Managing Teachers
On the subject of studio management, few issues are more important than hiring good teachers. But what is the key to finding the right match? And what do you do when an instructor who seemed ideal in the initial interview process ends up not fitting in? We asked several trusted studio owners for their advice.
Janine LoPresti and Fern Adair are studio owners with thriving businesses. They hire carefully and dismiss judiciously. Between the two studios – LoPresti Dance Theatre in New York and Fern Adair Conservatory of the Arts in Nevada – they have about 55 instructors and well over 25,000 square feet of space that includes 9 studios, a gym and a music room. To keep students and parents happy, they need their teachers to be experienced, ethical, personable and dependable.
In addition to these criteria, they both have thorough methods in place to help find the best teachers available. LoPresti says, “What happens is, when I get a résumé that I like, I’ll call them up and set up an audition class so they can teach for me, and I just watch.
“I look for other teachers who have their BFA. I know the curriculum that’s required to get that BFA and I know they have classes in teaching. I like to see they’ve done some professional work. I see what studios they’ve taught in and make sure none of them are near me.
“When I look at their résumés, if I see a school on there that is not within a ten-mile radius that I know is good, has a good reputation when it comes to dance training, [then] they become high on my list. If I see schools on their résumé that I know are not so good [or] do not have a good reputation, I don’t even bother to set up an interview. We are a school that participates in dance competitions, so you get to know other studios and the technique they put out.
“I ask them what they teach in their class. If it's a baby class, a creative movement class, I ask them how they start the class, what they expect of the students in the class, [about] their experience in the studios, and if they have a video of their choreography. You want to see the end result and if you hire them, you won’t see it until the end of the year.”
Children at LoPresti Dance Theatre
Adair, a frequent lecturer for Dance Educators of America on dance studio management, looks for similar things. She says, “So I’m looking for teaching experience; where they’ve taught and what levels they’ve taught [are important].”
During the interview, it’s vital to ask probing questions and then listen carefully. Adair likes to ask a simple question: “Why? Why do they want to teach here? What are their goals? I have found it takes them off guard and before they can think of an answer, something [has] come out of their mouth. ‘Well, the show I’m on just closed and I’m waiting for the next one,’ or, ‘Well, I’ve been dancing for so many years and I thought I’ll just teach now.’ Well, excuse me but you cannot. Because you’ve been dancing, does not mean ‘Oh OK. I’ll teach now.’ That means they don’t have a clue.
“Something else I do watch for is…the teacher’s sense of ethics. Where have they taught and how did they deal with the other teachers in the area?” Adair suggests asking: “‘Did you studio jump? Did you teach in this studio and then go to work in the studio next door?’ That’s not ethical. ‘Are you coming to me and applying for a job and you teach down the street at another studio?’ That’s not ethical. I can’t hire you. I will not step on another studio’s toes to hire another teacher away from them.”
First impressions also count. LoPresti says, “I sometimes can be a little critical in an interview. If they’re not making eye contact, [if they’re] playing with their hair, chewing gum—all that stuff’s [telling] in any interview.” Someone who’s easily distracted will have difficulty keeping the class focused, LoPresti says.
Adair says that age is something to consider, but not the determining factor. “It depends on what they’re teaching. In the ballet world, it’s much more forgiving as far as age and time and experience. In hip-hop, that’s going to be a young trendy person, and that’s not hard because anyone older is not going to want to teach hip-hop.”
Although age is not a determining factor, personality often is. LoPresti says, “What they portray to you [may not be] what they’re going to portray to the kids. I didn’t audition in the beginning and I learned right away that’s something I have to do, because the personality may be totally different in the classroom.”
And what type of personality is best? “It depends on the age group you’re hiring for. If you're hiring for three and four year olds, they need someone who’s bubbly. If they’re older, I need someone who’s not as bubbly, who they can’t walk all over. Children have to have fun but they have to learn as well. When it comes down to it at the end of the day, they have to learn something. There has to be a balance of the two.”
From there, all it generally takes is to watch the classes to see how an instructor is doing. Adair says, "With experience, it doesn’t take much more than just a casual walk by a window and you can see, ‘OK. What are the expressions of those students? Why are they still sitting on the floor and it’s now four minutes into class or why are they running around? Why does the teacher not have full control of what’s going on in there?’ That can happen occasionally. Any of the above can happen occasionally. But if it happens the next week and the next week, then it’s very easy to see and it’s [time] to have a discussion.”
If the ensuing discussion doesn’t solve the problem, then it may be time to part company. At that point, LoPresti says, carefully consider the effects. “How’s it going to affect the children?...I’ve never let a teacher go that they loved. There’s never been a question.”
And Adair says, “Usually a teacher will be [fired] because students are not being motivated. Students are not showing up in class. There’s a pattern. I wouldn’t be walking into a classroom if the teacher is really motivating the students, and the teacher is honest and trustworthy and all of those wonderful things, and fire this teacher.”
Adair suggests having documentation to support your decision. “I have all of my notes. I have all of the notes I’ve given the teachers. When I have [conversations] with the teachers, I’ve made notes. So I do have back-up.”
Then it’s vital to be sensitive. Adair always considers “…the feelings of the teacher, the impact upon the teacher’s professional career and their feelings, and the impact on the students’ personal feelings and the motivation. ‘Is there going to be an interruption in their learning curve and can I handle that disruption in the student’s life?’” These are all important issues.
Finally, neither studio owner makes hasty decisions. They start with a basic application (available at most business stores), check every credential, interview thoroughly, and schedule the applicant as a substitute instructor or ask them to teach a class. Then they continually gauge students’ enthusiasm and progress. These guidelines keep teacher management simple and painless, leaving more time to attend to other things—like preparing for your own fantastic classes!