Since effectively
stopping classes last September, I've been doing a lot of planning, soul-searching and casual market research. I thought I would record and share the results and planning process!
'I think I'm probably too old (this from a 30 year old and a 73 year old!)'
Too old at 30? But seriously, you are never too old. You can work gently and within your comfort zone, at your own pace, and sit down and rest if you need to, whatever your age. I try to provide inclusive classes, whether for age, shape/size/level of fitness, disability, or gender.
'I want a midweek, evening class.'
Only one respondent wanted a daytime class, most were working or otherwise occupied (volunteering, other activities) during the day. Fridays were too vulnerable to weekend plans and the desire to just get home and put feet up at the end of the week.
One respondent wanted a class which started early, so they could go from work, but most wanted to at least be able to go home and change. (The danger is, of course, that once home, it can be hard to motivate yourself to go back out again!)
'An hour's class is enough - an hour and a half can feel like too much.'
So all classes are now an hour long, with an option for extra rehearsal time after class for those who wish to perform.
'It shouldn't end late - I want/need to be home by 9.30.'
(Because I have caring responsibilities/need to be up for work the next morning)
So classes are 7.00-8.00 pm, rehearsals 8.00-9.00 pm.
'I don't want to have to travel far - preferably not more than 5 miles.'
('Because it adds to costs, and time away from home - a consideration if you have other things to get done, or caring responsibilities.')
The location of classes is an issue; they are best placed in the population centres; that is, towns, rather than out in the villages. That said, being in town is no guarantee of attendees, particularly with the competition from other activities for attendees and venues.
With Narberth's Bloomfield Centre an established venue for the Thursday class, and Hubberston and Hakin Community Centre newly available on Tuesdays for a Milford Haven-based class, the main issue was to find a place for the Haverfordwest Wednesday class.
I checked out a dozen venues (over a couple of months - it took 3 weeks just to discover the booking contact for one venue!), only to find that none were suitable; either they were booked, or booked until 8.00 pm (therefore only for a late class), or they were too expensive (including one where if you wanted a full hour's class, you would have to book and pay for the venue for two hours). Or there was no adjacent parking (I have a lot of clobber, including a heavy suitcase) and no safe access after dark between the hall and a 'remote' car park. In the end, I rebooked Spittal, which is a nice hall and reduces the distance for anyone coming from the Fishguard end. Those in Haverfordwest then have a choice - Spittal or Hubberston.
And there's always car-sharing to split travel costs ....
'I don't have transport.'
It's difficult when you don't know anyone, but there are potentially car shares available, including a couple of spaces in my car for Narberth and Spittal classes.
'I can't/don't want to have to commit to classes.'
('Because of health conditions, cash flow, shift working or other activities, caring responsibilities.')
I understand that (however much it creates difficulties for me as the provider). So don't feel you have to 'commit', but do make an effort to come when you can, and let me know when you can't. Simple.
'I don't want to pay for a block of classes in advance.'
('Because I can't afford it, or I know that I might not be able to make all of them, so will feel like I'm paying for nothing and not getting my money's worth.')
Talking to other teachers, having students pay for a block of classes in advance is a recommended way to get a bit of commitment and attendance at classes. But I have seen in practice that this doesn't necessarily work, (see the comment above).
I did some research into motivating students, but it was largely based around 'youth' type classes such as ballet, modern/jazz, street dance, where it's mostly the parents/guardians who are paying for the lessons, and incentives such as freebies and discounts work both for the students, who then want to come to class and provide the pester-power, and the payers.
I settled on having a drop-in rate of £5 for occasional attendees, and reduced rates per class for pre-paid cards for 6 or 12 classes. Yes, these are paid in advance, but the cards are flexible. They are for any of my Imago classes, in any of the three venues, and also for £5 increments towards Imago workshops. So you can go to two classes one week and none the next, then one the following week, whatever you want. You can split the card with one or more friends (though you'll have to decide who holds it). You need to remember to present them at the start of class. And they are valid for 6 months or at least until the end of July, depending on how classes go.
I've had a 'class card' system before, and it worked quite well, although I formerly also had cards for 24 and 36 classes, which weren't used. When I was looking for the old cards file to update it and print new ones, I found that my class rates have scarcely changed and the 6-class card price is the same as it was in 2011! What's not to love about that?
'I don't want a course, because if I miss a week I'll feel left behind.'
Okay, so no 'course'. The lesson plans will still include learning moves, drilling, follow-along or improvised dance, combinations and various props, but if you miss a week, it's no biggie. You'll still be building your dance skills, you can ask questions and request things to be covered in class. Just come and enjoy, week by week, whatever we're doing.
'I don't want to have to fill in a load of paperwork. Learning plans, induction tick lists? I'm here to dance!'
Some paperwork is necessary so that I have your details and can keep in touch if a class needs to be cancelled and to record who is there week by week. Otherwise, having a learning plan or a tick sheet for moves is up to you.
'I don't want to feel like I'm the only beginner.'
My classes have always been mixed level, as there have never been enough dancers to justify separate classes for beginners and improvers. I believe very firmly that everyone still does 'the basics' (you never really stop drilling isolations, hip circles, eights and undulations) but more experienced dancers will do them better and with frills on (layers, shimmies!).
With relaunched classes, there should be other beginners. Everyone is different and working at their own pace, finding some moves easy, others not so much. Perhaps bring a friend who is also a beginner?
'I want to join a class with several people already in it.'
This is a really difficult one. These are effectively new classes, and although I have had lots of enquiries and enthusiastic replies, it may still be the case that few people come. If it's not a course or block of classes which people have to commit to, then there are no guarantees how many people will turn up each week. If you're a little nervous, it's natural to want to lie low and hide at the back for a bit, or if you are dropping in for the social contact as well as some dancing, then finding you are one of three in a class could be enough to make you drop back out again.
The only solution to this is for people to come to class! Turn up for class, and bring a friend or two, the more the merrier!
While I was writing this, it occurred to me that much of it deals with reasons why people don't come to class. Hopefully the answers and solutions I've found will be reassuring and motivating, but it still leaves me with one question:
Why do I do this?
Because I love 'belly dance', in all its forms. I love the music and rhythms, and the way dance flows out as you let the music fill you. I love to teach. I love seeing frowns turn into grins as dancers discover what their bodies can do, or that others have the same issues. I love the energy and fun to be had from dancing in a group. I love the way that dance can dissolve barriers and reveal the truly beautiful souls of the dancers. I believe there are very few valid reasons not to dance and that, if you let it, it will transform your life.
