Dr.

Babasaheb Ambedkar Marathwada

University Aurangabad.
In partial fulfillment of the degree M.Com of Service Course in
Entrepreneurship Development

M. S. P. Mandal's

Deogiri College, Aurangabad.

Project Report
On
How To Startup Business Of
Dance Academy
Submitted By

Ganesh Dadarao Sable

(SERVICE COURSE)

2022-2023

Under Guidance
Prof. Kharat N.G. Prof. Dr. Ratnaparkhe S.D.
M.Com, M.S.W., G.D.C. & M.Com., M.B.A., NET, G.D.C. & A., LL.B.,
Ph.D. (H.O.D. (P. G.) & Co-ordinator)
A. Department of Commerce.

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 Dr. Babasaheb Ambedkar Marathwada University
Aurangabad.

In partial fulfillment of the degree M.Com of Service Course in Entrepreneurship

Development

M. S. P. Mandal’s
Deogiri College, Aurangabad.

Project Report
On
How To Startup Business Of
Dance Academy
Submitted By
Ganesh Dadarao Sable
(SERVICE COURSE)

2022-2023

Under Guidance

Prof. Kharat N. G. Prof. Dr. Ratnaparkhe S.D.

M.Com, M.S.W., G.D.C. & A. M.Com., M.B.A., NET, G.D.C. & A., L.L.B., Ph.D.
(H.O.D. (P. G.) & Co-ordinator)
Department of Commerce.

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 CERTIFI
CATE

This is to certified that this,

(How To Startup Business Of Dance Academy)

Is the bonafide work of,

Mr. (Ganesh Dadarao Sable),

Exam Seat No: -------------------------------------,

She/he carried out the research under my supervision certified further, that to the best
of my knowledge the work reported herein is completed as per the requirements of Dr.
Babasaheb Ambedkar Marathwada University, Aurangabad in partial fulfillment of the
degree M.Com a subject of Service Course in Commerce titled Entrepreneurship
Development for the Academic year 2022-2023.

Signature of the Guide. HOD (P.G.) & Coordinator P.G.

Studies.

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 Declaration
I, (Ganesh Dadarao Sable),
Student of the M.Com/M.A./M.Sc studying in Deogiri College, Aurangabad,
solemnly declare that the project
(How To Startup Business Of Dance Academys)
Was carried out by me in partial fulfillment of Masters Degree of M.Com
/ M.A. / M. Sc a subject of Service Course Program under the Dr. Babasaheb
Ambedkar Marathwada University, Aurangabad.

This project was undertaken as part of academic curriculum as per

university rules and norms and by no commercial interest or motive. It is my
original work and not elsewhere for any other purpose earlier.

PLACE: Aurangabad. Ganesh Dadarao Sable

Date: / /2022-23 Signature.

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 Acknowledgement
“Gratitude is not things of expression; it is more a matter of feeling.”
There is always a sense of gratitude which one express for other for their
help and supervisor in achieving the goals.
I too express my deep gratitude to each and every one who has been
helpful me in completing the project report successfully.

First, of all, I am highly thankful to Prof. Dr. S. D. Ratnaparkhe, Prof.

Kharat N. G., for allowing me to pursue my project

“How To Startup Business Of Dance Academy”

My special thanks to Dr. Maturkar V. M. and Prof. Kharat N. G. who

encouraged me, properly guided me in each and every possible way
throughout my projects reports.
I also give my regard and sincere thanks to who has devoted their precious
time in guiding me and helping me with it in time.

Ganesh Dadarao Sable .

Sign---------------------------------
Seat No:-

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 INDEX
SR. Chapters Page No.
NO.

1 Introduction 6

2 Company Profail 45

3 Review of literature 47

4Research methodology 50

5Data analysis & Data interpretation 52

6Findings conclusion & suggestion 57

7Reference & bibliography 60

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 Chapter – 1

1.1 Introduction to study Of Dance Akadamy

dance, the movement of the body in a rhythmic way, usually to music and within a
given space, for the purpose of expressing an idea or emotion, releasing energy, or
simply taking delight in the movement itself.

Dance is a powerful impulse, but the art of dance is that impulse channeled by
skillful performers into something that becomes intensely expressive and that may
delight spectators who feel no wish to dance themselves. These two concepts of
the art of dance—dance as a powerful impulse and dance as a skillfully
choreographed art practiced largely by a professional few—are the two most
important connecting ideas running through any consideration of the subject. In
dance, the connection between the two concepts is stronger than in some other
arts, and neither can exist without the other.

Although the above broad definition covers all forms of the art, philosophers and
critics throughout history have suggested different definitions of dance that have
amounted to little more than descriptions of the kind of dance with which each
writer was most familiar. Thus, Aristotle’s statement in the Poetics that dance is
rhythmic movement whose purpose is “to represent men’s characters as well as
what they do and suffer” refers to the central role that dance played in classical
Greek theatre, where the chorus through its movements reenacted the themes of
the drama during lyric interludes.

Basic Motives Self – Expression and Physical release.

One of the most basic motives of dance is the expression and communication
of emotion. People—and even certain animals—often dance as a way of releasing
powerful feelings, such as sudden accesses of high spirits, joy, impatience, or
anger. These motive forces can be seen not only in the spontaneous skipping,
stamping, and jumping movements often performed in moments of intense
emotion, but also in the more formalized movements of “set” dances, such as tribal

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war dances or festive folk dances. Here the dance helps to generate emotions as
well as release them.
People also dance for the pleasure of experiencing the body and the
surrounding environment in new and special ways. Dance often involves movement
being taken to an extreme, with, for example, the arms being flung or stretched out,
the head lifted back, and the body arched or twisted. Also, it often involves a
special effort or stylization, such as high kicks, leaps, or measured walks. Dance
movements tend to be organized into a spatial or rhythmic pattern, tracing lines or
circles on the ground, following a certain order of steps, or conforming to a pattern
of regular accents or stresses.

All of these characteristics may produce a state of mind and body that is
very different from that of everyday experience. The dance requires unaccustomed
patterns of muscular exertion and relaxation as well as an unusually intense or
sustained expenditure of energy. The dancer may become intensely aware of the
force of gravity and of a state of equilibrium or disequilibrium that normal activities
do not generate. At the same time, the dance creates a very different perception of
time and space for the dancer: time is marked by the rhythmic ordering of
movement and by the duration of the dance, and space is organized around the
paths along which the dancer travels or around the shapes made by the body.
Dance can, in fact, create a completely self-contained world for dancers, in which
they are capable of physical effort, prowess, and endurance far beyond their
normal powers. Sufi dervishes, as an extreme example, can whirl ecstatically for
long stretches of time without appearing tired or giddy, and certain Indonesian
dancers can strike daggers against their naked chests without causing apparent
pain or injury.

This transcendence of the everyday may also be experienced by the spectators.

Drawn into the rhythms and patterns created by the dancer’s movements, they may
begin to share in the emotions being expressed through them. They may also
experience kinesthetically something similar to the physical sensations of the
dancer. Kinesthesia, or the awareness of the body through sensations in the joints,
muscles, and tendons, rather than through visual perception, not only defines the

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dancer’s experience of his or her own body in movement but also the way in which
dance exerts its power over the spectators, who not only see it but also feel an echo
of the dancer’s movements and rhythms in their own nerve endings.

1.2 Histroy Of Dance.

Dance has traditionally been an important part of religion and culture in India.
According to Indian legend, the gods invented dance. Dancing is one of the most
revered Hindu arts because it incorporates melody, drama, form and line. Gestures,
body positions and head movements are emphasized in Indian dance. The use of
the hands, fingers and eyes are of primary importance. There are almost a
thousand specific hand movements and signs (“mudras”). Often bells are worn
around the ankles.

The four “abhinovas” are essential to understanding Indian dance. They are 1) the
technique of movement, which includes facial expressions, head movements and
body movements; 2) all types of vocal and instrumental sounds linked with dance;
3) involuntary actions such as perspiration, trembling and blushing; and 4) make-
up, costumes and sets. Some dancers are capable of changing their skin color
voluntarily by consciously pumping blood into the capillaries on the face.

Gestures play an important role in India dance. Some dances feature more 600
gestures, each with a specific meanings. They often have a codified meaning that
are known to the audiences that watch the dances. It have been suggested the
codified developed as way convey a single message by dance troupes traveling
through areas where different languages are spoken or they developed out
mnemonic devises used by storytellers to convey and remember their stories.
Colors are also rich in symbolism and meaning. Heavy eye make up is often worn
to highlight the expressive of the eyes

1. Indian dances during Vedic period : During the Vedic age, Indian Dance took
a new turn. It was enriched with new emotions and variety of presentation. In the
Vedas, which belonged to this age, the word ‘Nritya’ has been mentioned at various
places. It is also revealed that the Rishis (Sages-learned men) of this age were well
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aware of the art of dancing. According to Prof. Alag Retorn, artists of all three types
i.e. singers, dancers and instrument players were present during this age. Women
dancers used to participate without any hesitation in public performances of music
as singers, dancers and instrument players and enjoyed high status in the society.
In Brahmins, Upanishads and other Vedic scriptures of this age, Nritya has been
described vividly.

We thus see that during Vedic Age, dance was an important social activity. In all
festivals and functions, Nritya was an essential performance and was viewed
highly.

2. Nritya during Aryan Period : Aryans linked Nritya to Yoga, made it simple to
learn and gave it a spiritual meaning. They used practice of dance to purify and
strengthen their mental state and capabilities. Aryans believed that dance was a
powerful medium for purifying the soul and taking it out of darkness and evil
thoughts. They elevated their state of mind through practice of dance.

During this period, Natya Nritya (dance drama) Geet Nritya (dance and song) Roop
Nritya (abhinaya and dance) Bhav Nritya (emoting through dance) were developed
which enriched and elevated the level and content of dance. Aryans laid great
importance on purity and considered purity as beauty. Beauty was however,
considered to be mother of Nritya. Nritya was considered as an expression of
beauty.

3. Nritya during the period of Ramayana : Nritya was fully developed during the
period of Ramayana. It is known from the Valmiki Ramayana that people belonging
to both high as well as lower strata of society in this period were skilled in all the
three arts of music i.e. singing, dancing and instrument playing. Amsagie has
written in his book that musical excellence of the order, the glimpse of which was
found in the Ramayana age, was not found in the prior periods.

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Rama was also skilled in music, playing of instruments and painting. Ravana, the
king of Lanka also used to worship Lord Shiva with song and dance and his wife
Mandodari and other women of the palace were proficient in all types of arts.

It can thus be concluded that various types of arts including singing and dancing
attained significant progress and improvement during this age.

4. Nritya during the period of Mahabharata: During the Ramayana period, we

find that all classes of society had developed interest in Nritya but the art of dancing
i.e. Nritya got fully developed during the Mahabharata period. During this period,
the number of dancers was very large.

Krishna is the ‘sutradhar’ (around whom the entire Mahabharata developed) and he
was the master of the art of dancing. He performed ‘Raas Nritya’ with Gopis (village
women) and used to leave everyone spellbound. The great grandson of Krishna,
Pradyumna and his wife Usha learnt ‘Lasya’ style of dancing from Goddess Parvati
(wife of Lord Shiva) and then propogated it in Dwarika. Similarly, Arjuna learnt the
art of dancing from Urvashi, a nymph from heaven and during the period of his
banishment when Pandavas were required to live incognito, he transformed himself
as Brihnnala, the Eunuch and taught the art of dancing to Uttara, the daughter of
King Virat. Thus it can be seen that even the main characters of Mahabharata were
quite skilled in the art of dancing.

5. Nritya during Bauddha period: The great war of Mahabharata led to

widespread destruction. The ordinary people were scared and the art suffered
gradual decline. Buddha, the knowledgeable one, in about2500 BC, preached
religious and social reforms and showed the way to Nirvana (relevation) to people.

Buddha encouraged the male as well as female dancers to participate in social

functions and when women went for darshan of Buddha, they praised him through
the medium of singing and dancing. The art was also used for propogating
Buddhism and bringing it closer to common folk.
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Lord Buddha, also known as Siddharth in his early life was skilled in various types
of arts and artists enjoyed a status in the society.’ Amrapali’ was the famous
danseuse of Buddha period that ultimately became his disciple and renounced the
world but this reveals that the art of dance developed significantly during this
period.

6. Nritya during 3rd Century A.D.: In the closing stages of 3rd Century A.D., the
art of dancing underwent revolutionary transformation. This was the period of
‘Nagas’. It was during this age that Muni Bharat, the great master of Music, created
‘Natyashastra’ which is still available.

The peculiarity of this age is that the Naga people used music and dance in the
process of worshipping and they raised the art of dance as also other arts beyond
the level of sensuality. They built Rangshalas (auditoriums and theatres) at various
places to facilitate performances. In this age, expression of bhavas (emotions)
through mudras was considered superior.

7. Nritya during 4th Century A.D.: Chandra Gupta II who also assumed the title of
Vikramaditya, was son of Emperor Samudra Gupta and ascended the throne in the
year 375 AD. During his reign considerable progress was made towards further
development of fine arts like music, dance and painting. Emperor Samudra Gupta
had established a strong and stable kingdom and due to advancement made by the
society in various spheres of life, Gupta period has been referred as the Golden
period of Indian history.

In his book “The Essence of Indian Music”, Shri BullDog Ipsa has mentioned “I
consider the Gupta period as the Golden period of music only because during this
period even the ordinary people had such high level of understanding of literature
and fine arts which is not found even today in people who are highly educated and
belong to the progressive class.”

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During Gupta period, Indian music and dance crossed the frontiers and became
popular in foreign countries. From the idols and paintings of this age, it can be
summarized that the artists of this period had elevated dance to a form of devotion
and they emoted each sentiment in the most beautiful and presentable manner.

The great poet and playwright Kalidasa belonged to this period and his plays prove
that drama, dances and music were evolved and established in their classical form.
Dances were developed through plays and many famous dancers such as
Malavika of Malavikagnimitram and Urvashi, main character of
‘Vikramourvashiyam’ a play by Kalidasa belonged to this period.

8. Dance during Rajput period: Rajput period extended from 687 AD to 1000 AD.
During this period, art forms were not practised by masses but became a
profession by personal choice. Many of Idols, sculptures, paintings were destroyed
by invaders. According to many experts, the tradition of ‘Gharanedari’ took roots
during this period as artist started confining their skills to themselves. An author by
the name of Ajmat has recorded in his diary that “The Rajput kings of those times
loved music with the same intensity as they were brave.” Many musicians found
shelter in the courts of the kings and the art progressed under the protection of the
kings. Women used to participate in the social festivals during this period.

9. Dance during Moghul period: The period beginning from the reign of Emperor
Akbar and upto the end of the rule by Emperor Shahjahen is known as ‘Later
Middle Age’. Both the emperors were lover of fine arts. The Dhrupad and Dhamar
styles of singing were born during this period and much advancement was made in
dance form. It was during this age, that changes were ushered into costume of
Kathak but the spirituality of Vedic age began to vanish gradually.

To derive pleasure and entertainment from dance, Bhavas were depicted in a

relatively cheap style and gradually dance came to be associated with prostitutes.

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The Lord was displaced by the King and renowned artistes were made to dance
with a cup of wine in their hands for the enjoyment and pleasure of the kings.

In other provinces of India, various styles of dances were, however, developed

during this period. In south India, the environment for dancing continued to be
classical and spiritual as it was not affected by Muslim culture. The kings in south
India established dance schools and bequeathed villages to dance teachers.
Various dance Mudras were sculptured on the pillars of the dance schools.

During the period belonging to Vijaynagar Kingdom, Krishnadev Rai had set up a
‘Ganika Nagar’ for the dancers. The dancers used to live here as Devdasis. During
this period ‘Bharatnatyam’, ‘Kathakali’, ‘Kuchipudi’ and ‘Yakshagan’ were in full
bloom along with Kathak. Around the end of Moghul period, the Nawabi reign came
into being in Oudh and the ‘Lucknow Gharana” of Kathak was founded.

10. Dance during European period: The advent of the European races into India
resulted into an appreciable influence of Western culture on Indian Culture. Since
they had brought rich cultural traditions with them, this age can also be referred as
‘Renessaince of Cultural Consciousness’ as Europeans in their spare time used to
listen and watch Indian music and dance and this provided an opportunity for Indian
dance and music to evolve on the international scene.

It was during this age that the music began to be taught through institutional
medium due to efforts made by Pt. Vishnu Narain Bhatkhande and Pt. Vishnu
Digamber Paluskar, who set up music institutions in various provinces of the
country.

In this age, literature concerning Indian music was written and many Indians as well
as European scholars got attracted towards Indian music and culture and wrote
books of high quality.

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This age also saw emergence of artists of international repute, notable among them
were Gopinath, Reeta Devi, Ragini Devi, Shiv Shankaran Namboodari, Smt.
Rukmini Devi Arundel, Meenakshi Sundaram Pillai, Smt. Bela Saraswati, Sri Ram
Gopal and Sri Uday Shankar who performed overseas and made Indian classical
music and dance internationally recognized. We may thus conclude that during
European age, Indian dance was revitalized.

11. Indian Dances post Independence: The country shed the yoke of slavery on
15th August 1947, which led to popular awakening in various spheres including fine
arts. As a result Indian dances became popular among masses. In major cites of
the country, institutes dedicated to the teaching of dances were set up and dance
was introduced as a subject in the schools and universities.

In the post independence period, there have been considerable changes in Indian
classical dance styles in regard to presentation, makeup, dress, use of musical
instruments, light and sound. Many books have been written in Hindi, English and
other languages on Indian dances.

In the year 1954, Sangeet Natak academy was set up by the Central Government,
which has made considerable contribution towards preservation and development
of traditions concerning music, dance and drama. The academy organizes many
programmes, provides financial aid to artists and honours them as well. Now Indian
artists go abroad to perform.

Post independence, Indian dances have entered the homes of the common man
and the art has achieved a status and recognition in the society. People belonging
to all classes feel a sense of pride in learning classical dance.

Our Government has played an active role in encouraging classical dances and as
a result, its future appears quite bright.

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1.2.1 Hitorical Dance Images

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Page | 18
1.3 Features of Dance

1. Better Brain Health

A study done by The New England Journal of Medicine found that dancing can
boost your memory and even prevent the onset of dementia. Other studies have
also found that aerobic dance exercises can reverse volume loss in the part of the
brain that controls memory (the hippocampus), which tends to shrink during late
adulthood.

Taking the time to remember steps and the changing movements of a dance is also
a great way to challenge your brain, no matter your age. Scientists have found
cognitive skills such as planning and organizing also improve with an exercise like
dance.

2. Improved Flexibility

The movements associated with dance can increase flexibility and reduce stiffness.
Don’t over-exert yourself though – even the simple stretches associated with
dancing can help ease joint pain and any soreness from other more strenuous
exercises.

3. Minimized Stress

A study conducted by the Journal of Applied Gerontology found that partner dance
accompanied by music can relieve stress. Other studies have also shown similar
results, with some indicating dance can increase levels of the hormone serotonin,
which can improve your mood.

4. Reduced Depression

A study looking at the effects of dance on patients experiencing depression found

that those who participated in an upbeat group dance showed the least number of
symptoms associated with depression and were more energetic and upbeat as a
result.

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5. Weight Loss

Increased movement also usually means increased weight loss. A study in the
Journal of Physiological Anthropology found aerobic dance training can help you
lose just as much weight as biking or jogging.

6. Increased Energy

Research from The Scholarly Publishing and Academic Resources Coalition found
a weekly dance program can improve adults’ physical performance and increase
their energy levels.

7. Improved Cardiovascular Health

Of course, the faster you dance, the faster your heart will beat, which can lead to a
stronger and healthier heart.

An Italian study found that people with heart failure who started practicing waltzing
had much better heart health, breathing, and quality of life compared to those who
simply cycled or walked on a treadmill.

8. Better Coordination Strength & Balance

Dancing requires lots of fast movement and good posture, which can help you gain
better control of your body. Moreover, there are 3 primary planes of motion; unlike
simple movements such as walking and cycling, which only involve the sagittal
plane of your body, dancing works your body from all planes, which means ALL
your muscles are involved, not just some.

If you’re scared about falling when you’re older, dancing may ease some of those
worries as well. A study in the Journal of Aging and Physical Activity showed that
tango dancing can improve balance amongst older adults.

9. Improved Social & Emotional Health

A dance class is a great way to make new friends and branch out socially! Having
positive relationships is a major contributing factor to better mental health – it can
increase feelings of happiness, reduce stress, and even lead to a stronger immune
system.

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10. Higher Self-Esteem & Confidence

Studies show that dancers tend to report higher levels of self-esteem and more
confidence.

Dance can be beneficial for people of all ages. Many forms, such as ballroom
dancing, can be tame enough for people with limited mobility or chronic health
issues, while other forms can allow kids to express themselves freely, let out their
energy, and practice discipline by memorizing and learning certain steps.

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1.4 Types of Dance Styles

1.4.1 Bharatanatyam

is a major form of Indian classical dance that originated in Tamil Nadu. It is one
of the eight widely recognized Indian classical dance forms, and expresses South
Indian religious themes and spiritual ideas, particularly of Shaivism and in general
of Hinduism.

A description of Bharatanatyam from the 2nd century CE can be found in the ancient
Tamil epic Silappatikaram, while temple sculptures of the 6th to 9th century CE
suggest it was a highly refined performance art by the mid-1st millennium
CE. Bharatanatyam is the oldest classical dance tradition in India. Bharatanatyam is
the state dance form of Tamil Nadu.

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1.4.2 Ballet

Ballet dance developed during the Italian Renaissance, before evolving in France
and Russia into a concert dance meant for public performance. This is in the form
of a ballet, in which the dance is choreographed with classical music.

Ballet productions vary between using elaborate costumes and staging and using
minimal costuming and bare staging.

Ballet is now a widespread, highly technical form of dance with many subgenres
including classic, romantic, neoclassical and contemporary.

With six core recognised methods: the Cecchetti method, the Bournoville method,
the Vaganova method, the French School, the Royal Academy of Dance method
and the Balanchine method, ballet is studied professionally at top dance schools all
over the world.

Harlequin Floors have developed a range of specialist ballet dance floors providing
enough traction to prevent injury while still allowing for fluid movements demanded
by ballet dancing. Harlequin Cascade is one of our most popular ballet dance floors
and can be laid over many of our sprung floors.

Harlequin Floors also offer professional ballet barres available as either

permanent wall mounted, floor mounted or freestanding barres.

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1.4.3 Ballroom

Ballroom dance is a type of partner dance originating at the end of the sixteenth
century in France. Commonly used as shorthand for any partner dance, ballroom
has today evolved into two main subgenres – standard/smooth and Latin/rhythm.

Dances within these categories include the waltz, tango and foxtrot, and pasodoble,
bolero and samba.

Ballroom is a popular form of competitive dance, or dancesport, with competitions

being held all over the world.

With several sub-categories to ballroom dancing, dancers require a versatile floor.

Harlequin Fiesta and our specially crafted Harlequin Liberty Ballroom dance floor
offer an excellent versatile dance floor for all styles of ballroom dance.

Harlequin Liberty Ballroom is the used by the BBC’s ‘Strictly Come Dancing’ and
Professional World Ballroom Dance Champion, Christopher Hawkins.

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1.4.4 Contemporary dance

Developed during the mid-twentieth century, contemporary dance is now one

of the most popular and technical forms of dance studied and performed
professionally, especially in the US and Europe.

Drawing on classical, modern and jazz dance styles, contemporary dance has
evolved to incorporate many characteristics of a broader range of dance forms.

Known for its emphasis on strong torso and legwork, contract and release, fall
and recovery and floor work, it is often known for unpredictable and disordered
changes in speed and rhythm throughout a performance.

Contemporary dancers therefore require a shock-absorbing surface to protect

their feet, legs and ankles from rapid movements and changes in rhythm. Harlequin’s
innovative ‘triple sandwich’ Harlequin Activity sprung floor can be paired with several
of our vinyl dance floors, to create the ideal surface for contemporary dance.

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1.4.5 Hip-Hop Dance

Hip-hop dancing refers to a range of street dances that developed in relation to

hip hop music and culture. Hip-hop dancing dates back to the early 1970s in New
York and California, evolving out of Funk and the development of break beat.
Main styles of hip-hop dancing include Breaking, Locking and Popping, with
derivative styles emerging out of these including Memphis Jookin’, Turfing, Jerkin’
and Krumping. These were often popularised and made mainstream after being
featured in music videos of the time.
Today, hip-hop is performed in outdoor spaces, in dance studios and competitively.
Unlike many competitive dance styles, hip-hop is often improvisational with dance
crews challenging each other to dance battles.
At Harlequin Floors we have created Harlequin Freestyle, a specialist dance floor
designed specifically to meet the unique demands of Hip Hop and other street dance
styles.

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1.4.6 Jazz Dance

Jazz dancing has its roots in seventeenth-century African traditions, brought to the
Americas via the Atlantic slave trade as slaves continued dancing traditions in Brazil,
the US and elsewhere on the continents.
Known for its improvisational and dramatic body movements, the jazz dancing grew
in popularity in early twentieth-century jazz clubs.
Today, jazz dancing builds on African American vernacular dance styles that
emerged along with Jazz music in the US. Swing, the Lindy Hop, the Shimmy and
the Charleston are popular kinds of jazz dances.
For your Jazz dancers, our range of vinyl floors including Harlequin Studio and
Harlequin Allegro offer ideal surfaces for practice and performance

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1.4.7 Tap Dancing

Tap dancing is a type of percussive dance characterised by the “tap” of shoes hitting
the floor as the person dances. Tap dancers often wear metal “taps” on the heel and
toe of a shoe to accentuate the sound.
Often performed as part of musical theatre, tap dancing often focuses on
choreography and formations, with more than one tap dancer performing at once.
Tap dancing characterises a range of dances including flamenco, rhythm, classical,
broadway and postmodern tap.
As a percussive dance style, tap dancers are looking to achieve a crisp, hollow sound
to accentuate their performance. This unique characteristic of tap dancing requires
a specialist floor for optimal
performance. Harlequin Fiesta is an
excellent choice of tap dance flooring
for your dance studio or performance
space. Lay over a sprung flooring
system such as Harlequin Liberty to
protect your dancer’s joints and allow
them to perform with complete
confidence.

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1.4.8Folk Dance

Folk dancing is celebrated worldwide with people of different cultures and religions
using various forms of folk dance to portray emotions, stories, historical events or
even aspects of daily life.
Some well known types of folk dance include: Bharatanatyam (India), Samba (Brazil)
and Hula (Hawaii). Some cultures may even perform multiple variations of folk
dances, with countries like South Korea performing individual dances for key events
such as victories in war, farming, music and religion.
Folk dances are commonly held at public events, where people can participate
regardless of whether they are professional or complete beginners. Such dances are
also accompanied by traditional music to further enhance the cultural experience.
Our range of portable performance floors and dance floor hire services are excellent
for folk dances held at all types of public venues and events.

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1.4.9 Irish Dance

Originating in Ireland, this form of traditional dance has been popular for hundreds of
years amongst Irish people and other countries worldwide. Popularised by shows
such as Riverdance, Irish dancing is famously known for its fabulous display of
footwork and dance formations.

Most Irish dancing events are traditionally accompanied by signing and music.
During festivals, dances are held to showcase talent and to compete for trophies or
medals.

Whilst most people may recognise Irish dancing as being a group performance, there
are many well-known forms of solo Irish dances, such as the stepdance.

For Irish dance floors for your studio or performance space, consider our range of
specialist sprung dance floors. Couple with a Harlequin vinyl floor such as Harlequin
Standfast to create an excellent quality floor for your Irish dancers.

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1.4.10 Modern Dance

Considered as being a broad genre of dance, modern dance primarily arose from
western countries such as the USA and Germany during the late 1900s. While most
forms of dance are structured and feature set steps, the purpose of modern dance is
to rely on the dancer’s interpretation of the music and feeling to guide movements.

Modern dance was initially born out of dislike for the limitations of traditional dances
such as ballet, which often oppressed dancers with rigid rules and techniques.

Currently, modern dance is enjoyed across the world with participants having the
ability to practice ballet dancing without having to place strict focus on their
techniques or turnout. Instead, dancers can choose a piece of music and use
unconventional movements to convey emotions or to tell a meaningful story.

Inject even more creativity into your performance with Harlequin’s printed vinyl
performance floors. Print bespoke designs inspired by your choreography or choose
from one of our standard patterns.

Due to the multidisciplinary nature and freedom of modern dance, dancers will also
feel at home on many of Harlequin’s vinyl dance floors.

Page | 31
1.4.11 Swing Dance

Swing is a variation of jazz dance which developed between the 1920s to the 1940s
as a response to the growing popularity of swing jazz in America. With the evolution
of music that occurred during the Jazz era, dance also began to change with the likes
of swing music encouraging faster, more rigorous movements.
Popular forms of swing dance include the Lindy Charleston, the Jitterbug, Lindy Hop
and the Balboa, many of which are still performed today. Swing dancing would
commonly be accompanied by Big Band musicians who often played upbeat
melodies which were smooth and easy to listen.
Swing dancers will feel at home on our range of vinyl dance floors. Similar to Jazz,
Swing dancers can create beautiful performances on Harlequin’s range of vinyl floors
such as Harlequin Reversible Pro with a high performance slip-resistant surface to
protect your dancers.

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1.5 Advantages and disadvantages

Dance As Exercise? Here Are the Pros and Cons.

Dance can be a fantastic way to get your daily dose of exercise, but it may not fit
everyone’s needs.

Photo by Michael Afonso on Unsplash

Have you been thinking about trying dance as an addition to your exercise routine,
but not been quite sure whether it was right for you? Or maybe you danced as a kid,
but now you’re not sure if it would be worth returning to as an adult? If so, here are
a few things you might want to consider.
Pro: Dance is fun.
This, in my opinion, is by far the biggest pro for using dance as a way to get your
exercise. If you’re not someone who enjoys more traditional forms of working out,
like lifting weights, then dance could be a great alternative for you.
For one thing, dance is a more social experience than other forms of exercise
generally are, since most forms of dance are taught in a group class. Additionally,
dance classes are very musically driven, with classical accompaniment for ballet or
more contemporary music for jazz and modern dance, which most people find
enjoyable.
Con: Dance is skill-based.
Another fun thing about dance is that you get to learn new steps and combinations
every class. Unfortunately, this also means that beginners will get much less of a
workout than advanced dancers.
As a beginner, you can expect to spend quite a bit of your time trying to master the
basic components. For example, in ballet you’ll spend a lot of your time at the barre
practicing plies and tendus before getting to go into the center for turns or grand
allegro. Some love this challenge, and enjoy seeing their improvement over time.
However, for others this can be quite frustrating.
Pro: Dance improves balance and flexibility.
As you’ve probably noticed, if you’ve ever been to a dance performance, dancers
tend to be extremely flexible and have amazing balance. Although you won’t
Page | 33
immediately be able to kick your leg up to your ear just because you go to one class,
you likely will start to notice that your muscles become more pliant after a few weeks
of dancing.
Same goes for balance. Because so much of dance is about keeping your standing
leg stable while your working leg moves, you’ll spend a lot of time in class working
on strengthening your core, back, and legs, which will in turn improve your balance.
Con: Dance isn’t constant cardio.
You may see that a dance class is an hour or an hour and a half long and assume
that you’ll be getting cardio that entire time. I’m sorry to have to tell you that that isn’t
the case. There is actually a fair amount of standing around in many dance classes,
because you have to spend some of the time learning the combinations before you
can perform them.
In that way it’s a little bit closer to HIIT, since bursts of high-intensity movement are
followed by lower intensity exercise. However, as I mentioned, there are times when
you’re standing without moving much at all — especially if you’re in a large class and
have to divide into groups for certain exercises.
Pro: Dance improves both your mind and your body.
While many forms of exercise are mainly focused on improving your physical
condition, dance can help your mind as well. As I’ve said several times already, part
of dance class is spent learning combinations (in other words, a series of steps linked
together in a particular order). This requires good memory, especially as you get into
more advanced classes with longer and more complex combinations.
Con: Dance requires special equipment.
The last drawback to dance that I’ll talk about is that it’s not necessarily something
you can do very easily on your own. With some dance styles — particularly ballet —
it’s important to have special flooring and a fairly large space in order to avoid injury.
Additionally, many dance styles require their own type of shoes and apparel, which
can be expen

Page | 34
 How To Open A Dance Studio: Everything You Need To Know
BY THE STUDIO DIRECTOR TEAM
DECEMBER 8, 2020

Have you ever wondered how to start your own dance studio? Or, if you have already
started researching how to open one, perhaps you’ve been wondering if you have
what it takes to run a dance studio and make it successful. Does this sound like you?
Then, this post is for you! Here’s how to open a dance studio, from step one to your
studio’s grand opening and beyond.

Opening A Dance Studio Checklist

Since we first wrote this post at The Studio Director, we’ve expanded on the
information here so that all studio managers can feel confident and excited as they
embark on their journey to studio ownership. We know that studio ownership itself
has certainly changed recently as well, so we’ve added updated information on
offering online dance lessons and noted the latest trends in our industry. Throughout
this post, you’ll also find links to in-depth articles on related dance studio ownership
topics.

While all of this information is necessary as you get started, sometimes a checklist
is the best way to manage your tasks. Here’s your roadmap, with more information
below on each of these points.

Apprentice at a studio you respect

Prepare for the many roles you’ll take on
Build a name for yourself in your community
Create your dance studio business plan (and estimate the finances involved!)
Find your perfect studio location
Develop your systems and processes
Set up your studio space
Hire your dance studio staff
Get the word out with marketing
Start from a place of organization
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Ready to get started? It’s time to learn how to open a dance studio of your dreams!

1. Shadow A Studio Or Owner You Respect

Do you know another studio manager that you respect or look up to? Love a local
studio that’s on the other side of town or in another city? Know of a studio who excels
at online dance lessons? The best way to learn about starting a dance studio is to
actually work at one.

If there’s a local dance studio that has been around for a while, pick up some hours
at their studio and gather notes. Or, find a studio manager you love and ask if you
can mentor under them.

While there, volunteer to fill in for the different roles or jobs where they need help so
you can see how things run from all angles. This will clue you into important
challenges in the dance business and how they are solved.

In particular, make note of:

What problems occur and how they solve them

How money comes in and out of the business
The different roles staff members play
How the studio handles marketing
How the studio communicates with parents and students
More importantly during this period, make sure you enjoy the work! Opening a dance
studio is a fantastic way to share your love of a dance with a larger audience, but it’s
not for everybody—and that’s okay.

2. Prepare For The Many Roles You’ll Take On

Along with understanding the business, you’ll also need a clear view of the different
roles you will take on as the owner.

Beyond choreographing and teaching classes, you are the person who has to keep
the many parts of the business running. Some of those roles include:
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Dance studio manager: You’ll make sure schedules and daily activities are running
smoothly. You will need to be able to communicate what you want, what needs to
improve, and ensure that your staff is focused on your goals.
Mentor: Every day, you’ll embody the work ethic and attitude you expect staff
members and students to take on themselves.
Entrepreneur: Your work doesn’t stop when the studio opens. You will continue to
grow and develop new studio plans. As an entrepreneur, you’ll also be heavily
involved in billing, scheduling, marketing, community outreach, events coordination,
customer service, and much more.
Techie: Offering online dance lessons? Make sure you (or someone on your team!)
can easily troubleshoot virtual class enrollment, set-up, and your online class
platform for teachers and students alike.
Learn early on which of these roles you naturally gravitate towards, and which would
be better to outsource to another trusted teacher or staff member.

3. Build A Name For Yourself In Your Community

Usually, dance studio owners go into business confidently knowing they already have
enough of a following to fill classes from the get-go.

If you do not have a big enough following yet, some ways to find more students
include:

Offering dance services to local schools, gyms, and churches

Giving discounts for people who refer your classes to friends and families
Advertising for your classes at nearby businesses that are not competitors, but will
have the clientele that would take an interest in dance (think yoga studios or
daycares)
Sharing your personality and approach to dance on social media so others in your
community can learn more about you
This is a step that you do far before finding your location or setting up your business
plan because it takes time. Thankfully, you can work on this as you go through your
Page | 37
other dance studio start-up tasks.

4. Create Your Dance Studio Business Plan

Your dance studio business plan is a document that lays out your business goals
and how you plan to achieve them. It sets a solid foundation for your studio for years
to come. We have more information about creating a business plan here, but yours
should cover the following sections, at a minimum:

Executive summary
Company description
Market analysis
Products and services
Financial projections
Marketing overview
Let’s look at each of these in more detail. Note, too, that your business plan may
contain much more.

Executive summary and company description

The executive summary should summarize your main business goals, vision, and
core values. This should not be more than a few sentences. You’ll likely have an
easier time writing your summary last after you’ve covered all of the other details.

Following that, describe what sets your studio apart. This is typically what you will
use to pitch your company when you are marketing it. It should include the services
you plan to offer, the types of classes you’ll have, and what sets you apart from other
studios.

This section should also clearly establish what type of legal business entity your
studio will be, and how you’ll comply with any local licensing or regulatory
requirements.

Market analysis
It’s time to research your potential customers! Building a following well before you
Page | 38
begin the process of opening your dance studio can help tremendously with this step.
The more people who know you, the more likely you’ll know what types of dancers
will sign up once you open your doors.

In addition to researching the people who already know you, though, you will have to
research your local market, potential customers, and competitors. This section
should include all the details you gather about the size of the dance industry in your
area and how you will fit into this equation.

Start off by listing the dance studios you will be in direct competition with and the
number of students they serve. This will help you determine how many students you
should bring in and define your pricing structure.

In addition, you may want to do surveys and host focus groups with your potential
customers to ask them what they’d like to see in a dance studio in your area.

For a larger industry-wide study, we recommend reading our post on dance studio
industry stats and trends. This will help you get a better idea of where our industry is
at right now, and where it might grow over the next few years.

Products and services

Once you have thoroughly analyzed your market, you can decide on the services
that will attract the widest range of students. In this section, list in greater detail the
classes you plan to offer. You can also outline the benefits that students may receive
from taking your classes.

This section will also include any other plans you have outside of classes and
memberships to make money, such as dance apparel, competitions, and recitals.

Financial projections
One of the most necessary sections of your business plan is the funding plan and
your financial expectations once in business.

Page | 39
If you need a loan to get started, having a transparent and organized assessment of
your current financial position and future projections will show potential investors that
you know what you’re doing.

This portion will also detail where your revenue will come from, how much your bills
will cost monthly and annually, and your class pricing. In this section, think of
everything you will need to open your doors from equipment like dance studio
mirrors, down to the rolls of toilet paper in the bathrooms. The more thorough you
can be here, the better.

How much does it cost to open a dance studio though? We’ve created a full post on
how much it costs to run a dance studio here.

Marketing overview
In the most basic sense, this part of your studio business plan is all about how you’ll
get the word out about your dance studio. Start by establishing your brand. What’s
your studio’s name, logo, and brand identity? Learn more about that here. You can
find ideas for fun and catchy dance studio names in our earlier post.

Also, give a general overview of the marketing channels you’ll use and what portion
of your budget you’ll allocate to marketing. You can include a strategy for growth if
you have a plan for targeting other markets in the future as well. Review our full post
on social media for dance studios to get started on this one.

5. Find Your Perfect Studio Location

Once you have figured out how your business will run and what your financial
situation is, you can start looking for your studio. Do it in this order so you know how
much you have for rent and extra costs that will come with the location you decide
on.

A dance studio has its own unique requirements. First ask yourself how much space
you’ll need? Do you want one room or multiple studios in your facility? Will you want
a room set up for virtual dance lessons? You will also consider the need for:
Page | 40
A lobby
An office
Storage
Bathrooms
Retail space
Hallways
A waiting room for parents
In addition, don’t neglect things like:

Parking options: Does this space have parking that will accommodate the number of
students you hope to attract?
Safety: Parents should feel comfortable and safe bringing their child to your location.
Visibility: It may cost more to be in a highly-visible location, but it also makes for
easier, passive marketing.
Remember that you will have monthly payments that you will have to meet. Be very
clear with your landlord on what those are upfront, along with any unforeseen
payments that could come along. If you decide to buy the building, keep in mind that
you will be responsible for maintenance costs.

6. Develop Your Systems And Processes

It’s time to make a plan for running your studio once it opens. This is separate and
more detailed than your business plan, but it’s just as important.

Note too that the more organized you make your processes and systems at the
beginning, the fewer people you will need to hire to carry them out. This is why so
many dance studio owners use dance studio management software. It not only
provides them with a guide to carry out their management duties and market their
studio, but it also allows for a smaller staff and lower labor costs. It streamlines their
daily tasks so they can focus more of their attention on the fun parts of running a
dance studio. You can learn more about choosing the best dance studio software
here.
Page | 41
Before your grand opening (and even hiring), consider the systems and processes
you’ll have in place for the following.

Automating your administrative tasks

Enrollment, billing, and other tasks can be carried out through dance studio software.
Organize everything into one place that you can access with a click of a button.

Some tools can also analyze your data and track trends in your business over time
so you can make well-informed decisions as you move forward. Because of this, it’s
best to have this tool in place from the start. You can learn more about the benefits
of an online registration process here.

Offering seamless payment options

Your customers expect payments to be easy and built around the types of payment
options they already use every day. That means offering debit and credit card
payments, whether in-person or online.

Make it even easier for customers with set-it-and-forget-it options, like recurring
automated billing and saved payment info. Learn more about payment processing
for your dance studio here.

Setting up online dance lessons

Online or virtual dance lessons represent an exciting new way to reach your students
no matter where they are. Rather than face downtimes during long summer breaks
or miss out on lessons due to other factors, these types of classes connect students
with their teachers right from home! Many teachers also love these types of lessons,
as it offers them more flexibility for teaching and studio time.

Today’s video streaming services make online dance lessons even easier. By using
a system like Zoom, Google Meet, Facebook, or YouTube, you can connect instantly
with students. Some dance studio software tools even offer virtual classroom
Page | 42
management directly from the software. This allows students to sign up for an online
class just like they would an in-person class, and provides set-up assistance for
studios, teachers, and students.

Learn more here.

Marketing your studio

Marketing begins before you put together a business plan, but at this step be clearer
about how you’ll market your studio (more on that below) and who will handle
marketing for you. For example, you can handle these tasks, have a staff member
handle them, automate some of these tasks with studio management software, or
outsource it to a marketing agency.

Registering new students

Make registration easy with a ready-made registration form. We have full details on
what yours needs to include here. Likewise, studio management software can
automate this.

Developing an annual calendar

Figure out the major seasons for your studio. Consider separating your annual
calendar into instruction periods, performances and recitals, and breaks, so students
(and parents!) know what to expect each year.

7. Set Up Your Studio Space

Items like flooring, mirrors, and ballet barres are integral features of a dance studio.
We go more in-depth into the purchasing choices and decisions behind each of those
major features in the linked posts. Don’t stop there, of course. Make sure to decorate
your dance studio so it invites creativity and movement.

Offering online dance lessons? Learn from other studio owners who expanded into
virtual lessons to reach more students, provide more flexibility for their staff, and
more. In this article, a studio owner discusses the specific logistics and set-ups they
used to run these types of lessons successfully.
Page | 43
8. Hire Your Dance Studio Staff
You might not need a very large staff, especially when you first start out. However,
keep in mind that you might not have time to actually teach many classes when you
first open. As an owner, there may be too many tasks on your plate in the beginning.
To that end, your first hire may be someone else to teach your classes, at least short-
term. Another may help with front office and administrative tasks.

Whether you have one or many staff members, make sure everyone knows what’s
expected of them from day one. You can accomplish this by:

Making a clear outline of each position and what they do on a daily, weekly, and
monthly basis
Figuring out a recruitment process and using a trial period for new teachers and staff
Creating a training manual with step-by-step procedures for new hires
Using a standard dance teacher contract that formally defines pay, benefits, and your
expectations
9. Get The Word Out With Marketing
You may already have a good collection of people ready to sign up for your classes.
Even so, it’s important to spread the word about opening your dance studio.

To start, your website is going to be your prime source for gaining new students. This
is where parents will view your location information, contact info, positive reviews,
class schedule, and more.

Beyond your website, your ongoing marketing tasks will include:

Increasing word-of-mouth marketing and referrals

Building your social media presence
Growing your email list for future newsletters
Gathering positive reviews on Google and social media
Developing partnerships with local businesses and charities
Page | 44
Once you have these tasks set up, it’s time to market your official grand opening.
Some ideas include running ads in local papers and on social media, having your
students perform at outdoor events in your community, or finding small business
events to participate in.

Find even more easy and effective dance studio marketing ideas here.

10. Start From A Place Of Organization

There are many things that will go onto your opening a dance studio checklist, many
of which we couldn’t fit into this post. Still, we hope it has given you some insight into
opening a dance studio.

As we’ve noted throughout this post on how to open a dance studio, one of the best
ways to prepare is by investing in studio management software like the one we offer
at The Studio Director. Not only does high-quality software keep your business in
order, it helps with marketing and provides additional value to your customers with
easy registration, payments, and more.

Any great studio management software will allow you to:

Offer multiple types of payment options, online and in-person, seamlessly

Organize your staff schedules and time-sheets
Handle online registration, as well as costume rental and recital enrollment
Track inventory if you sell merchandise
Set up automatic email newsletters to new and existing students
Allow customers to set up recurring or one-time payments
Integrate the customer-facing functionality into your existing website or a dedicated
mobile app
Manage all of your data from a cloud-based system
People do not start a dance studio to focus on the administrative tasks. They do it
out of love for their craft. Give yourself the opportunity to truly enjoy the studio you
create by starting it from a place of organization.

Page | 45
 Chapter – 2

Company Profail

In the past, Dance was not

considered as a career option though
it was considered just as a part of
entertainment. But as time passed
people’s thinking changed and now
dance is also considered as a career
option.
And in the present time in massive
amount dance competition and reality
show are being organized all over the
world . As per that many dance
classes have been opened. Because
of dance class many artists have got chance to show their talent and other people
are earning money by running dance class.

Like this today I am going to speak

about G radiation dance institute.
Ganesh Sable is the teacher of G
radiation dance institute. As we know to
start and run a dance class is not to
easy but Ganesh Sir has face to much of
obstacles and taken many efforts to built
his career as well as this dance institute.
He faced many problem in his life to
complete his dreams. The first step to
his carrier is going to Mumbai and take
admission as a student in Remo-D-souza ‘s dance institute and taken training over
there. After finishing his training he performed at state level and national level
Page | 46
dance competition and won the competitions.
He had participated in super dance competition which was telecaster on Sony
Marathi channel and made his position in top 34 contestants.
As like him under his guidance the students of his dance institute are preparing
to become dancing superstar to fulfill there teachers dreams.
Because of his great performance his institute is growing day by day.

Page | 47
 Chapter – 3

Review of literature

Books and Research Papers / Articles Published in Various

Journals

1. Remo D’souza (October 18, 2021)

says, “I always wanted to open a dance academy where those who were passionate
about dance could come and learn it in an organized manner. Covid-19 pushed
things a bit but now with things opening up, I didn’t want to wait longer and decided
to launch the academy. The academy has been born out of passion and I want it to
be a platform through which people understand the nuances of this beautiful craft
called the dance”.

2. Martha R.

What a great place!! My daughter loves going to her classe here. The staff is all so
friendly and the studio is so clean. I love that they have so many classes available
for the little ones to take. I would recommend this place to anyone looking for a Dance
school.

3. Jeff F.

I have been part of the Dance Academy USA community for almost 20 years. They
have great people and a great product. Talking to other parents – we would talk of
how the dance classes, besides being just plain fun, helped with showing colleges
the students had lots of interests outside of school. And, the staff says all the time
that dance helps with self-confidence and being part of a team. It’s true. This is a
company with good people, and a great product.

Page | 48
4. Jeanette W.

My niece takes lessons here and she absolutely loves it. I’m not sure what the
issues were here in the past that cause a lower rating but they seem to have
completely turned things around. I highly recommend this dance school.

5. Judy A.

I was invited to help with selling tickets for the 1st recital of DAU; I have been doing
that ever since. The growth of the studio has been astounding, due in part to the
fantastic team of teachers, the love for dance by Ms. Jane and the staff, the caring
of the safety of the children when they are in DAU’s care, and the discipline which
is instilled in each student. It’s been my extreme pleasure to see the growth of the
students from year to year. The confidence and values imparted in each student by
DAU will serve them well their entire life.

6. Jen L.

My daughter attends Dance academy usa and as a former dancer myself (as a
child), I am impressed with the facilities. Other parents have mentioned the “strip
mall” location, but it doesn’t really bother me because almost the entire mall is dau.
My daughter has tried a few different teachers, but we really love Ms Denise and
ms Nikki. Ms. Denise is so exciting, you can tell she loves her job, and Ms. Nikki is
really encouraging and makes dance really fun. I subtracted one star for some of
the office encounters, they always seem like they want to get you in and out the
door as fast as possible.

Page | 49
7. Maria Jacobs

Dance Teacher2y

Dance Competitions in the USA are unregulated, so anyone can start one
anywhere - as they’re highly lucrative - charging exorbitant fees to enter. They’re
used mostly to keep preteens and teens motivated, to continue taking a large
quantity of dance lessons. Comp awards and trophies don’t mean anything, for
those auditioning for college scholarships, or for a dance job. There is an
oversupply of dancers, chasing way too few paying jobs. Unless you can post video
clips of your extraordinary dancing, to build a massive online following via
Instagram, and raise your visibility to those hiring, it’s not worth pursuing Dance as
a career. Even just teaching it part-time is tough, because of too many dance
schools, and too few students, for all of them.

Page | 50
 Chapter – 4

Research methodology

Objectives
1 Create brave and inviting spaces for students.
2 Sustain attention to imparting program ethos through all aspects of the program
including, students, faculty, guest artists, and parents/guardians.
3 Cultivate an environment of expectation, rather than hesitation, when
addressing instances and systems of inequality.
4 Model excellence in leadership, participation, and reflection.
5 Engage critical studies of the histories of dance, theater, and performance.
6 Learn the vocabulary and practice methods of respectful evaluation and
generative critique.
7 Pursue creative and scholarly research with a nuanced understanding of
cultural context.
8 Demonstrate clear and effective academic writing in the field.
9 Strengthen creative skills through the creative process of Making.
10 Apply a variety of criteria, aesthetics, and approaches to the understanding
and valuing of dance making and performing.
11 Practice collaboration within the creative process.
12 Create unique, challenging and diverse performances to share them with our
community.
13 Foster personal agency, responsibility, and actions through physical practice.
14 Develop a multifaceted physicality through a variety of dance practices.
15 Acknowledge and transform power dynamics in a dance space.
16 Nurture inclusive and activist communities through embodiment.

Page | 51
 3.1 Research Methodology

3.1.1 Area Of Reseach

I have collected data from Aurangabad city .

3.1.2 Research Design

A research design is a logical and systematic plan for directing a research study.
The research gives a blueprint for research work. For this study simple random
sampling research design method have been used. Primary data were used.

3.1.3 Sampling Method

For the present study, the random sampling technique is used. The researcher has
selected respondent from Aurangabad city. For this study, the researcher has
collected the primary data from 50 respondents.

3.1.4 Sampling Size

For this study, the researcher has collected the primary data from 50 respondents.

3.1.5 Methods of Data Collection

The present research study is based on Primary data. well structured questionnaire
was prepared and used for the collection of primary data from the respondents of
Aurangabad For this purpose face- to- face interviews were conducted. With the help
of this method primary data collected in proper manner. Through the personal
interview researcher come to know about financial literacy awareness among
investors.

Secondary data - Books , Research papers, newpapers

Page | 52
 Chapter – 5

Data analysis & Data interpretation

PERSONAL DATA

Q.1 Are You With Our Dance Academy?

a) Yes
b) No
Particular Percentage
Yes 97.22%
No 2.78%
Total 100%

Student

3%
Yes
No

97%

Table no. 5.1

There are 38 Respondents. From the above Table 5.1 and Chart 5.1 it is
Indeed that out of 38 Respondents 97.22% are Yes and 2.78% are No.

Page | 53
Q.2 What is your review about dance academy ?

a) Right For Health Female

b) Bad For Health
c) Nether of the two
Particular Percentage
Right For Health 88.33%
Bad For Health 0.00%
Nether of the two 16.67%
Total 100%

Student

16% Right For Health

0%
Bad For Health
Neither of the Two

84%

There are 36 Respondents. From the above Table 5.2 and Chart 5.2 it is
Indeed that out of 36 Respondents that there are 83.33% student in Right For
Health, 0.00% student in Bad For Health and 16.67% student in Nether of
the two

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Q.3 Can you Suggest More people about our dance Academy?

a) Yes
b) No
Particular Percentage
Yes 92.11%
No 7.89%
Total 100%
Table No. 5.3

claint

8%
yes
no

92%

Chart no. 5.3

There are 38 Respondents. From the above Table 5.3 and Chart 5.3 it is
Indeed that out of 38 Respondents 92.11% are Yes and 7.89% are No.

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Q.4 You can sand your kids to dance lessons ?

a) Yes
b) No
Particular Percentage
Yes 78.95%
No 21.05%
Total 100%

Table no. 5.4

Claint

21%
yes
no

79%

Chart no. 5.4

There are 38 Respondents. From the above Table 5.4 and Chart 5.4 it is
Indeed that out of 38 Respondents 78.95% are Yes and 21.05% are No.

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Q.5 The Reasons Why we dance ?

a) Happiness
b) Refreshment
c) Peacefulness
Particular Percentage
Happiness 79.68%
Refreshment 13.16%
Peacefulness 13.16%
Total 100%
Table no. 5.5

peoples

13%
Happiness
13% Refreshment
peacefuleness
74%

Chart no. 5.5

There are 38 Respondents. From the above Table 5.5 and Chart 5.5
it is Indeed that out of 38 Respondents that there are 73.68% student in
Happiness , 13.16% student in Refreshment and 13.16% student in
Peacefulness

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 Chapter – 6

Finding conclusion & suggestion

Conclusion

This essay series has considered what it means to live with faithful Christian
presence in the midst of deep pluralism. I pointed out that faithful presence does not
lend itself to simplistic solutions, but rather involves a “precarious dance”[1] of
learning to hold in tension seemingly contradictory postures. I then examined three
such tensions: affirmation and antithesis, engagement and distinctness, and humility
and hope.

In this final essay, we turn our attention to the context of higher education. Christian
graduate students and faculty face the challenges of deep pluralism in a particularly
acute way, as they seek to undertake scholarship from a faithful Christian position in
the midst of a system that multiplies perspectives and viewpoints. Even for those
who receive their training or go on to teach and conduct research at faith-based
institutions, the project of scholarship still draws them into conversation with the
‘multiversity’ through involvement in an academic discipline, a professional society,
peer review, and so on. So all Christian scholars, regardless of what institution they
call home, must find a way to navigate the pluralistic university with both presence
and faithfulness.

The dance steps of faithful presence will necessarily vary, as different career stages,
social positionings, and personal spiritual journeys call forth different emphases and
actions. For this reason, what follows is not a list of prescriptions but rather a handful
of word pictures, examples of my own attempts at living in the tensions.

Of the three tensions, I have found affirmation and antithesis to be most obviously
relevant to my research and writing. In fact, I was able to make use of this tension
the first time I presented the idea of affirmation and antithesis at a major conference

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in my field. At that conference, each paper presentation is followed by a formal
response from another scholar in the field. At first I felt unsure about how to reply to
my paper’s response, but I realized I could affirm what the response had added to
my paper, while offering an alternative interpretation where the response had not
quite gotten my original point. In this instance, living in this tension was not too
different from sound advice that anyone might give to an early career scholar; the
concept of affirmation and antithesis merely helped me articulate that advice to
myself.

The social and political context of the modern university also calls for Christian
academics to assume a posture of affirmation and antithesis. In this regard, Rebecca
McLaughlin’s The Secular Creed is particularly helpful. Although McLaughlin does
not focus on higher education specifically, she examines claims and slogans, such
as “Black Lives Matter” and “Love is Love,” that undergird many initiatives and
causes championed by secular universities. Urging us neither to hammer the secular
creed’s signs into our yards nor to hammer them flat, McLaughlin sets out to
“disentangle ideas Christians can and must affirm from ideas Christians cannot and
must not embrace.”[2] For Christian faculty and graduate students wondering how to
respond to diversity and inclusion training, expectations regarding preferred
pronouns, controversies regarding speaker events, and more, this little book offers a
wonderful first step toward considering how to situate all these matters within faithful
Christianity.

I most often find myself living out the tension between engagement and distinctness
across different moments of time. From week to week and month to month, days
spent directly engaging with my academic colleagues in classes and at conferences
alternate with days spent stepping away from my scholarly work to join my Christian
brothers and sisters in worship, service, and fellowship. Within each workday, I give
a portion of my time to Bible reading and private prayer, and another portion to
academic reading and writing. Especially for graduate students and pre-tenure
faculty, time can often feel like an all-too-scarce commodity. But that is all the more
reason to attend carefully to the choices we make with our time and to intentionally
foster rhythms that will cultivate in us the postures of both engagement and
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distinctness. If all our time is spent either in separate Christian activities (alone or
with others) or in engaging our academic field, something is amiss. While I have no
desire to prescribe exactly how much of a day, week, or year to devote to each, I do
believe that every Christian academic should prioritize weekly, gathered worship with
the whole body of Christ (including children, grandparents, stay-at-home moms, and
many other non-academics).

Finally, the tension between humility and hope informs all my scholarly activities: in
teaching, in research and writing, in networking, I know that God alone can redeem
and bring fruit from my feeble and fallen efforts to serve Him. More surprisingly, this
tension also directly relates to the content of my scholarship. As a scholar in the
interdisciplinary humanities and humanistic social sciences, I am constantly
confronted with competing pictures of what it means to be human. Seventeenth-
century Christian apologist Blaise Pascal called attention to the intertwined grandeur
and wretchedness of human beings. Some of my colleagues tend to emphasize the
heights of human capabilities, while others emphasize the depths of human cruelty
and oppression. I often find myself pushing back at both sides: as Pascal wrote, “If
he exalts himself, I humble him. If he humbles himself, I exalt him. And will go on
contradicting him until he comes to understand that he is a monstrous being who
passes all comprehension.”[3] My desire is to exhibit in myself a unity of humility and
hope that piques my colleagues’ curiosity and draws them to want to know what
enables me to live in this tension.

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 Reference & biblography

https://blog.emergingscholars.org/2022/08/faithful-presence-conclusion-the-dance-
of-faithful-presence-in-higher-education/

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