those 262 days, one of the longest in the world – that we started talking about why it was that Dance Teachers, and their studios, weren’t really treated as ‘businesses’. 

Kate had opened her own studio (offering private lessons and group classes for adults and children aged from 2 years in ballet, jazz, tap, Latin, ballroom, wedding dance and body conditioning) just in time for the first lock-down. Jacqueline helped with her first open day. 

We had history – Kate had taught Jacqueline ballroom: Jacqueline had introduced Kate to a businesswomen’s association – and a friendship had developed.

Kate’s studio had to close almost immediately and move online, maintaining classes remotely. She wasn’t alone. There was limited business support available for the sector and next to no concern for individual teachers.

Observing the efforts made to advocate for support and assistance, as Dance Studios closed, we were intrigued and bemused by how little the government and public seemed to know about the dance industry. Our Prime Minister had handled an interview on the topic in which he mispronounced ‘barre’ as ‘barray’ which seems amusing, but was symptomatic of the lack of understanding, care and concern shown. The State government had linked small dance businesses with Fitness Studios, Gyms and “Adult Service” providers in their timings for reopening, seemingly because they didn’t believe that these were similar businesses which could not meet the physical distancing requirements. 

To add insult to injury, public schools added dance classes as afterschool activities, before dance studio businesses were allowed to restart. Even contact sports such as football (both professional and amateur) were able to resume, or continue. Small dance studios were among the last operations to reopen in Victoria after the pandemic driven closures, after a period of nearly two years.

Intrigued? Perhaps bewildered bordering on outraged is a better description. In other circumstances, it might have been funny, but livelihoods were at stake. After all, in the state of Victoria alone, there are around four thousand dance schools, with a value of A$300 million to the state economy. The regulations seemed to take little account of the size of the industry base, and there was an unwillingness of governments to listen to the advocacy around the issue. 

So what was going on? Why were these small businesses not being supported?

After ‘normal’ did resume, we reflected on these conversations and wondered; Why? 

Why was an entire industry so misunderstood? So ignored? So ‘invisible’?

When so many children (mostly girls) are involved in dance, and (mostly) with private classes, this was unexpected. A broad based community activity offered little help, support or guidance. Sport, which also involves children (mostly boys) had been treated differently.

Was it just a misunderstanding of how dance could work within Covid guidelines, or was there something else at play? 

Was it related somehow to the dance world being women-led?

Learning dance develops life and social skills including discipline, resilience and teamwork, and builds health and wellbeing. Dance is a cultural artifact which is valued as part of community activities. Why would we not value those who teach it? There may be a link to cultural or societal value placed on teaching in any discipline, or it may be specific to private performing arts teachers.

We set out to investigate. 

Testing a hypothesis – starting a conversation.

We started thinking about who connects with dance and the age that they do so; how does dance intersect with other businesses, professions, community organisations? 

In our investigation, we reached out to our combined networks and invited dance students, teachers, choreographers, dance parents and allied professionals to contribute. Over twenty respondents (from Australia, New Zealand, the USA and Great Britain) engaged, and allowed us to interview them – we provided a set of questions prior to online interview, which were recorded with permission. We sought to discover how private Dance Studios are seen in the spectrum of small businesses, and how this is reflected in the recognition of the value of learning to dance.

Our correspondents covered a range of experience, ages and styles of dance: we had men and women; multiple styles and genres; ages ranging from under 25 to over 65; as seen below.

Respondents were enthusiastic about the benefits, particularly for girls, of learning in a woman-centric environment, but it became clear that there were inconsistencies in value and recognition.

Doing what you love, but not making money?

Our Dance teachers had in the main started their studios because they love dance and want to share this with others.

We found that dance teachers were not seen as businesswomen, nor, in the main, did they see themselves as businesswomen. Dance businesses were not seen as businesses unless they sold a physical product – costumes, shoes etc. 

Studios that did set up with business plans and processes reported students and parents disregarding these structures. Over and over, we were told stories of customers querying pricing, or schedules, of studio standard requirements being discounted, of ‘hobby’ businesses.  

The most memorable but perhaps most telling description: a “shoebox business, the profits were stored in a shoebox, not even meriting a bank account” – shared by a lifelong dance lover, as heard from her father when discussing the dancer who taught her as a child. 

And yet, we were also told of the joy of teaching, of the hundreds of young girls able to express their creativity through the world of dance. We heard praise of a world where your talent could carry you, and where if one genre wasn’t right, you could try another.

One interviewee, who had worked in both Australia and the UK, as a dancer and a choreographer, told us that the world of dance, and major dance companies, owe a debt to these small studios. His insight was justifiable once we checked through our notes of all the places that we find dancers who trained with small, private studios. 

Not only the more obvious like Musical Theatre. Major ballet companies in Australia and elsewhere, and also sporting events such as Football Finals, large gatherings such as most recently seen in the Opening Ceremony of the Paris Olympic Games. Music videos. Television ads. Parades. The list goes on. All needing dancers, young and old, and often using them at low or no wage cost. How common is it to read appeals for ‘volunteers’ for these ticketed events.

Dance Studios and Teaching are amongst the most precarious of businesses. A recent AusDance survey confirmed that other dance-related professionals are also in fragile financial circumstances. There seems to be a disconnect, between the size and productivity of the industry and the esteem in which it is held. A societal issue?

Does training matter?

We asked our interviewees, who were dance students, business owners, teachers and allied professionals, about their education and training – in dance, business or teaching. A significant majority had completed dance studies up to University or College level, but little outside of this. 

Those who had completed other training had done so outside of their dance business. We found some stand-out exceptions who have had extraordinary careers – including one in choreography at an international level and one in dance teaching as a multiple studio owner – and who have made continuous improvement a clear part of their business.

The value of external qualifications was emphasised by a dancer who is a professional physiotherapist: she said ‘I felt so much more valued and recognised once I had my degree on the wall – I was given a professional standing’.

Discussing qualifications gave rise to conversations with our respondents about how (as a parent) to choose a studio, or to verify the ability of a teacher. With no clear measure or guide to teaching quality, the decision-making becomes word-of-mouth      or location-based. Convenience, or personal recommendation.

A Case Study:

“Sophie* – A 42-Year-Old Ballet Teacher with no ‘formal’ Educational qualifications but registered with Royal Academy of Dance Training System, and over 20 years teaching experience. In our study, Sophie saw herself as a dancer who teaches – but thinks her students only see her as a teacher – despite the multiple business roles she has performed. Sophie has worked in many ways in the world of dance – as a Studio owner, a contract teacher, an assistant teacher, and in allied dance retail –   and believes that having additional business coaching and skills training would have assisted her in developing her career In particular, coaching in development of a business plan would have supported her in conversations with investors. She talked about specific occasions when her innate understanding of the needs of a dance business were discounted because she did not have the ‘business jargon’ to back her suggestions. She also shared some difficulties she had had with invoicing, and ‘making-up’ missed lessons, as parents did not seem to recognise that her time had been accounted for in the initial charging structure. She sees this as evidence that her customers do not value the time and expertise of dance teachers in the same way as they value other professionals. Sophie was able to contrast her experience in selling dance attire in a retail space with her experience in teaching and felt that the expertise of retail assistants was somehow more settled, possibly at they were able to show how different physical goods fitted different niches.Sophie started her dance training at a young age, progressing through various levels of ballet and developing a solid foundation in classical techniques. Her love for ballet began with her passion for dance and a deep commitment to sharing that passion with others led her to start teaching in her late teens.One of the key challenges Sophie has faced in her teaching career is the lack of formal teaching qualifications, which has occasionally led to doubts from parents or students about her expertise. Another challenge has been staying up-to-date with the latest teaching methods and techniques without the structured support of a formal education program. To address this, Sophie regularly attends RAD workshops, seminars, and CPD courses. She also seeks out opportunities to learn from more experienced colleagues and stays connected to the broader dance community. This commitment to ongoing learning has allowed her to continually refine and enhance her teaching skills.She is very invested in continuous professional development, and mentors other dance teachers in various settings. Sophie saw the value for girls, in particular, of learning in a women-led environment, and discussed the context of this, in juxtaposition to the world encountered in schools. She was emphatic in her belief that having more females in the room gave her girls confidence in their abilities, and offered space to be themselves. Sophie’s teaching philosophy is centred on making ballet accessible and enjoyable for all her students, regardless of their age or skill level.Reflecting on her career, she takes pride in the positive impact she has had on her students’ lives.Looking to the future, Sophie is considering pursuing formal teaching qualifications to further solidify her standing in the ballet community. She is also interested in developing new programs that cater to diverse student groups, including those with special needs.

How to differentiate good from great – or less good?

We’ve moved on from the old-style dance teachers tapping their cane – or have we? Our case study above focuses on one of our respondents, who has a clear understanding of her processes. But do all dance teachers operate in this way? How does a parent know? 

Is choosing a teacher about choosing a style, teacher reputation or whoever is closer to home? Are parents (or students) equipped with information to help refine their choices? As we see in Sophie’s case, a lack of formal qualifications has seen some parents question her expertise.

Dance teacher training in Australia is focused on curricula and modes of dance – which in turn leads to the specialism or streams of each dance studio. It’s about what type of dance is taught. There is rigour in each curriculum and each governing body will audit to verify skill in their specific offering. Studios may be accredited by a national or international organisation There are multiple ‘governing bodies’ including the Royal Academy of Dance, Cecchetti, DanceSport, Transit Dance, ComDance and AusDance amongst others. Previously the Imperial Society of Teachers of Dance linked all styles and disciplines but there is no overarching ‘register’ of teacher accreditation or skill rating, as there is in, for example, foreign language teachers.

Training to dance matters – why not training to teach?

Notably, none of our dance teacher interviewees had undertaken specific educational teaching qualifications. Their qualifications were in performance or dance training gained as dancers, or as assistants to teachers in a studio and through curriculum authorities such as the RAD. This was discussed by some of our respondents, with mention made by one (not a dance teacher, but a dance lover, and dance mother) of how useful she had found educational training. As an artist teaching art, she completed an educational degree, which gave her a grounding in instructional and engagement techniques. We found this a useful insight, as art is often treated similarly to dance: a creative pursuit which may not need rigour in how it is taught.

Teaching any subject well involves a mix of factors – a teacher’s skills, methods, how they communicate, the learning atmosphere, their own growth, resources, and support they get. And, sometimes, dance teachers miss the mark. We heard this from our respondents as well. It could be due to different teaching styles not clicking with certain students or it may be teachers lacking deep knowledge or experience. 

Australia has no nationally accredited standard qualification for the teaching skill of a dance exponent. Perhaps there’s a link between the lack of professional recognition, and the lack of a nationally recognised certification of dance teaching.

Building the conversation for change…

It seems to us that the dance world has an under-recognition of the benefits of understanding teaching practice and pedagogy. 

What if there were clear criteria for being a dance teacher, covering dance experience, teaching background, education, and pedagogical know-how. Programs to train experienced dancers and teachers to become teacher trainers, covering topics like teaching strategies, curriculum development, and mentorship.

However, those respondents who were dance parents or students (and sometimes both) were also keen to discuss the impact of the teacher and teaching on the students. Even those students who did not continue in the world of dance shared positive outcomes, including growth in confidence, presentation, and personal discipline. Negative impacts were also discussed – the expertise of the teacher in handling emotional or physical differences in students and student interaction being a key message.

This idea was discussed with other participants at the Auckland POP Dance Symposium, where we were interested to hear the views of the tertiary educators in the room. The spread of teaching qualifications aligned with our findings –  in that teaching dance teachers how to teach had not previously been discussed. 

We were also privileged to be able to discuss this with two representatives of the government agency responsible for curricula in New Zealand, who were looking into the required curricula elements for secondary level classes in schools. 

Developing curricula outside of higher education to teach Dance Students to be Educators – teaching pedagogy – links to the perception of Dance Teaching as a business sector.

 Our research suggests that it is not only the experience and expertise of dance teachers that influences the quality of instruction. Creating a supportive environment helps students feel more comfortable and motivated. 

Well-trained teachers with performance experience tend to be more effective. Resources like studio space and equipment also impact teaching quality. Support from administrators and the community boosts teacher morale and effectiveness. 

We see potential benefits to the small studio system, in creating a standard and, providing a footing for recognition. It might be about ensuring the right folks are training future dance teachers, even if it means making tough business choices.

Experienced teacher trainers could mentor aspiring ones, offering guidance and sharing their knowledge. There could be a system to evaluate trainer performance, like observing sessions and collecting feedback. 

Particular attention could be focussed on specific pedagogical techniques looking at how to tailor instruction to individual students – recognising unique strengths, weaknesses, and goals – and communication skills, enabling better transfer of information. 

These strategies ensure that qualified individuals are training future dance teachers effectively, improving the professionalism of dance education overall.

Building a tailored teaching qualification for this industry would align well with our participant notes on impactful teaching and provide value to students – teachers who can explain things clearly, demonstrate well, and offer constructive feedback. 

Educators, businesswomen and community builders?

Dance teachers fill some specific and interesting niches in society. As individuals, they may be self-employed, Directors or Partners of Studios. They may contract into other studios as Freelancers, or into Schools as itinerant teachers. Their Dance engagement is often combined with other, more lucrative professions. And dancers who are mothers will get ‘roped in’ to help with public school performances. They support and provide talent for local theatre and community events, and they provide safe spaces for those interested in developing performance skills.

Dance teachers are (often unconsciously) building diversity in practice in our communities. As local dance schools are part of community events, parades, sporting events, galas and more, they provide colour and liveliness in these formats. Differing ethnic and cultural origins amongst student and the teaching group provide opportunities for cross-cultural learning and understanding.The breadth and depth of expertise leads to showcasing and engaging with multiple styles of dance – many studios cover from ballet through modern dance to breaking, with specialists in most genres available in larger towns and cities. 

There may be more opportunities to enhance this with conscious decision making around inclusion, especially of new migrant groups and new dance forms. Ensuring all cultural and ethnic forms of dance are normalised in our communities fits well with the inclusive nature of studios. 

Dance studios support other local businesses, who in turn support the studios. A reduction in dance studios, or dance students will negatively affect the viability of dance suppliers. The circular nature of this economy will impact others in the locale. Our interviewees included dance-aligned businesses including costumiers, retail shoe shops and physiotherapists. The teachers themselves were very aware of the exchange within their business locales, and Dance Schools with a clear business structure reported as being more viable longer term.

Aligned professionals and parents reported that they appreciated those studios with clearly set out expectations of students and partners. As we noted earlier, few of our teacher interviewees have undertaken specific business training, either before or during setting up their studio.

Understanding how to market and present yourself as a serious business drives serious engagement. Business skills training could (should?) be an integral piece in any future accreditation.

The possibility of dance teachers as business owners serving as positive role models and mentors to the young women they interact with is worthy of further consideration.

The small studio base as the underlying skill builders of dancing for all disciplines and genres seems to be both undisputed and understated. In anecdotal conversations, the public seem unaware of the nature of dance businesses, and undervalue their impact on the lives of both students and society in general. We see this as a double devaluation, of both expertise and importance. 

We are interested in whether this is related to the fact of the majority of small studio owners being women and their being less visible in society. Initially, when asked to name the first woman business owner they remember, most of our respondents didn’t mention their dance teacher until prompted! This was an informal survey, which will form part of a more robust study – but gives some indication of the hidden aspect of the industry. 

Conversely, also anecdotally, there are instances of male-led businesses opening in specific dance niches, with more fanfare and recognition. Our conjecture is that this is an example of the Male Pedestal Effect, also seen in Nursing (BCEC-WGEA Report, 2024). Similarly, boys and men as dance students and practitioners in Musical Theatre, Commercial Dance and Classical Ballet are valued due to scarcity.  

What now?

The dance industry is founded on the work of independent dance teachers.

Teachers who aren’t seen as businesswomen, nor as operating in a business context. 

A hidden business world, run mainly by women.

But, if a business sector does not position itself as a professional, qualified sector, why would broader society?

We saw in our research that Dance practitioners who had trained in business were supported in building sustainable careers. Building in business operations skills would allow studios to begin operation more securely.

Training to teach would add further strength to them and the sector. It would build a greater societal understanding of the professionalism required, reflect the value of the years of training, and provide the individual teachers with stronger skills. 

The necessary steps to begin a move to accreditation will involve educating teachers as to the value of pedagogical techniques, engaging regulators in creating a framework and building a coalition for change within the industry. 

There may be concern as to the additional cost load of this for start-ups. But we believe that there is an opportunity to both highlight the benefit dance gives to society and to boost the outcomes for the dance sector by addressing this grassroots need.

Dance teachers in private practice already see themselves as artistes. There’s more work to be done to help our teachers see themselves fully as educators, and as business professionals, with strong community roots – this is just the start of the conversation. 

Dance teachers are often drawn to teach through a love of dance, or a desire to keep a connection as their dancing careers are ending. They provide some of the first role models to young girls, as dedicated professionals and business owners. 

In a future where Dance Studios are better understood in the business and educational context, we foresee an improved societal valuing of dance in all forms, where these Shoebox Businesses will be seen for what they truly are; the powerhouses behind the World of Dance.

About the Authors 

Jacqueline Graham, President of Business & Professional Women Australia 2018 -2023 and a Director of the Australian Gender Equity Council,  is a passionate advocate for women in the workforce, and for the value of women-led sectors. She has over 20 years leadership experience in corporate and franchise retail, with senior roles in the UK, New Zealand and Australia. An amateur musician, she studied classical ballet as a child, reconnecting with dance as an adult, enjoying ballroom and latin classes. Her active connection with music and dance as a performer and audience member has been a constant in her life.

Kate-Elissah Tallamy – Dancer, Teacher, Studio Owner and Author (“The Dance Parents’ Survival Guide”) – has been immersed in dance, theatre and performing arts for over 35 years. With a Diploma of Performing Arts (Classical Ballet), and a BA in Dance, Kate has performed in professional theatre and cabaret, taught in Melbourne’s leading Ballet and Performing Arts schools, owned a studio in Tasmania and works with Australian-owned dancewear brand, Bloch. In 2020, Kate-Elissah opened (and closed… and opened again) Move Dance Melbourne, a boutique dance studio, offering ballet, jazz, tap, Latin and Ballroom for students from children to adults. During Covid-19, Kate-Elissah added a Certificate IV and Diploma in Dance Teaching and Studio Management, and is now an ‘approved tutor' for R.A.D. Faculty of Education (Assistant Teacher Award).