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Dance 10, Business 3
Adapted from Chorus Line
You trained with the best coaches to become a great DANCER. Who trained you to be become a SUCCESSFUL business owner? Dancer-Teacher-Owner. 3 different sets of skills required
I can show you how to triple your student body, spend much less to get new students, double your profit and even-get rid of your rent. All for less than you spent to learn one dance routine. The dance business is evolving, too many studios are closing because they are still running like studios from another era. Right now I am seeing many “experts from the Dolly Dinkle Ballet and Tap Schools try to sign everyone up like they can help you run a Social or Competitive ADULT school. I have 40 years of experience. Let me help you.
Legends from other Sports
Emmitt asked, “How come we don’t have meetings like this more often to learn and do business together?”
Mike – “What did you have to do to get this meeting?”
Emmitt – “I had to call you to ask you for the information”
Mike – “Exactly. If you had not done that we would not be sitting down talking about business. “You were humble enough to ask, meaning you were willing to learn. I cannot teach someone who is not willing to learn. You have to have a fertile mind before seeds can be planted or you will never learn.” As the saying goes “When the student is ready the teacher will appear”
Questions For You
- In the time you have been open, has your studio reached where you wanted/expected it to be?
- Has the growth been continuous in that time?
- Is your original vision working?
- Having lived through the last few years- Is your business Pandemic/recession/injury proof?
- Is your student ratio even or more men to women?
- Do you know the real underlying psychological reasons why people learn to dance?
- Do you know that some studios have their rent already paid by the first day of the month?
- Are you comfortable when your students go to another studio or dance club?
- Are parties big moneymakers or are they something you give away to entice people to buy?
- Does your studio only make money when YOU are doing the work?
Message From Enio
- Liza Minelli
The Hardest Lesson In Life is: Realizing You Don’t Know WHAT You Don’t Know.
In my lessons with the elite of the dance world I never blindly accepted anything. I questioned and challenged everything. I learned that some people regurgitate what they learned without understanding the underlying principles. “Just because” was never good enough for me. The best could take any question and answer it in a way that held up to natural laws such as gravity, physics, momentum, and human physiology. I learned that you never stop learning, so while you may be the guru of a mountain top, somewhere there is a higher mountain. And so I am always in search of that guru. I look at everyone, no matter how experienced or green and I can learn from them (if even how not to do something). So in 40 years, the biggest lesson I learned from several masters is- “You don’t know WHAT you don’t know”. So as Michael Jordan says above-You have to be humble enough to ask.
Another great lesson I learned is: “The great thing about ‘change’ is that if you don’t like the change, you can always CHANGE BACK! So don’t be afraid to try something new.
When I teach anyone, I love to be challenged. I try never to teach anything that doesn’t make sense, that cannot stand up to a challenge the way one does when presenting a masters thesis to a group of experts. Yet over my career I have heard some of the dumbest ideas proclaimed by so called experts. One of the dumbest is that group classes don’t make money. Over my studio days I would make more in a 90 minute class than I would have teaching 10 private lessons. If you value a private more than groups then your focus is on that. There is no question that McDonalds food is not the equal of Wolfgang Puck’s Spago restaurant. Yet as they say on the sign ” Billions and Billions Served.” If your group classes are held during the premium hours, are taught by the master instructors with boatloads of energy (not the newbie teacher to practice his Syllabus), the class becomes the highpoint of your day, your student’s night and is so much fun that they will bring their friends to join in with you having to beg and plead for them to do guest parties. By the way, I NEVER held a guest party because my students brought new friends at the beginning of each series. HOW IS THAT POSSIBLE??? You’ll just have to ask me.
Am I suggesting that you give up privates for groups? On the contrary, With big classes came lots more students and people to dance with. Once the newbies realized that the FASTER they learned, the more people would ask them. Not the teacher doing it out of obligation. The key to faster and better was the path of privates, not pro-am. In my intake assessment of a studio, I going in already knowing why your group classes won’t grow, and why you fall back to privates during the prime hours and group classes in some dark back room or in a corner.
Advantages of Big Group Classes
- High Energy Studio
- Greater Visibility in Your Community
- Students Can Afford To Come Multiple Times Per Week
- They Make Deeper Relationships, Making It Harder To Ever Leave
- Less Need For Procedures, Excess Sales Managers
- Parties Become Events
- When Students Focus on One Style, They Get Past The “This Is Difficult Stage” Faster
- When They Realize Dancing Is Easy They Are More Open To Other Dances Without Procedures
- Easier To Build Formation/Performance Teams.
- Studio Regains Control of Students Instead Of Individual Teachers.
My Loss Is Also Your Loss
In January 2021 I lost the 2nd of my mentors- my best friend and the Dance Legend Ron Montez. When I started, he was teaching classes of 125 students, and another mentor, Lou Schreiber was teaching classes of 225 and parties of 500. Both are gone now. I want to share their secrets and many that I learned by accident and observation on my way to creating the biggest studio in Los Angeles County. Both of them were part of this project.
Why have I spent so much time writing a book, building this website, collecting hundreds of videos and pictures to use as examples, and hundreds of hours on the phone with friends and colleagues? Simple- I love this business! I have seen the bad days of dance studio criminal behavior, started in studios that almost made me find another line of work. And I had a THIRTY-TWO YEAR run of fun. I am still in the business but evolving towards being able to stay in it long after the body says that’s enough. I want to see studios as plentiful and successful as McDonald’s. Many of you would like to be the only game in town because competition scares you. Studios on every corner would happen because MILLIONS of people are dancing. You can work your way up the corporate Dance franchise ladder or you can build a dream studio of your own. But I am not going to sugarcoat it. If your studio consists of classes of 10 students, boring weekly guest parties, and lots of one on one privates, you are me 36 years ago.
Dance Teacher Academy Interviews Enio
Come join Dance Teachers Academy’s hosts Aimeé Mendez and Jose Tolentino as they interview Enio about his role in the recently released movie God and Salsa, his friendship with Ron Montez, and how he developed his studio growth philosophy over 45 years in the dance industry.
Terryl and Enio are now in Delray Beach, Florida.
same Phone Numbers. New Address
Available for Consultation, Coaching and Workshops Worldwide
If you are looking for info on classes, bios, pictures and more, Click Here to go to
Enio and Terryl's website:
EnioandTerryl.com
Let me tell you about a life-changing episode in my life:
I was just hitting my competitive stride. I had made the 24 in my first pro Blackpool with a girl that was a baby teacher at Fred Astaire. We were finalists in every major on the West Coast. Since my wife was a newbie teacher, getting lessons at the Westmor (where the list of pro champions was huge) was nearly impossible. Forced to take an office job and practice at night made her resentful of how little I was working. She felt I should be working the same hours so I would have empathy for how hard she was working. She managed to convince our coach Nina Hunt that I should take a day job. Even though I protested mightily they asked me to meet with Patrick Johnson. Patrick had been the junior rising star in England and was destined for greatness. Instead Patrick had heeded the glittery call of the US and had ended up with 7 studios and a 1983 million dollar mansion.
Patrick and I had a conversation that went like this:
Patrick- So who do you want to be like?
E- Chris Morris because he teaches like 30 HOURS a week. (That was great money in those days and I was teaching like 10-15)
Patrick- How many lessons do you think Chris will be teaching in 5 years?
Enio- I dunno, 30?
Patrick- How bout 10 years?
Enio- (Long Pause) 30…
Patrick- 20 years?
Enio- (GULP!) 30
Patrick- I have seven studios with about 10 teachers EACH teaching 15 hours a week
To make a long story short, I decided to try it. In two years at Arthur Murrays I made less than I was making teaching 10 hours a week as an independant, but more importantly, I learned a tremendous amount. Such as: Why there is a need for the one on one studio, why it is about the experience more than the product you are selling and unfortunately the ugly side of pressure sales and unethical practices. I’ve often told neophyte teachers that the business side should be learned at Arthur Murrays or Fred Astaire. Learning those various facets of the business allowed me to open my own studio, buy my own building, create an award winning nightclub/restaurant and become a guru of the dance business.
The difference between the little studio and the mega dance center is not how hard you’ll work because most studio owners work long hours. The difference will be how much you make and how soon you’ll be able to retire. For several years after I opened my first studio, I used to dread teaching classes with few students and low energy. When I discovered the secrets to building a huge studio – what I call critical mass, I started to walk out to teach each class like a ROCKSTAR going onto an arena stage each night. It grew so big, so fast that I stopped teaching privates except to very special friends and students. After about 12 years I so missed the fun of competition that at age 58 I went back out on the floor with students to compete in Pro Am. If you are ready to change your life- Call me. Let me make you a ROCKSTAR!