January 26th 2017

Dance Teq Centre

Field Notes

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Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Summary of Direct Evidence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Next Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

A First Call

B interviews

C Observations

D Photos

References. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

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Introduction
Dance Teq is a local-dance studio located in downtown Toronto. Having moved in 2013 into their
new space, Dance Teq currently has 3 studios available which they use for both classes and rentals.
I chose to follow-up with Dance Teq because I was a ballet dancer who trained in a very different
community. I took lessons at Canadas National Ballet School (NBS), which is one of the worlds
leading ballet schools [2]. It has 12 studios [3] with a grand piano in each room. I knew at the time I
was privileged to learn with the facilities and training available, but I had never been to any other
studio. Thus, for Field Notes, I chose to learn about the experience of dancers that train at smaller
studios in Toronto.

Summary of Direct Evidence

While collecting Field Notes on the Dance Teq community, I chose to follow Nisaratana
Sangasubanas method of ethnographic research through making observations, adding
interpretations, asking questions, and conducting interviews [1]. Following Sangasubanas method, I
arrived 20 minutes before class to first observe without participation [1]. This gave me time to
introduce myself to Jeremy the artistic director and one of the ballet teachers at Dance Teq. I also
used this time to collect as much information and data as possible through notes and pictures. I
then joined the drop-in class to make observations from a dancers perspective, which was my
primary goal. The observations in my notebook were taken during the ballet class whereas those
on my laptop are from before and after1 (Appendix C). After class, I approached Jeremy and some

1Laptop and phone use was not permitted during the class.
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of his students (which he selected) for a semi-structured interview [1] to answer questions I had
prepared prior to the visit and others that arose during class (Appendix B). Overall, in my opinion,
the following best summarizes my visit to Dance Teq:

1. Jeremy has students who previously trained at NBS.

The two students I interviewed both previously trained at NBS (Appendix B). This was
surprising because I had come into the studio expecting to be around less privileged
dancers without access to the best facilities and training, however in reality, these dancers
left2 NBS for Dance Teq.

2. Although the space appears less renovated it has the same equipment as NBS.

Initially, I noticed the space looked unrenovated, but during the class, I realized it was not
lacking in equipment. Dance Teq has the same floors as NBS, live accompaniment on the
piano, ballet bars, and large mirrors across the wall. Although other aspects of the studio
appear unrenovated compared to NBS, the equipment required for ballet training was
present.

3. The studio cuts corners on safety.

a. Occupancy

During the interview, Jeremy said class sizes can range

from 10 20 students, occasionally reaching 30 (4:30).
With only 13 people in the drop-in class, the space felt
full. Additionally, there is a partially covered sign in his
studio indicating 25 as the maximum occupancy.

2 Whether by choice is unknown, however both seem to prefer the teaching at Dance Teq (Appendix B)
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b. Temperature

The temperature on the south side of the studio is noticeably lower than the north side.
Jeremy explained (Appendix B) that the space below Studio C is unoccupied and
consequently the landlord wont turn on the heating. Thus, the floors and the room above
is very cold, especially during the winter. This poses a hazard because dancers are more
likely to get injured practicing when their muscles are cold [4].

c. Security

A student initially warned me about theft in the studio. According to Jeremy, a mentally-ill
woman frequently enters the studio and steals money from the studio and belongings from
dancers (Appendix C). Because Jeremy is unable to afford a receptionist, no one watches
the entrance during class. Classes can range from 1 2 hours, which means for multiple 1-2
hour periods in the day, anyone can enter the studio without Jeremy knowing.

Evaluation
I think Jeremys primary focus of establishing Dance Teq as a professional school, is hurting his
studio and his dancers. Jeremys goal for Dance Teq is to fully develop the Young Dancer Program
as a school and then open a Company (Appendix B, 1:28 1:40, 8:20 9:57). Although he has a
wide range of ages, ethnicities, and body types in his drop-in classes, he primarily talked about his
students whose goals are to work as professional dancers. Additionally, he only gave me
permission to interview two of his students from the Young Dancer Program (Appendix B). In my
presence, he was trying to build a reputation for Dance Teq that is competitive with studios like
NBS, rather than acknowledging the programs he offers to his students of all backgrounds
(Appendix B).

The primary source of the concerns faced by Dance Teq are caused by a lack of funds or profit.
Because of Jeremys background in professional dancing (and lack of in Business), when he is
required to choose between funding different parts of his studio, I think he makes decisions from a
dancers perspective. Jeremy is unable to afford basic necessities in addition to dance equipment.
For example, instead of hiring a receptionist to maintain the security of the studio, he hires a
pianist for live accompaniment. Furthermore, I think he over occupies his studio to increase his
revenue and relies on other tenants heat because of the associated cost (Appendix B, 11:55
12:40). Although he is aware of the possibility of injury in colder temperatures (Appendix B, 12:40
13:12) [4] and the fire-hazard of over populating the studio [5], I think he cannot afford to address
these concerns. As a small business owner and professional dancer, I think it is difficult for Jeremy
to balance the needs of both sides which can create an unsafe environment for his dancers.

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Next Steps
I see the primary goal as helping Jeremy establish a safe and secure place for dancers to train
without compromising for less equipment or training tools. My next steps would be to talk to more
students in his Young Dancer Program to see whether their priorities align with Jeremys.
Additionally, I want to learn more about the experiences of his drop-in students and their needs
and wants from Dance Teq.

To learn more about the immediate concerns facing the studio, I would like to learn more about
the situation of the mentally-ill woman by asking local restaurants about their experiences with her
(Appendix C). I think it would be helpful to see how other small business deal with theft and
maintain security in different contexts.

Finally, I think it would be a good idea to visit other local dance studios in Toronto, to see how the
experiences of the dancers and studio owners vary from that of Jeremy and his students. It would
also help by giving more context to the way studios are run and how this changes based on
different owners values and experiences.

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Appendix A First Call

Appendix B Interview (and see attached recording)

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Appendix C Observations

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Appendix D Photos of Dance Teq

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References
[1] N. Sangasubana, "How to Conduct Ethnographic Research," The Qualitative Report, vol. 16, no. 2, pp.
567573, Mar. 2011.

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[2] "About NBS" in Canadas National Ballet School, Canadas National Ballet School, 2017. [Online].
Available: http://www.nbs-enb.ca/About-NBS. Accessed: Jan. 29, 2017.

[3] "Facilities" in Canadas National Ballet School, Canadas National Ballet School, 2017. [Online].
Available: http://www.nbs-enb.ca/About-NBS/Facilities. Accessed: Jan. 29, 2017.

[4] "Dance Studio Specifications," in National Dance Teachers Association. [Online]. Available:
http://www.ndta.org.uk/Documents/dance-studio-specification.pdf. Accessed: Jan. 29, 2017.

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[5] "O. Reg. 213/07: FIRE CODE," in Ontario, 2007. [Online]. Available:
https://www.ontario.ca/laws/regulation/r07213. Accessed: Jan. 29, 2017.

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