Thread: To make a payment, say payments... Im sorry, I didnt not recognize your request

Ok, so I know this subject has been discussed up and down forever on here and in the dance scene, but I'd like to take another take on it... what am I talking about?..

WHAT WE GET PAID of course. .w.:

So, we've already discussed what we should get paid, the problem of undercutting, the dilemma of loosing work because we price ourselves out of the market, the issue of dancing for free etc. Also, what defines a professional has been discussed way up and down. I would like to ask the following question;

What do you bring to the table as a dancer that makes you worth what you charge/feel that you should be paid?

Now before you answer, please dont take a defensive stand, just state what assets you bring to the table. You dont even have to say what you charge. All I am curious to hear is what everyone feels that they bring to the table as a dancer really.

I mean, as a restaurant owner you drop what... 1 mill on a restaurant? As a the family holding the wedding you drop what... 100.000 on the wedding itself? I would ask myself what makes the dancer worth the expense, wouldnt you? So, I'm trying to open up this thread for people to understand what we bring to the table and why we feel that we can command the fees we ask for. (hopefully restaurant owners, party organizers and others will google and find this thread, right?)

I'll go first;
- 24 years of dance experience and continuous studies in Indian dances
- 9 years of dance experience and continuous studies in Middle Eastern dances
- 20 years of performance experience
- approx $100.000 invested in studies and costumes so far
- an established and recognized reputation as a performer
- instructor and performance coach to award winning, recognized and established dancers
- featured performer in over 30 internationally distributed video productions
- featured performer in numerous international festivals and shows
-------
Edited to add:
- 6 years of teaching middle eastern dances
- 14 years of teaching indian dances
- graphic design degree
- design professional costumes
- dean of a dance academy
- coordinate the curriculum and oversee diploma programs for dancers and instructors
- 20 years of PR, contract negotiations/contract writing, concept development experience
- published author
- internationally sponsored and hosted performer and instructor

I guess I was trying to focus on performance related stuff only the first time, got it right now :) lol
--------

As for fees, I would say that I charge 1/2 of what my own instructors charge as I respect, honor and recognize their abilities as above mine and I would never imply that I am of the same caliber as they are. My fees are not cheap nor BDSS or Dina fees either, but they command respect for my abilities.

Neeext. .w.:

weeeell, i wouldn't say i'm all that and a bag of chips, but i've gotten wonderful feedback and reaction, and have worked with some WONDERFUL teachers, so, here goes:

-24 years experience in Oriental and Ethnic ME dance....including central asian and georgian, so my schooling is diverse, and covers several evolutions of the dance that should appeal to many audiences.....
-investment in quality props, costumes and CONTINUING education with some of the most prominent dancers/teachers/performers in the world, including from overseas
-frequent guest artist with other ethnic groups/bands indicating diversity, adaptability, improvisation skill and flexibility
-busy performer in stage productions, private parties comprised of ME AND occidental audiences
-professional, polished, elegant (family friendly) presentation both in person and in performance so their entertainment will reflect the same class and polish as the venue and projected clientele

and that's what i've TOLD prospective owners........got one, the others haven't wanted to pay my requested rate (yet, for one, he's waiting for the business to build, brand new)......even brought up that they pay for the finest decor,the finest schooling, the best ingredients, as do i, so our business goal is very much the same.............

for what it's worth, i'm GLADLY 'pricing myself out of the market'......i've paid my dues, and have upped my game to the point i'd rather have NO gigs, than bust my butt for the low end or worse of the pay scale..........i've invested a great deal in privates lessons, workshops, supplemental material, quality costuming, image consultation, pro photos, that i'm not willing to sell myself short......or fall short of the expectations my mentors have in me......THEY deserve better too!

-10+ years of BD study (current/ongoing)

-7+yrs of teaching & performing BD including invitations to perform/present for political dignitaries, colleges & universities, and established arts organizations (current)

-7+yrs as Artisitic Director of successful BD Troupe (current)

-25+ years of classical dance training in ballet, jazz, tap, modern, and improvisational movement, including a B.A. minor in Dance & Performing Arts (ongoing)

-5+yrs resident choreographer & principal dancer for non-BD dance company (current)

-State Certified Special Education Teacher, State Certified Vocational Instructor (Dance) (current)

-MS in Special Education, which provides me with the knowledge and expertise to provide instruction to a wide variety of learners including young children & persons with physical or developmental disabilities (current) & the pedagogy to develop courses and workshops to meet the needs of all learners

-multiple professional quality costumes in a multitude of styles from fusion to folkloric & everything in between

-a well maintained personal appearance (current--I hope!)

- a warm, genuine personality & energizing stage presence coupled with the ability to set firm boundaries

ok, going to try to word this carefully

david, basically, the question is "what makes me worth big bucks", right?

and you are answering it with "all my extensive experience/training (provide details...)". although that trainign and experience is so important, i'm not sure i agree

i think what a venue is looking for (and i'm not talking cheap restaurants, who want a young girl with nice boops in a nakid costume regardless if she can dance), but you know, someone who wants a good show
they dont care how many years i've been dancing, teaching, performing and how many dvds i'm on, it's

- are you entertaining, attractive, attracting (read: bring in customers), entertain my guests
- will you bring the kind of entertainment my venue/party/bash/event needs

that's it i think...

if it's a bellydance event doling out the pay, the only thing i'm interested if i'm doing the hiring for an event, is not the number of years/experience either, but
will this person in some way "touch" me/my students/our audience. i've had that experience with people with years and years of training, but also with relatively "new" dancers who have "it". (or the X-factor as idol calls it) or "something" that makes me go "wauw" and gives me chills/makes me go "oooh", makes me cry or laugh...

Artemisia

Originally Posted by artemisia_danst

i think what a venue is looking for (and i'm not talking cheap restaurants, who want a young girl with nice boops in a nakid costume regardless if she can dance), but you know, someone who wants a good show
they dont care how many years i've been dancing, teaching, performing and how many dvds i'm on, it's

- are you entertaining, attractive, attracting (read: bring in customers), entertain my guests
- will you bring the kind of entertainment my venue/party/bash/event needs

that's it i think...

Artemisia

I agree Artemisia, especially gigs where a good majority of your audience wouldn't know the difference between a decent dancer and a brilliant one.

What I promise to deliver for the money, along with what I promise you'll be avoiding if you go with me:

- I am dependable. Not only will I show up, I will show up 15 minutes before I am scheduled to dance so there's time to set up my music, plan where I'm going to enter from, let you gather the guests, etc.

I will not show up at the door at or after the "performance time" on the contract.

- I will have a CD burned specifically for your event, so that all you have to do is drop it in the player and press play. If you have a special request for a type of music (Egyptian, Greek, Turkish, etc.), I will incorporate it into my set. I will have a backup boom box in case their are issues with my CD in your stereo system.

I will not show up with a commercial CD and ask you to please go to track #5, then realize when it starts playing that I've asked for the wrong song. If the CD won't play in your stereo, I won't shrug and say, "Well, what am I supposed to do about it?"

- I will come in a beautiful, professional costume, with stage quality makeup, hair and jewelry. If you prefer a certain type of costume (fringy and swishy, or sleek lycra), or a certain color, I have a large enough costume wardrobe that I can very likely accommodate you.

- I will not show up in a velvet choli, plain circle skirt and hip scarf. Nor will I have makeup that barely works as a day look and hair that looks like I just rolled out of bed 10 minutes ago. If you ask my if I can wear green or red for your Christmas event, I won't say, "No, I only have one costume, and it's purple and orange."

continued

- I will dance gracefully and skillfully, matching my movements to the music. I will engage your guests by smiling, making eye contact, and encouraging them to dance as well. I will be warm and approachable, and deliver a performance that is unlikely to make anyone uncomfortable. If there is a guest of honor, I will interact with them by getting them up to dance, posing for pictures with them, etc.

I will not shimmy frantically throughout the entire song, even when it's slow. I won't look at the floor or stay within a 2 foot radius the whole time. I won't glare at anyone, automatically assuming they're a pervert who wants to grab my boobs. I won't do a bump and grind. I won't ignore the guest of honor, but I also won't sit on his lap or rub my body against him in a lewd manner.

- I will do everything I can to bring joy and beauty to your event, and make an already pleasant event fun and unforgettable.

I will not act as though I don't really like what I'm doing, and who I'm doing it for, but I guess everybody's got to make a living.

yes! (and sadly, all your nono's made me think of shows i've seen)

Originally Posted by laura 2

I agree Artemisia, especially gigs where a good majority of your audience wouldn't know the difference between a decent dancer and a brilliant one.

What I promise to deliver for the money, along with what I promise you'll be avoiding if you go with me:

- I am dependable. Not only will I show up, I will show up 15 minutes before I am scheduled to dance so there's time to set up my music, plan where I'm going to enter from, let you gather the guests, etc.

I will not show up at the door at or after the "performance time" on the contract.

- I will have a CD burned specifically for your event, so that all you have to do is drop it in the player and press play. If you have a special request for a type of music (Egyptian, Greek, Turkish, etc.), I will incorporate it into my set. I will have a backup boom box in case their are issues with my CD in your stereo system.

I will not show up with a commercial CD and ask you to please go to track #5, then realize when it starts playing that I've asked for the wrong song. If the CD won't play in your stereo, I won't shrug and say, "Well, what am I supposed to do about it?"

- I will come in a beautiful, professional costume, with stage quality makeup, hair and jewelry. If you prefer a certain type of costume (fringy and swishy, or sleek lycra), or a certain color, I have a large enough costume wardrobe that I can very likely accommodate you.

- I will not show up in a velvet choli, plain circle skirt and hip scarf. Nor will I have makeup that barely works as a day look and hair that looks like I just rolled out of bed 10 minutes ago. If you ask my if I can wear green or red for your Christmas event, I won't say, "No, I only have one costume, and it's purple and orange."

Galatea! That is just hilarious :) I wish everyone had those clauses included in their contracts. May I copy these clauses into mine?

Artemisia... Ah, you got my point exactly!

We're yet again having the discussion of undercutting bla bla etc here in San Diego and I just wanted to see if there was anyone else that has the same take as me on things... Maybe my approach was a bit different, but if I said that I think that restaurant owners want "see Artemisia's post", then I would most probably get a comment such as "oh restaurant owners are sexist pigs etc".

I totally agree with Artemisia in regard to her post. I totally agree with Galatea in regard to what SHOULD be provided by a professional...without any other compensation than agreed upon prior to the gig.

When are our fellow dancers going to realize that restaurants aren't necessarily prestigious places to dance? Dancers are employees at these places just like buss boys and dishwashers. There is a vast performance world out there beyond restaurant gigs.

I can't stop wondering how cheap people must find us when we end up being competitive over 35.00 gig (restaurants). So much for being classy and "worth your money" huh? It's sad, if you ask me.

Also, it seems like so many whine and kick about the fact that restaurants/gigs pay so little and students are undercutting... what are they doing to create performance venues for students? What are we as instructors doing to make our students appreciate and value EVERY performance opportunity and not long and luster for a 35.00 restaurant gig?

In Indian culture we have a saying that the mother/parent may hide their background as much as they want, but the children will always give it away in spite of the mother's/parent's effort to hide it..... doesn't this go for the values we as instructors install in our students? Or lack of such?

Ok, so maybe I'm being melodramatic in the other direction - but seriously, first people should learn to dance well - then they should put themselves out there in public to represent. Prior to that - it is the instructor and dance scene's responsibility to create and provide performance opportunities.

Agree, disagree? please let me hear your take on it.

DaVid

really good points. What if I started a separate thread that spins off on "life beyond restaurant gigs?" This is something I've been wondering about, too.

hm, i dont think restaurant gigs are beneath me per se. the ones at 35 per set would be... i charge more and if they dont wont me at that... than dont...

but i'm no less of an entertainer whether i'm dancing for a 100E at a restaurant or for a 1000 at a corporate event... i dont think it's THAT much diffferent really. i try to do my job well at both.

so not sure what you mean there?

restaurants are indeed NOT the only event/aim, and i've sort of grown tired of them, but i dont think there is anything wrong with them. on the contrary, i hope they hire GOOD dancers, as that's where a lot of the GP will have their first bellydance exposure, right.

lately i'm also more into creating my own oppportunities (theatre shows)... but i'm not saying no to any GP gigs, prestigiuous or not.

about the creating opportunities for students, i try, i really do, but many hafla's i've tried creating have COST me money, and just putting them on seems to make some students think i owe it to them to find them gigs... and sometimes i think they have the opposite effect (i let them dance at the hafla, bingo, they think they are ready to go pro)

just rambling, need to go to bed ;-)

I guess it depends on your intended audience--and your professional goals:
to be a good workshop presenter & teacher does one need a large wardrobe & good cosmetic application skill or proper training?
Across the board one needs all of the above mentioned professional skills such as dependability, personality...
I think the training & "resume" qualifications that you, Ruta, & I listed have a symbiotic relationship with the "X" factor that Artemisia brings up. Because I have been training & networking for so long, I have many connections, students, & fans in my neck of the woods. These people come see me dance when I perform at the restuarant. I've got the X factor so people want more. They enroll in more classes & tell their friends, who are on committees & boards and whatnot. I wouldn't get paid big bucks to teach workshops at universities if I didn't have the resume qualifications & trainings, my regular weekly students help populate the university workshops which makes them profitable which makes the Univ want to invite me back which brings my name out at the arts festival planning committee which ....and around the cycle goes


I've always viewed restaurant & belly gram work as "entertainer" and less fulfilling to me personally. Stage/festival/workshops/teaching is "artist" work and allows me to realize my voice as an artist. To that end I invest the most time networking with arts, educational, & cultural organizations--which is where the "resume" is very important. Because of this focus, I and my troupe are often hired for "Big Bucks" by "Big Wigs" in our humble state of Maine. Its easy to enjoy a relative monopoly here but there are a lot of dancers saturating the market even in Lobsterland--they can have the greasy restaurants & old fart parties. I'll take the full 2 hour concert featuring my troupe sponsored by the state ballet for a 75% profit sharing agreement any day!

That said, I know my students LOVE to bring families and friends to see me dance at the restaurants & it is a great way to get new students & make more connections so I do work that angle as well. I just don't view that as what makes me feel successful.

ok, started the spin off thread here, if anyone is interested: http://www.bhuz.com/forum/business-b...es-aspire.html

I was thinking of what I wanted to type, and then I read Artemisia and Galatea's responses, and realized they said it way better than I could have.

So...ditto.

Oh, I'm so happy my post was taken in the spirit it was intended. I worried that it would come off as totally bitchy.

Originally Posted by laura 2

Oh, I'm so happy my post was taken in the spirit it was intended. I worried that it would come off as totally bitchy.

Not at all. I worded something similar then decided not to post it, because of the same fear! I am glad that you didn't chicken out like me.

Originally Posted by david

Ok, so maybe I'm being melodramatic in the other direction - but seriously, first people should learn to dance well - then they should put themselves out there in public to represent. Prior to that - it is the instructor and dance scene's responsibility to create and provide performance opportunities.

Agree, disagree? please let me hear your take on it.

DaVid

TOTALLY AGREE, as a community we do not do enough to prepare each other to go out there and be a professional. The "pros" are not bring up the next crop in the best possible way and to some effect i think thats because the "pros" are not always as professional as they claim to be. Therefore how can they create a real professional out of someone else, or direct them is such a way.

I myself was originally a victim of this. Part my ignorance, part the rest of the community. problem needs to be fixed...but not sure i see that happening.....

Originally Posted by david

Ok, so maybe I'm being melodramatic in the other direction - but seriously, first people should learn to dance well - then they should put themselves out there in public to represent. Prior to that - it is the instructor and dance scene's responsibility to create and provide performance opportunities.

Agree, disagree? please let me hear your take on it.

DaVid

I SO agree David.
Here in DC Baltimore that technically shouldn't be a problem.
We have tons of haflas and multi-dancer workshop events for students to dance in. We have professional gigs that range from $75-150 PER SHOW (our party minimum is $200 and goes up to $400 per show). In addition to those venues we have a good number of places where the prices will simply never go up- some $50 and $60/show venues that are perfect "semi pro", "blossoming pro" or "comfortable where she's at" pro...
Even with all that- our "stepping stone" path we have created to "get there" (the good money)...we've still got girls coming in and undercutting (or sometimes just trying to undercut) in the good money places.

And to the first post.
I have FANTASTIC training. My teachers are wonderful. I am a perpetual student and work really hard to be forever growing and developing.
The Reader's Digest condensed version: I started dancing in 1982. Was a jazz dance major in college for 2.5 years on the deans list. Finished my bachelors degree in costume design theater production (also deans list). I have over 20 years experience teaching fitness and movement. Over 15 years experience on stage (because I do subtract for time off). My first belly dance workshop was over 10 years ago. I took sporadic classes and videos at first before settling into weekly classes (and then some) with Artemis Mourat and then Yasmin. I of course continue classes and take workshops and privates. I've been professionally performing over 4 years- or maybe 5. I'm not sure now. For a couple years I was averaging 7-14 shows a week! That's a lot of stage time and incredibly educational. Lately I've been averaging 5-11 shows a week. A much more comfortable average considering I take weekly classes and practice (of course).
I LOVE dance and I LOVE the cultures- this is apparent in my dancing (so I'm told) and this is equally important to any training.
I work hard to stay in shape- 'cos those venue owners are looking for a certain something and it's not always dance experience.

Originally Posted by laura 2

Oh, I'm so happy my post was taken in the spirit it was intended. I worried that it would come off as totally bitchy.

No seriously, may I copy and use these?

DaVid :)

Originally Posted by SamiraShuruk

I SO agree David.
Here in DC Baltimore that technically shouldn't be a problem.
We have tons of haflas and multi-dancer workshop events for students to dance in. We have professional gigs that range from $75-150 PER SHOW (our party minimum is $200 and goes up to $400 per show). In addition to those venues we have a good number of places where the prices will simply never go up- some $50 and $60/show venues that are perfect "semi pro", "blossoming pro" or "comfortable where she's at" pro...
Even with all that- our "stepping stone" path we have created to "get there" (the good money)...we've still got girls coming in and undercutting (or sometimes just trying to undercut) in the good money places.

And to the first post.
I have FANTASTIC training. My teachers are wonderful. I am a perpetual student and work really hard to be forever growing and developing.
The Reader's Digest condensed version: I started dancing in 1982. Was a jazz dance major in college for 2.5 years on the deans list. Finished my bachelors degree in costume design theater production (also deans list). I have over 20 years experience teaching fitness and movement. Over 15 years experience on stage (because I do subtract for time off). My first belly dance workshop was over 10 years ago. I took sporadic classes and videos at first before settling into weekly classes (and then some) with Artemis Mourat and then Yasmin. I of course continue classes and take workshops and privates. I've been professionally performing over 4 years- or maybe 5. I'm not sure now. For a couple years I was averaging 7-14 shows a week! That's a lot of stage time and incredibly educational. Lately I've been averaging 5-11 shows a week. A much more comfortable average considering I take weekly classes and practice (of course).
I LOVE dance and I LOVE the cultures- this is apparent in my dancing (so I'm told) and this is equally important to any training.
I work hard to stay in shape- 'cos those venue owners are looking for a certain something and it's not always dance experience.

Ah, good to hear that we're joined at the hip in this dance family with our "family problems" then :) lol

OT: will you make me a costume? :)))))

I think in Samira's example that at the end of the day, there is more prestige for most people to get paid for what they do, even if it's under market and undercutting.

From a student perspective who doesn't teach or perform, sometimes it's a bit tempting when you see someone who's really not better than you or is teaching stuff you know isn't correct. I imagine it's a vicious cycle. I haven't given into the temptation, because I've had bad teachers in other things and don't wish to be that person.

I have had a lot of teachers and I don't feel like classes ever discuss performing/teaching ethics. The most I've ever seen is an intro form have people check off if they're interested in going pro; I'm not sure what that was for, though

Originally Posted by indigostars

there is more prestige for most people to get paid for what they do, even if it's under market and undercutting.

This is a valid point! I overheard a conversation between a vendor and a top-quality dancer not too long ago, as the dancer was shopping. The dancer mentioned that she danced at a restaurant in Hollywood, and the vendor's response was, "Oooh, so you're at the top of the food chain then!"

The restaurant, while gorgeous, pays $35 per night.

Originally Posted by nasila

This is a valid point! I overheard a conversation between a vendor and a top-quality dancer not too long ago, as the dancer was shopping. The dancer mentioned that she danced at a restaurant in Hollywood, and the vendor's response was, "Oooh, so you're at the top of the food chain then!"

The restaurant, while gorgeous, pays $35 per night.

**groan** ..cr.:

Deborah

Originally Posted by AmandaRose2

TOTALLY AGREE, as a community we do not do enough to prepare each other to go out there and be a professional. The "pros" are not bring up the next crop in the best possible way and to some effect i think thats because the "pros" are not always as professional as they claim to be. Therefore how can they create a real professional out of someone else, or direct them is such a way.

I myself was originally a victim of this. Part my ignorance, part the rest of the community. problem needs to be fixed...but not sure i see that happening.....

DITTO!

Originally Posted by SamiraShuruk

And to the first post.
I have FANTASTIC training. My teachers are wonderful. I am a perpetual student and work really hard to be forever growing and developing.
The Reader's Digest condensed version: I started dancing in 1982. Was a jazz dance major in college for 2.5 years on the deans list. Finished my bachelors degree in costume design theater production (also deans list). I have over 20 years experience teaching fitness and movement. Over 15 years experience on stage (because I do subtract for time off). My first belly dance workshop was over 10 years ago. I took sporadic classes and videos at first before settling into weekly classes (and then some) with Artemis Mourat and then Yasmin. I of course continue classes and take workshops and privates. I've been professionally performing over 4 years- or maybe 5. I'm not sure now. For a couple years I was averaging 7-14 shows a week! That's a lot of stage time and incredibly educational. Lately I've been averaging 5-11 shows a week. A much more comfortable average considering I take weekly classes and practice (of course).
I LOVE dance and I LOVE the cultures- this is apparent in my dancing (so I'm told) and this is equally important to any training.
I work hard to stay in shape- 'cos those venue owners are looking for a certain something and it's not always dance experience.

Seriously you are my hero!

Originally Posted by david

No seriously, may I copy and use these?

DaVid :)

Be my guest! ..g.:

Laura, it has been copied :) YAY!

I think I was lucky in one way that I took private lessons the 3 first years of my exposure to middle eastern dance and was lethally afraid of offending my instructor by not being able to pay her fees... so I never lowered my prices - I went with what I was told to charge (which enabled me to pay for my private lessons).

This was also an instructor that didn't do restaurants, didn't like to do parties and preferred to dance on stages at the time. In the end it taught me that I don't have to do something I don't want to - and that I'm the one that decides what feels right to me. I don't have to find the same gigs or ways of getting gigs glamorous or even attractive as everyone else. It doesn't make anyone or any gig more or less worthy - it's just a personal preference.. and I did it all in the beginning. I was hungry. Today, I'm well fed and really busy anyway to be able to commit to some of the type of gigs that I used to do in the beginning of my career.

I do feel that it is important to charge according to ability - which means - don't hit me - there has to be an ability to charge for in the first place. I think way too many dancers think they're worth more than they are - and the other way, there are a bunch of dancers that need to quit worrying about never being good enough and start realizing that they're actually in possession of real talent...and put it out there at a decent fee.

All in all, I think it mostly comes down to the ability to realistically self-critique, or lack of such, that causes people to mess with their rates or others.

It seems to me that too many people are busy with trying to make it look like they're successful and have influence rather than viewing the journey as a dancer as a separate journey that demands constant work VS the journey as a professional which requires... well, work in a different way.

Just because you get paid doesn't make you a good dancer....it's ability that makes a good dancer. it's ability that makes a good entertainer. it's ability that makes a good business person. it's ability that makes a good promoter. Not everyone is good at everything...

Now of course, read this as a post from a professional perspective.

continued

Here's the flip side of it - who's creating performance opportunities for the students so they can improve their abilities?....*looks around on the floor* nope, not many opportunities floating around these days. Everyone wants to be prestigious, nobody wants to dance at student recitals or studio shows...

It's also really annoying when you sometimes go to student shows and the instructors involved dance just as long per person as all the students danced all together. So it's a two-way issue. Pro's should stick with the pro gigs. Students should stick with the student gigs. Everyone should stick to the dance community events. This way there's a nice transition for everyone and room for everyone... and no, I'm not saying "lets all be friends". I'm just saying there is room for everyone not to even need to cross paths if necessary if everyone were realistic about where they belong in the "hierarchy of dance". Heck, I still beg my instructors for answers after 25 years of dancing. It's nice and safe to have someone's wing to hide under when needed.

DaVid

Originally Posted by david

continued

Here's the flip side of it - who's creating performance opportunities for the students so they can improve their abilities?....*looks around on the floor* nope, not many opportunities floating around these days. Everyone wants to be prestigious, nobody wants to dance at student recitals or studio shows...


DaVid

Ouch.

I host student showcases in a theater twice a year--not only for my students but I invite other instructors and their students to perform too. My classes perform but solo and small group slots are there for the asking.

Student soloists and troupes perform at my haflas and other events.

I added a student soloist category to the Midwest Bellydance Challenge this year that offered a $250 dance scholarship to the winning student.

and I'm FAR from being the only one, even in my immediate area, that actively works and puts her money where her mouth is to create performance opportunities for the up-and-comers.

~~Kimahri

Amen Kimahri - You rock!
Thank you!