www.estevanmercury.ca »WOMEN IN BUSINESS« Wednesday, October 13, 2010 A9

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By Norm Park

Of The Mercury

When your business is an art form, it’s well nigh impossible to separate the business end of the busi-ness from the art end of the business.

But that’s what you have to do if your business is art.

This year’s focus on Women in Business takes a look at local business-woman and dance teacher, Lorie-Gay Drewitz-Gal-laway.

“My passion is dance and teaching dance, but I also know I have to take time to sit at a desk and do GST returns,” said Drewitz-Gallaway.

She has a dance studio that requires maintenance as well.

And try dealing with banks and bankers who don’t believe that a dance

Art as business … it can work, it does workstudio can really be a busi-ness.

Piano teachers, visual artists and others who ply their way through the “art as business” minefi eld can often do their business from their home using a spare room or residential addition as their studio. The same can’t be said for Drewitz-Gallaway, who had been preparing herself for a career as a dancer/teacher since she was three. She comes from a family of dance instructors and five of the six siblings in that fam-ily are also dancers and teachers.

Shortly after marrying local farmer Don Gallaway, Drewitz-Gallway arrived in her new home in Estevan, fi lled with ambition and this passion for dance that was bubbling over. Thirty years later, the bubbles are still very much on the surface.

“It was diffi cult at fi rst. I didn’t know anybody here, and I was trying to sell my-self as the dance teacher, and you know, i t was just me, a n d

people didn’t know me,” she said.

Hailing from Assiniboia and a well established dance studio family, Drewitz-Gal-laway was not familiar with the need to educate parents as well as eager young dance students about the wonder-

ful world of dance and what could be accomplished. She had been working with her older sister in the fam-ily school in a community where structured dance les-sons were a well-established part of a weekly schedule. That wasn’t the case when she arrived in Estevan.

The fi rst year didn’t go so well, but it wasn’t that bad either. The basic job of selling dance to the com-munity slowly began to reap

some benefi ts. “My fi rst dance re-

cital at the end of the teaching year involved 58 young students,” she

said. “I rented the Oddfel-

lows Hall a couple of days a week. The next year I started leasing space at the Legion Hall and Elks Hall, one day a week each for three years, but it was a struggle be-cause our teaching schedule often confl icted with their hall booking schedules so I

reached a pretty scary mo-ment,” she said. “I needed to get a building.”

The income from the dancing lessons was barely covering expenses, but in-

terest in her skills as a dance instructor and the school itself was growing signifi -cantly.

So while the banking A10 ⇢

Lorie-Gay Drewitz-Gallaway

A10 Wednesday, October 13, 2010 »WOMEN IN BUSINESS« Estevan Mercury

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Women in BusinessWomen in Business⇠ A9 community

wasn’t fully convinced about getting behind the idea, she did manage to get some financing thanks to the fact that her husband was willing to co-sign loan/mortgage contracts.

“I wouldn’t say the banks were prejudiced against women and busi-ness, but they were looking at it from a particular busi-ness model side, and I had been looking at it as an art and passion model,” she said with a smile.

A few weeks after the art and business sides came to an agreement, the Dre-witz School of Dance studio was born in a Fourth Street building that now houses Henry’s Lock & Key. That space was adequate for six years but when the former public library building be-came available with its two storey structure and easy ac-cess, she made a bid for the building and was successful in landing the facility 18 years ago. Major renova-

Art as business … it can work, it does worktions were made and the move in went smoothly.

Now the Drewi t z School of Dance teaches a variety of dance skills to a total of 308 students.

“I have two full-time administrative staffers and two assistant teachers,” said Drewitz-Gallaway.

Senior students aspir-ing to some day become teachers or studio opera-tors themselves gain the opportunity to help out in certain areas as unoffi cial apprentices.

Teachers require Royal Academy of Dance (RAD England) certifi cation and an associate or ARAD status is granted only to teachers who have com-pleted vocational graded exams. Drewitz-Gallaway met those conditions as a young woman. In fact she had attained the teaching status shortly after turning 16, but couldn’t offi cially teach until she turned 18.

Her reputation among dance instructors in Canada is well established, which means she receives calls to adjudicate or conduct work-shops or examine students in other Canadian com-munities. That helps with cash fl ow, but then again, it’s the passion for the dance that dominates … not the money side.

Other sources of in-come include workshops or summer school projects.

Buying, renting, leasing and sub-leasing costumes is another end of the business, but Drewitz-Gallaway said it is fi lled with all kinds of business headaches that make it a cash out and cash in and if you break even, you’re really ahead of the game proposition.

“I came from a dance family, I know how we had to work at minimizing costume costs. I try to keep those costs down to mini-mum. The cost of our cos-

tumes over the last 18 years, I think, have only gone up by about $10 on average. Highland dancing kilts are another matter though … very expensive. We will rent them out, some parents buy them. But other costumes, well, the credit card comes out in the winter and I make the purchases and then the cash comes back in later and it’s a zero sum game really.”

When it comes to mix-ing cash fl ow concerns with adjusting a young dancer’s feet as she works on a ballet movement, it just doesn’t happen. Drewitz-Galla-way moves away from the business end of in those moments. Passion for the art supersedes the need for a new furnace fi lter. That’s just the way it has to be. And anyone who has been willing to suffer for their art, understands.

“I don’t think I even paid myself for the first

eight years,” Drewitz-Gal-laway explained. “And I’m not in a business that pro-vides a benefi ts package or a pension plan, so I had to start thinking hard about those things. And while we talk about the art and the business, there is a third, most important component and that’s family. You need home time and family time too,” she said.

Drewitz-Gallaway said she disciplines herself to tend to business details, probably two hours a day in the morning and maybe another hour to an hour and a half after lessons are fi n-ished in the evening. When she’s on the fl oor though, she’s a teacher and only a teacher.

“I’m not a sitter, I move around a lot … gotta be busy.”

She’s proud of the fact that her studio has groomed countless other teachers and professional dancers, many

of whom are now operating their own dance studios or are involved in musical/dance productions on the professional circuits.

“It’s a lot of work to reach the fi nal levels, the certification is evolving every year. It’s now the equivalent of three years of university level training and investment of about $10,000 to achieve the fi nal status,” she said.

Examiners such as Dre-witz-Gallaway can expect between $50 and $75 per hour while dance teacher fees can range between $15 and $30 per hour. But that’s only an average. Those fees vary from studio to studio and at the Drewitz School of Dance, you don’t buy extra time or attention from the teaching staff. The kidlets get equal attention and equal footing on the instructional fl oor. There may be some who are more talented than others, but A11 ⇢

www.estevanmercury.ca »WOMEN IN BUSINESS« Wednesday, October 13, 2010 A11

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Women in BusinessWomen in Business⇠ A10 payment for in-

struction means that’s what the young person gets.

So that leads to an-other important aspect of the business … dealing with parents.

“Parents are no differ-ent really from the teachers or the students. They have bad days and good days and when things turn negative or nasty, I just have to look at the overall picture and see if maybe they don’t know the entire story or have the

Art as business … it can work, it does workbackground. A frustrated parent needs to be able to vent and after it’s over, it’s my job to help them under-stand where I have to come from to help their child pass a dance exam,” Drewitz-Gallaway said. “They get equal attention on the dance fl oor. This is a people busi-ness so that’s the product we deal with. Whether it’s bal-let, jazz, musical theatre, tap or Highland dancing, we’re guiding them to a point where they can succeed at

the next level.” If a dance teacher is

going to be serious about the business, then they have to learn anatomy so they’ll know when a child is physi-cally hurting themselves, or when they might just be feeling a bit ill. There are health issues, protocol is-sues, psychology attributes to learn.

Her business requires that she follow a strict busi-ness plan that she has de-vised over the years. Next

spring’s recital is already on the board. “I order the show by Christmas. I have the theme, about 630 costumes and basic creativity part of it done. The cash goes out, collect later … just like the oil patch,” she said in draw-ing a comparison.

She has understand-ing accountants who have helped her budget such things as travel time and ex-penses, examination times, her time away, inventory, carpet and computer re-

placement schedules, and so on and so on.

But again, getting down to the brass tacks of the business … it’s back to that people stuff again.

“Each year, if I can’t get personally better, then that’s the year I’ll quit. New teachers on the scene, I tell them they’re not done, just because they passed the RAD exam, they’re just get-ting started. And my senior students, I try to instill in them the sense that those

little primary dance kids are looking up to them.”

So is that the basic busi-ness model?

“No dance program teaches you how to do the business side, you learn that as you move along. You can’t quit learning in this business. There’s the passion for dance. If that ends, it’s time for you to fi nd a new path,” said Drewitz-Gallaway in conclusion.

And that’s the bottom line in the business of art.

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3. Use It UpWhether it’s food in

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4. Shop Ahead

Flyers are now avail-able online so you can take a look for great deals before you get to the store. Add these deals to your shopping list and you’re sure to spend wisely.

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A12 Wednesday, October 13, 2010 »WOMEN IN BUSINESS« Estevan Mercury

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