Don’t Fall For This Dance Lesson Scam

Have you received an email that reads like this?

This is ______.I am from ________,my daughter will be coming for an holiday in the United State.I need dance lessons for my child for just a month, i got your advert while surfing through the internet and i really want my child to be taught by you. _____is just a little child and easily catch up.If this is possible,i will want you to get back to me with the cost of your teaching private lesson for two weeks. Looking forward to you correspondence.

Many of you may already be aware of this common scam that targets instructors. However, I’ve seen recent questions from teachers all over the Net regarding e-mails that they’ve received asking for lessons or private tutoring. So, this post is dedicated to increasing your awareness in three areas:

1. How to spot a scam
2. What to do when you receive an email like the above
3. How to protect yourself from email spam and scams

How to Spot a Scam

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  Photo by Kenneth Lu

  The English grammar/punctuation is very poor.

• General titles are used instead of your name
• Your business or what you do is not mentioned specifically (dance lessons or private lessons instead of your specialty or something you’ve advertised)
• The message claims an urgency or is trying to appeal to your compassionate nature
• The pupil is said to be inexperienced but a quick study
• The request seems outlandish – daily lessons for three straight weeks, for example.
• There are inconsistencies such as claims of living in the U.K. or U.S. when the writing does not reflect this, or their own name is oddly spelled or stands out as unusual
• Mentions strange travel, living, or boarding arrangements
• Your email address is not listed as the intended recipient (TO:) yet mysteriously appears in your inbox anyway. If you do not automatically see the to: and from: fields in your message, most email services will have an area you can click to expand the header.

Keep in mind that the initial email may not mention anything to do with money or even say much at all. Those that run this scam depend on you to believe that the interaction is legitimate. They often make contact first but money will always enter the picture once you’ve responded to their inquiry.

Trust your instincts. If something seems odd or suspicious, it probably is!

What to do next

If you are pretty certain that the e-mail you have received is a scam…

• Don’t reply.
• Report it.
  • Forward it to the Federal Trade Commission at uce@ftc.gov
  • Inform the e-mail service from which the message was sent. Most scammers will use free services like gmail, yahoo, hotmail, etc. You can report a violation to Google/Gmail here. If you are unsure where to report others try searching for report, scam, email, yahoo (for example).

If you think it may be legitimate but are unsure…

Proceed with caution. Some scammers are craftier than others. The message may read like a typical inquiry about the price of your lessons.

Ask questions without divulging more information than necessary. Where are you located? What type of lesson or style are you interested in? (you want to see if the con artist will slip up, display discrepancies in their story, or mention odd terms or conditions regarding money)

Continue to check their FROM: address. Scam perpetrators often send from different email addresses to make it harder to track their activities.

Never accept a check or wire of money from someone you don’t know. This scam usually involves a faked check, money order, or even gift card/certificate which is larger than the amount agreed upon. You will be asked to return the difference from your account.

How to protect yourself from email spam and scams

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  Photo by DWRose

  Don’t open attachments from people you don’t know.

• Only open attachments from people you do know if they’ve told you it was coming and explained what they’re sending. Ask them about it if they haven’t.
• Don’t click on a link in any email without hovering over the link first (the destination url will appear at the bottom of your browser). Do the url’s match or make sense? Always be cautious if they don’t – even if you know the sender. If you don’t know the sender – don’t click at all!
• Do not assume that the email is legitimate just because it shows that it is from someone you know. Treat all emails with caution – think before you click!
• Think before you publish your address online – including on your own website. Consider displaying your address as an image instead. Use a contact form (your address is not revealed, though it is likely you will still receive comment spam – delete these messages when you receive them). You might try writing your address in a different way if you can (people used the [NO SPAM] insertion for a while), however spam bots are getting smarter so try something unique.
• Use multiple addresses. One for family or friends. Another for online transactions. Another for newsletter signups… you get the idea.
• Do not pass on chain e-mails. Not only do they junk up cyberspace, but in forwarding them you often make your email address accessible to people you don’t know. I like the following reminder from wiredsafety.org:

No chain e-mails are legitimate, credible companies do not conduct their marketing in such a haphazard fashion. Chain e-mails cannot bring you fortune or cause bad luck, they will not make you rich and you will never get that luxury holiday. They are lies, at best mischievous at worst (like virus hoaxes) designed to cause worry and disruption. Finally, if you truly want to help disadvantaged children, endangered species or support another charity or movement, go to their Web site[s] and make a donation or sign up as a volunteer. You can use a search engine to find them, it takes about the same amount of time and effort to run a search as it does to forward a questionable e-mail. If you really want to tell a friend or loved one that you care about them, don’t do it with a junk e-mail that has been repeatedly forwarded. Tell them yourself, write a personal note – from your heart or, even better, tell them face to face.

Want some more Internet safety tips?

There are many places online that will keep you updated. I found a handy pdf at AARP.org that is comprehensive yet easy to read. Click here to visit their cyber safety page and download the pdf.

Have you received this scam in your inbox, or (most unfortunately) been a victim?

Can you offer other tips for readers to help the community stay safe online?

Exclusively Ours — Anthony LoCascio Talks About Danceregister

In case you haven’t noticed, social networks are all the rage. Since 2002, when MySpace emerged as one of the Internet’s earliest leaders in social networking, interaction online has been focused upon building communities within this vast realm.

One such community focused entirely on dance is Danceregister.com. Though you may not have heard of it yet, the site has been around since 2007. According to Anthony LoCascio, the master teacher and Tap Dogs alum who helms the community, “Danceregister seeks to unify the dance world and to increase the strength of present dance-related entities for a more prolific future of dance in the physical, mental, and digital world.” Based in the Silicon Valley, Danceregister is in an excellent geographic position to investigate, explore, and test online technologies and ideas before they are widely exposed to the public. Therefore, Danceregister is ever-evolving, making use of these new technologies to further their mission, which is to create a positive legacy that represents and makes available, all aspects of the dance studio community in one safe, helpful, user-friendly, positive, like-minded network.

Anthony took some time to talk with me about social networks, Danceregister, and the online dance community.

Dance Advantage: In 2007 you launched Danceregister.com, a “gated social networking community.” Who is Danceregister for?

Anthony LoCascio: Though it was originally created for the safety of dancers, Danceregister ultimately became useful to each individual demographic of the dance industry. Our community is utilized by studio owners, teachers, students, parents, merchants, services, and even other dance-related web sites. It is exclusively ours, exclusively dance!

DA: I understand that parents are notified when their child applies to join Danceregister. That’s a great way to keep parents in the loop about their child’s activity online.

AL: We do send an email to the parent, as well as verification letters to dance studios. We monitor the site personally and have a volunteer “crew” to report anything suspicious in the community. In two years we have had a perfect record when it comes to the safety of our members.

DA: A gated community implies that there are additional security measures that ensure student safety. Are there ways you make certain that only members of the dance community are gathering at Danceregister?

AL: Because nothing in the world is perfect, we use a few methods which act as a checks and balances system. Some we make public and others we keep private. All of this is because of our main goal – safety. No other dance website can claim they are as safe as us.

DA: You are extremely passionate about the subject of online safety and I know that Danceregister was born in part from your concerns about students’ security on MySpace and other networks. What are some of the dangers related to the use of social networking sites?

AL: The idea is not to scare anyone but to educate them on the facts, both good and bad. In addition to personal safety concerns on Myspace and Facebook, there are issues that may result in damage to your computer, the spread of viruses, unauthorized access to accounts, and spam.

Teachers are also quickly learning that by using social networks they expose themselves to a “business mixing with personal life” scenario. Just because they don’t think to search out students online, doesn’t mean students are not searching for them. Plus assistant teachers may not be mature enough to see the damage one posted photo or video can do to a business. Look at Vanessa Hugeness (Disney), past American Idol contestants (Fox) or previous pageant winners (Trump Enterprises). Ask them what one mistake on the net can do to a person or how it can hurt a product or business. Also, studios are their own living, evolving worlds that can contain drama. Danceregister deters drama where a site like Bebo, Myspace, Youtube, or Facebook can easily fuel drama.

DA: So, in your opinion, should dance studios stay away from these larger networks altogether?

AL: When used properly, these sites can be useful. It would be wise to have a studio profile on all Facebook and Linkedin-type sites. These profiles should be used as marketing tools. They should include limited but clear contact info or links to your own studio web site. They should be seen as a way to direct traffic to your own web pages, not to “friend” students and parents. Studios should use these sites primarily for marketing and directing business. Danceregister, with its security measures, is better suited for personal networking and in-studio communication.

DA: Danceregister is free to join, will this always be the case?

AL: With the community currently small enough to control, we will continue to be free of charge. However, with provision of safety, technology, time and exposure comes growth and additional costs. In the future we may charge a nominal fee for a lifetime membership. This is to guarantee each and every parent has knowledge of their younger dancer’s presence in our network. As membership requests become more dense, this fee will help support the site and provide a faster even more efficient verification process. We can project the fee won’t be applied until late 2009 to mid 2010 and that it will be a minimum of $8.95 and not exceed $14.95 plus tax. The goal is to have the least expensive fee for a lifetime so there is no hassle associated with reoccurring fees.

One goal, which is firmly in place and will continue to be a focus, is to charge no fees for studio owners/teachers. However, to keep the site at certain standards, there will be fees for merchants & services in the future. I do not want Danceregister to become inundated with advertisements. We are not a vehicle which plans to rely on advertising. Danceregister has a personal, friendly, positive relationship with its users and represents itself and not other corporations. Any adverts will be limited in quantity and location.

DA: What are some of the things a parent, for instance, might do at Danceregister?

AL: There’s so much to do there. They could check out our forums, get or give advice, write reviews of conventions or competitions, post video, photos, quizzes, polls, and more all in a safe environment. They could consult with master teachers, visit my live chat (which occurs Mondays and Wednesdays from 3:30 to 4:30 PST), post questions to adjudicators of competitions, share or obtain knowledge of the dance world by reading live news and updates, and develop personal relationships within the global dance community. They could also look up their home studio’s information (each studio is divided into “mini-communities” or subsets), chat live via IM or audio/video with other parents, or have a meeting with a teacher — fewer trips into the studio!

And all of this applies for everyone, not just parents!

DA: In addition to running Danceregister, you are also a teacher. Do you think technology is changing the way we teach or the way students learn?

AL: Dance websites and exposure to individuals and ideas has been excellent for the dance community, as has accessibility and the ability to download instructional videos. I have a Dance4teachers subscriber who takes my tap DVD’s, uploads them to her Mac, and puts them on her ipod touch. Now she can reference them during class right in the palm of her hand. That is a big leap (pun intended) from less than 10 years ago when I was still sending people VHS tapes!

DA: What are some of your favorite resources for dancers and dance educators online?

AL: Early in 1999, when I started my first web site, just4tap.com, dance had a very limited online presence – mostly on forums. Therefore, there is great history on a forum site like dance.net. With blogs gaining recognition over the past few years, they have become the personal voices of the dance community. Tapdanceman, and Danceadvantage are blogs I personally frequent. Danceregister even has a public blog for people who are not part of the private community.

For investigating or developing professional dance gigs, there are sites like sceneinteractive, exploretalent, and many others. For music editing or cutting songs for a performance, there is www.musiceditingonline.com. Plus every dance media outlet now has web representation.

DA: Dance has certainly exploded online recently. How have you seen the Danceregister community grow and change since it began?

AL: When I started Danceregister, I had about 125 members and they were all from my local classes. The major focus of Danceregister was safety and due to the safety issues on MySpace, I chose not to advertise Danceregister directly to the public. Year one was all about working on the best ways to cost effectively provide an environment where it was safe to post videos and photos and chat about dance in a like-minded positive setting. I only used word of mouth to expose the community. That said, we had just over 350 members by the end of the first year.

Now confident in the verification system we had implemented since day one, year two’s focus has included content and exposure. We hit over 1000 members just before our two-year mark and have a great deal of content now on the site. It is time to let people know about Danceregister. Students are having fun, parents have peace of mind, and studios are starting to catch on to the communication benefits of the network. After all this hard work I am determined to get the word out! DA: Well, I love to point my readers to dance resources online so, I’m happy to help with that part. Can you tell us more about what’s on the horizon for Danceregister? AL: I am planning a video blog on Danceregister in September. These videos will follow me on an upcoming tour as I return to the stage with Tap Dogs. We are planning a contest also for September.  Just a few of the prizes are iPods, Danceregister swag, iTunes/Napster/Rhapsody gift cards valued from $25 to $50, DVD classes provided by Dance4students, and more. The top prize will be a gift certificate for two concert tickets of your choice. I personally will be present at the Rhee Gold Teacher conference this summer. If you are at the event please feel free to stop by and say hello. Danceregister will have a table in the Exhibit Hall.

Finding Quality Dance Instruction – Middle Ground

I come from a small town and have taught in some small cities where dance studios struggle to maintain integrity and keep their business (or non-profit) afloat. Access to educated and experienced dance teachers is sometimes minimal. Below, I’ve listed some circumstances that occur in dance studios across the country. They are not absolute deal-breakers, but potential students should proceed with caution and armed with knowledge and awareness when such situations are present.

• Combo classes. Many say to avoid them altogether. However, they can be useful for exposing younger children to complimentary styles of dance, or providing an introduction to ballet for children who may not choose ballet as their one dance class per week. However, if combo classes are offered for anyone over 8 years old, this shows signs of an à la carte philosophy on dance training. Dabbling in dance this way often results in an unsuccessful and incomplete education. If a student wants to pursue many dance styles and still become proficient, they need to put in the time, something combo classes don’t provide.
• To many, following a ballet syllabus is extremely important so as not to confuse students (not all ballet is the same). However, basic technical principles should serve the recreational student as long as there is consistency within the class, or students are made aware of how the codified techniques differ should they encounter a need for this information.
• A proper dance floor is extremely important to the well-being of the dancers. Dancing on anything directly over concrete subflooring is unacceptable as a long-term situation and instructors must demonstrate precaution for the sake of their student’s bodies in the interim. For the sake of their student’s bodies studio owners should recognize if their current flooring is sub-standard and have a plan in place (fundraising or otherwise) to improve their situation. If they don’t see it as an issue (and they may not if it’s not hurting their business), move on. The same goes for studios that are too small for full-grown students to fully extend their arms and legs, setting up patterns and habits that will be hard to break later. In a perfect world no studio would open with sub-standard flooring. However, if the school is otherwise providing quality education, I consider this area middle ground. Ask questions and make it known that this is important to you. There is a flooring solution out there to fit every space and budget.
• Student teachers are a deal-breaker for some. As a teen, I assisted experienced teachers at my studio for three years before taking over my own classes, and the students were once-a-week students between 6 and 9 years old. Was I really prepared to have my own class? Maybe not, but I worked hard, took care in what I was doing, and learned an awful lot that prepared me for things to come. Therefore, I think a student assistant/teaching program certainly has value. Some guidelines to consider: Preschool classes are best taught by someone with experience in the classroom management of dancers this young. Also, teachers too close in age to their students can cause disciplinary problems. Again, students as teachers are not ideal but a school that is closely monitoring and evaluating their student assistants and teachers on a regular basis may be fostering tomorrow’s educators.
• Age alone is not a reason to move dancers to the next level of dance. In a setting in which students are taking only one or two classes per week and not attempting to learn advanced skills like pointe work, difficult turns, or leaps, advancing by age is not a deal-breaker. Otherwise, I would avoid any school that blindly moves up or holds back dancers because of age, or concedes to class-placement simply because someone requests to take class with a friend. If the school has clear ideas about what their curriculum includes and methods to assess if a student is ready to move on, subjectivity can be reduced and complaining minimized. If a school cannot point to reasons why they have advanced a student, they leave themselves open to question and speculation.

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  Image via Wikipedia

  There are those in the dance world that consider competitive dance studios a red flag in quality training. However, it is my opinion that competitive schools can, and some do, offer quality dance education. Be wary when, like performance, competition becomes more important than the training itself. I’ve witnessed, too often, superficial rivalry, tricks, costumes, and medals replace the reward of cooperation, hard work, self-improvement, long-term goals, and mastering a craft or art form. It is a fine line to walk, and a studio that chooses to compete must take extra care to ensure that students’ appreciation of dance does not depend on the thrill of winning alone. When their winning days are over, the 99% of students who do not become professional dancers still play a major part in the advancement or decline of the art through their support. And if winning and sport was all it meant to them, their dedication to dance may falter when the incentive is gone.

Please remember that when looking for the studio or teacher that will suit your needs, it is important to shop around, armed with questions and knowledge. I’m always surprised that students and parents spend so little time choosing a dance school (many dancers spend more years at a dance studio than they will a college). Dance instruction is an investment of time and money, and you don’t want to waste either. The guidelines you’ve read here about quality instruction are no more than my educated opinion, offered so that you may thoughtfully consider the topic for yourself.

What are some of your experiences? Do you disagree or agree with some of my opinions, or with my assessment of deal-makers/breakers? I’d like to hear your thoughts.

Finding Quality Dance Instruction – Deal-Breakers

When researching dance schools or studios, there are certain things I consider, instruction deal-makers. Here I will investigate the possibly more controversial deal-breakers:

• An instructor is consistently condescending and sarcastic, frequently uses put-downs or yelling to get results, or is insensitive to safety and health/weight issues.
• Classes appear out of control – little ones have no order, rules or expectations and older ones chatter, lean on the barre, etc.
• Classes are too long for small children (more than 45 minutes is too long for preschoolers) and too short for older dancers. (An ideal class length for ballet in particular is an hour-and-a-half. For dancers over 12 or who are preparing for pointe work, classes should be no less than an hour-and-a quarter.)
• Pointe work is offered to students who take less than 3 hours of ballet per week and dancers are not assessed for pointe readiness. Three hours is the absolute minimum, and should include those in pointe prep classes who are not yet wearing pointe shoes. Hours, days, weeks, and years spent doing ballet have no true bearing on if someone should or should not be doing pointe, however. The quality of the training itself is essential and great care must be taken to assess each individual’s core, turnout, and foot strength to determine if they can begin pointe work. (Lisa Howell offers some wonderful resources for students, teachers, and parents for determining pointe readiness.)  Ask to observe a pointe class. If the dancers look unstable and precarious when away from the barre, it is not simply because pointe work is hard – more likely, their training thus far in ballet has not been sufficient for working at this level. A truly quality establishment will not place dancers en pointe before they are ready, or at all if they cannot provide an appropriate course of instruction to safely prepare their ballet students. Dance studios in the U.S. (I can’t vouch for other countries) feel pressure to make pointe available to those who want it, even if it is not in their students’ best interest. Sometimes otherwise good schools succumb to this pressure. I encourage you to evaluate or re-evaluate if a pointe program is really right for you or your school. Only those considering a professional career truly need extend their work in ballet to pointe and, if you are considering a professional career, then you need instruction that will get you there.
• A class consists of nothing but drilling or repeating “tricks” (turns, jumps, leaps, etc.). This is only conceivable outside and in addition to a normal, thoughtfully planned technique class.
• The teacher uses improper terminology for movements with children older than 7 or 8. Even in preschool or creative dance classes, children can be taught the correct term. Imagery can, and absolutely should be applied for these young dancers, however I see no need to completely replace the vocabulary used by older dancers.
• Classes spend more than half the class on choreography and/or spend more than half the year preparing for recital dances. If this amount of time is required, the dances are too hard for the students. And it is probably too hard because the dancers have not been given a consistent opportunity to improve their skills and technique. Rehearsal for competition choreography should take place outside of regular technique classes. Some would argue that even recital choreography should be done outside of class. I personally feel, however, that if the choreography is representative of what the class has been doing (the purpose of a recital), composition of the dance need not be overly invasive and can take place during the last 15 or 20 minutes of class which would normally be spent learning combinations or variations.
• Owners of the school are not upfront about additional costs. Many schools charge extraneous fees for costume purchasing (on top of what you pay for the costume), recital fees, competition fees, required purchase of dancewear from their own store, etc. Make sure that it is clearly presented what you are expected to pay, tuition included, and don’t be afraid to ask exactly what the money goes toward. Some studios use such fees (or a portion of them) to keep the school afloat during summer months and to keep tuition low. Know what will be expected of you so that you have the opportunity to decide if these are fees you’re willing to pay. Although this trend is increasing, not all schools require such fees. Look into this before a sense of obligation to yourself or your child forces you to pay more than you had intended.
• Students display a myriad of injuries. Some injuries do occur when dancers are pushing themselves as athletes. However, it is a red flag when a large number of students are dealing with injury, especially at a recreational studio. Usually, these students are either not being trained properly in technique or are consistently attempting skills that are beyond their technical ability. I have seen this often at competitive schools that are recreational in nature. In order to keep up and win medals they work and drill “tricks” that only advanced dancers should attempt. Sadly, these students may be awarded despite poor technique at a competition and encouraged in this behavior (remember the nature of many competitions is that judges must choose the best from those competing). No matter the type of school, the occurrence of multiple students with chronic or serious injuries is a clear sign that something is missing or not as it should be within the training.

There are some things that deserve mention that I have not yet listed. These are what I consider middle ground – not ideal, but in certain circumstances not deal-breakers either. I will list these in my next post.

What are some deal-breakers for you? Have you or do you attend a school where these things take place? Tell me about your experiences.

Finding Quality Dance Instruction – Deal-Makers

People don’t usually open a studio or attend a dance school if they don’t think it is a quality product being offered. However I’ve found that those in the dance world have strong opinions about what is or is not quality dance instruction. I consider myself a pretty diplomatic person and I try very hard to see things from all angles. Therefore, I’d like to stick to what I consider the deal-makers and breakers of a dance education relationship. Some may think I’m being too nice and others may argue I’m expecting too much. Either way, please try to have an open mind and consider the points I’m trying to make. After all, it’s just an opinion.

“Deal-makers”- qualities students should expect to find at an institution or business that educates/trains dancers:

• Ballet and other traditional dance forms have a clear and appropriate format. For ballet, this means a full session at the barre (less than 30 minutes is not acceptable), followed by work in the centre and across the floor. All dance styles should include a warm-up and cool-down period.
• The teacher offers individual attention, correction, and help by breaking down new or difficult movements for beginners or young dancers. With more advanced dancers, teachers may expect students to have more skill in picking up movements quickly and may spend less time explaining, however, teaching a class still involves refining all details of the movement. Just leading the class without offering input or corrections is rarely helpful to a dance student.
• There is focus and attention given to the upper body, including arms, head, and face even at beginning levels.
• The instructor has an understanding of anatomical terms and their application to dance and explains and shares this knowledge with the class.
• The students and teacher move well, are pleasing to watch (students with a solid foundation can make even new or difficult movements less awkward), and are dressed neatly and appropriately.
• Praise, encouragement, and humor – all positive reinforcements, are used frequently but not indulgently in class.
• Dancers are encouraged to be expressive in their movement and facial expressions without forcing plastic smiles, to listen and understand the musical or rhythmic aspects of the dancing.
• Instructors ask the students to use critical thinking in their classes. This means that they are regularly required to analyze, deduce or problem solve to come to a conclusion about something rather than simply regurgitating an answer.
• Students are encouraged in, or given regular opportunities to view dance performances, observe or participate in master classes, learn about other art forms, and reach out or volunteer in their community.

Look for these attributes when researching, observing classes ,or touring a dance school. When seeking out instruction, don’t just join the studio with the largest ad. Arrange a time to observe or even sample classes, talk with the owner and/or instructors, and ask questions. Do all of these things before making your choice because sometimes observation will reveal more than speaking with the owner, or visa versa. A studio interested in your business will make time for potential customers, however, approaching a studio owner right before performances or recitals may not be the best time.

When looking for quality dance instruction, be aware that some studios spend a large amount of in-class time on rehearsal for a show that is months away. A studio’s best instruction should be on the menu at all times, performance or not. Occasional breaks from the routine class structure are important and sometimes necessary, but learning how to dance should always take precedence over learning a dance number.

Next up, deal-breakers and “middle ground“!

What other qualities do you consider “deal-makers?”