TECNIA INSTITUTE OF ADVANCED STUDIES

GRADE “A” INSTITUTE

TIAS/AC/2022-23/23
Summer Training Report (BBA-311)

TIAS/AC/2022-23/23(G)
SUMMER TRAINING REPORT ON
A Study on the Promotional Strategies
Undertaken at
S. GENIUS ACADEMY

Submitted in partial fulfillment of the requirements for the

award of the degree of

BACHELOR OF BUSINESS ADMINISTRATION

to

Guru Gobind Singh Indraprastha University, Delhi

Under the Guidance of: Submitted by:

Faculty Guide: MS. SHRADHA JAIN HARSHIT GARG

Designation: ASSISTANT PROFESSOR BBA-V Sem, Shift-I

Enrolment No.: 01717001721
 CERTIFICATE

Certified that the Project Report submitted in partial fulfilment of Bachelor of Business Administration
(BBA) to be awarded by G.G.S.I.P. University, Delhi by HARSHIT GARG, Enrolment No. 01717001721
has been completed under my guidance and is satisfactory.

Date: 20 December 2023 Signature of the Guide:

Name of the Guide: MS. SHRADHA JAIN

Designation: ASSISTANT PROFESSOR

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 Genius Academy
An Academy of Excellence

TRI NAGAR, DELHI

M: 9811638639

COMPLETION CERTIFICATE
Dated..........25/9/23...............
This is to certify that Mr. Harshit Garg has successfully completed his Summer Internship
with project title " Marketing and Financial Strategies " under the guidance of Sunil Tyagi
Project Duration :
03 July, 2023 to 1 September, 2023

The internship assessment fulfils the stated criteria and student findings are her original work.

We hereby certify her work satisfactory to the best of my knowledge with an aggregate Grade – 94

Location for internship - 1457/100, Ganeshpura-A, Trinagar, Delhi-110035

We wish his all the best for future Endeavors. Warm

Regard
u s Ac ad
ni e
e m
G
S.Genius Academy
y

Sunil Tyagi
Delhi
TRINAGAR, Delhi-110035

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 ACKNOWLEDGEMENT

Perfect is the famous saying and when a person gets practical experience under the guidance of expert of
the respective field, the knowledge gained is priceless.

With the sense of great pleasure and satisfaction, I present this project report entitled “ A study on the
promotional strategies undertaken at S.GENIUS ACADEMY” completing a task successfully is never
a man effort similarly completion of this report is the result of invaluable support and contribution of
number of the peoples in direct and indirect manner. In the light of foregoing, first of all my heartfelt great
fullness and thanks goes to Ms. Shradha Jain for giving me the opportunity to make a project on “A
Study on the promotional strategies undertaken at S.GENIUS ACADEMY” and for being a constant
source of inspiration and guidance throughout the project. Without her able support the project would not
have seen the light of the day.

Without their indispensable cooperation, the project won’t have been completed within the stipulated time
period. Finally, I would like to thank the staff of other home loan provider banks, without whose
cooperation in providing the data for the project would have been impossible.

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 CONTENTS
S.No. Topic Page No.

Certificate 1

Acknowledgement 3

Executive Summary 7

1. Chapter I: Introduction 8-14

2. Chapter II: Organisational Structure 15-16

3. Chapter III:Programs and Projects 17-23

4. Chapter IV: My Internship 24-27

5. Chapter V: Analysis 28-35

6. Chapter VII: Best Practices 36-42

7. Chapter VIII: Similar Organisation 43-45

8. Chapter IX: My Recommendations 46-49

9. Chapter X: Conclusion 50

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 EXECUTIVE SUMMARY
S.GENIUS Academy has been experiencing stagnation within the last several years of operation.
S.GENIUS ACADEMY is having trouble standing out from the intense studio competition in the highly
saturated TOTA RAM BAZAR. As there are low barriers to entry, and the popularity of dance is attracting
new competitors, it is crucial for any dance studio to have a strong brand reputation and loyalty among its
current customers. S.GENIUS ACADEMY has struggled for the last 10 years to embody their current
mission statement, which has become outdated. The studio lacks a cohesive message that compliments its
current operations. In order to achieve and maintain a competitive position, SGA must differentiate
themselves from the rest of the dance studio industry in TRINAGAR. Through the industry analysis,
internal business evaluation, and problem identification in this report, a strategic recommendation has been
formulated and offers a solution for the current situation of S.GENIUS Academy.

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 CHAPTER-I
INTRODUCTIO
N
S.GENIUS Academy is a locally-owned Handwriting Improvement, Dance, Music, Art studio in the
TRINAGAR TOTA RAM BAZAR area. Founded in 2015 by MRS SEEMA GARG and her family, she
wanted to provide a creative and welcoming space where dancers could learn, grow, and love the art of
dance in their own unique way. Many studios around this time emphasized intensity and perfection, and this
often created stressful and toxic environments for students. Mrs SEEMA wanted SDA to embody the
passion and freedom of dance, without losing sight of the importance of technique and hard work to achieve
new skills and abilities.
In the summer of 2016 SUNIL TYAGI, a former SGA FOUNDER, bought the studio. She was just
30 at the time, MRS SEEMA has grown the studio from one dance floor and around 80 students to a three-
room studio with over 200 students. This growth came with a number of challenges, many of which are still
prevalent today, but overall S.GENIUS Academy is the same welcoming and creative space for dancers to
learn and express themselves
Personal Motivation
My connection to this business is a personal one, as I started SGA , and continue to work there as a
Guitar Teacher. As a result, I have a close relationship with Mrs SEEMA and many of the dancers and
their parents at the studio. Using my market research knowledge and skills I gained. I hope to help
S.GENIUS Academy achieve a differentiated market position that will sustain long-term growth.

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 Internal Analysis
Studio Updates
S.GENIUS Academy has been in business for 8 years, and has seen many operational
changes throughout its existence. Within the last 8 years specifically, major updates to the
administrative layout of the studio have streamlined financial responsibilities for SGA and
registration functions for its customers. Renovations and additions to the physical space were
made to accommodate the necessary expansion of the class roster. Increased enrollment led to a
shortening of most class times down to a 30-minute window, while some remained 45-minutes
or 1-hour long. Although faculty is staffed primarily with former students and on an as-needed
basis, within the last year, the amount of instructors actively teaching classes nearly doubled.
SGA Competition Team
The SGA competition team is still a relatively new endeavor because, until 2015, the
studio did not consistently participate in competitive dance events. The mission of SDA is to
provide their students with a well-rounded dance education and further their appreciation for the
art form. While competing is another expression of dance, it did not appeal to the values on
which SGA was founded. As dancers began to express interest in attending local competitions
however, the studio developed a modest competition team. Although still not considered highly
intense, the members enjoy showing off their hard work and talent at competition events.

Problem Identification/Formulation
Since taking ownership of S.GENIUS Academy in the summer of 2023, MRS SEEMA
GARG has made numerous strategic business decisions to bring the studio to its current state.
While the physical and administrative expansion has been relatively successful, there are
uncertainties about the future of SGA. The main areas of concern, as discussed in a one-on-one
meeting with MRS SEEMA, are discontinuity of the STARS mission and brand identity,

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retention rates, and difficulties executing new ideas. Each of these problem areas will negatively
affect the long-term growth of the studio, and it is pertinent to identify and address all aspects of
these issues with urgency.
Lack of Brand Continuity
For many years, SGA has curated a simplistic and clean aesthetic, and professional black
and white photos of SGA dancers are used on both the website and in the studio. His mission has
remained the same, preaching the emphasis of well-rounded dance education, so that students
may go on to have dance careers, teach dance themselves, or just develop a true appreciation for
the art form. While those values are still relevant, there is a disconnect between the message on
the website and the atmosphere of SGA. It is not uncommon for a business like a dance studio to
experience a fluctuation in client demographics, specifically age. As dancers get older, they will
likely progress in skill and ability, creating variations in class sizes from year to year.
Aging Cycle Trend
Recently, the SGA student body has been comprised largely of younger dancers (3-13
years old), while the teen, junior and senior level classes have few dancers comparatively. This
trend is normal, as schedules get busy during high school and students often must choose
particular extra-curricular activities to devote themselves to. But the young dancer demographic
that results raises the question: should SGA rebrand to accommodate this trend? This possibility
was discussed in the one-on-one meeting.
Competition Risks
Branching into the competition avenue of the dance industry has created new business
competition for SGA, and dancer poaching and recruitment from other studios has occurred on
more than a few occasions. While the SGA dancers enjoy competitions, there is a considerable
risk with limited reward for the studio to participate in the events. SGA does not

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make significant enough profits from competing to justify the risk of losing their students.
Additionally, SGA does not want to become a competitive studio, because this would alter the
brand image of a family-oriented and no-pressure dance environment SGA has spent the past 8
years building.

Recommendations
In order to profit and maintain stable long-term growth, S.GENIUS Academy must
adjust its current strategy. After extensive industry analysis, as well as an internal business
evaluation, it is recommended that SGA restructure its brand image (virtual and physical) to
portray a more cohesive and meaningful message. Additional changes to logistical and
operational functions of the studio will also improve overall efficiency and provide cost-saving
benefits.
New Mission Statement
To start, the mission statement of the studio should be updated. The current mission
statement on the SGA website reads as follows:
“S.GENIUS Academy provides students with a well-rounded dance education, a sense of
accomplishment and positive self-worth, and life-long friendships. Our teachers are mentors who
have as much passion for watching our students succeed as we do for dance itself. Our mission
is to prepare our students for a life full of dance, whether it's an appreciation of the art and the
confidence to dance at weddings, or a career in dance performance or teaching.”

While the sentiment of this statement is thoughtful and honest, it is not unique or
particularly memorable. As discussed in our one-on-one meeting, the new mission of the studio
needs to embody the mentality that inspired the founding of SGA in the first place. The goal is

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to train well-rounded dancers and prepare them for a life of dance, whether that be through a
career, teaching, or just watching and appreciating the art form. While at the studio, dancers can
expect to work hard, build lasting friendships, and develop new skills, both technical and
personable.
With these ideas in mind, the following is the suggested replacement mission statement
for S.GENIUS Academy:
“S.GENIUS Academy’s mission is to provide students with a well-rounded dance education, a
sense of accomplishment and positive self-worth, and life-long friendships. As a studio, we
teach hard work and perseverance through the art of dance, and allow dancers to discover
their love of the sport through their own creative expression. As a family, we inspire our
dancers to put love and passion in everything they do.”

This statement offers a more impactful message. Current SGA families can relate to its
values, while potential customers will appreciate the emphasis on family-friendliness and the
development of technical and personal skills in a welcoming environment. The following
rebranding efforts can use this new mission as a framework to build the new brand around.
Faculty Rebranding Meeting
To ensure the successful implementation of the rebranding efforts, it is recommended for
the S.GENIUS Academy faculty is giving an all-staff meeting to discuss and clarify the new
mission. Expectations should be set at this meeting, including the integration of the values into
the classroom setting; embodying the values while communicating with dancers and parents; and
strive to continuously improve the atmosphere of the studio to better represent the values.

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 Social Media Campaign
In addition to these internal efforts, social media platforms should be revised and updated
to represent the new mission of SGA. These sites are a great tool for SGA to utilize in the effort
to improve their brand image and increase engagement with its dancers and parents (not to
mention potential new customers). The main objective of this recommended rebranding is for
SGA to make more lasting connections with their students in order to increase retention rates
and brand loyalty. The studio is in an advantageous position currently, because the majority of
SGA dancers are young, so developing a strong relationship between the students and the studio
now will a higher long-term commitment rate in the future. Attached to this report is a slide deck
of various example posts for the main social media platforms: Facebook, Twitter, LinkedIn,
Instagram, and YouTube.
Utilize Word of Mouth Marketing
The studio budget is relatively tight, and there is not much room to expense a massive
advertisement effort. However, the current advertising strategies are sufficient, and do not need
much adjustment other than updating the content. To supplement the current marketing strategy,
it is recommended for SGA to encourage dancers and parents to review the studio positively on
their Facebook and Yelp profiles, and any other platform that has rating or review options.
This word of mouth marketing is not only the least costly, it is usually the most effective.

Condense Classes
As the class roster increased, it was necessary to shorten class times to manageable 30-
minute sessions, but this caused several problems. First, teachers get easily flustered, as this
small window of time can pass quickly and be unproductive if students are slow or particularly
rowdy on a given day. The choreography they teach for competitions and recital is time-
sensitive, and the shortened classes can create a stressful work environment for faculty.

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 Secondly, parents (as well as some students) may not think half an hour is an adequate amount of
time for their child (or self) to truly learn and improve their skills. It is important for the customer to feel
they are getting value for their money, and the quick classes can be perceived almost as a waste to some
parents.
And finally, it is inefficient to have so many individualized class offerings. Many competing studios
have much clearer class rosters, and there are only a few categories to choose from. While it may be a risk,
because some families may leave if their exact day, time, and skill level is not available, it ultimately would
benefit SGA in the long-run to adjust the organization to list more concise class offerings.
Build Consumer Database
The logistical element of this strategic recommendation is to invest – either with money or manual
labor and time – in a data retention and analyzation method, in order to better track and understand the
customer base of the studio. Knowing this information can help make better decisions studio-wide. SGA
already uses Excel sheets and a comprehensive purchasing and billing system on its website, but this
financial data does not collect the important qualitative data about the dancers and their parents. The
investment in building a historical business database will benefit SGA well into the future, and it will allow
for further growth.

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CHAPTER 2
ORGANISATIONAL STRUCTURE
S.GENIUS ACADEMY has a ten-person Board of Directors led by MRS SEEMA
GARG from DELHI). The Board of Directors assists SGA financially while also helping to
bring in donors and create partnerships with people and other organizations. The Board of
Directors meets with the core staff every three months to discuss budgets, plans, and
possible opportunities.

SGA administrative office consists of a ten-person staff while the company is comprised of
resident artists (dancers who work with the company full time), associate artists (dancers who
work with the company on a regular basis but are not full time employees) and adjunct artists
(dancers who are called in for special projects). She is also a part of SGA Strategy Team. As
such, she has final say in day-to-day decisions. The other members of the Strategy Team are ,
MR SUNIL TYAGI, the Communications and Development Director. MR LAVISH GARG,
the company’s Senior Advisor, will usually sit in on Strategy meetings as an advisor is
responsible for the technical aspects of any performances done by SGA as well as for the
electronic and media equipment owned by the company. She usually serves as Stage Manager
when the company performs.
MR ARJUN is one of the Resident Artists of SGA, as well as the company’s
Communications Coordinator. HE helps promote the company with the creation of marketing
materials and keeps the Dance Exchange blog up-to-date with upcoming events, discussion of
past events, and spotlights on staff and company members. Kamal is also a Resident Assistant,
as well as the coordinator for SGA Healthy Living program. Karan is the Partnerships and
Development Coordinator. He is responsible for creating partnerships with other
organizations, finding opportunities for Dance Exchange, and maintaining the already existing
relationships of SGA. The Facilities Manager, Brian Buck, keeps an up-to-date schedule of
happenings in the SGA building, including the rentals of Dance three studios, as well as
making sure everything in the building is in working order.

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CHAPTER 3:
Programs and Projects

SGA is not only a dance company but also a dance school for people of all ages and
abilities. Every Monday from 9:00am–10:30am they hold a dance class for adults 50 and
older (though they will not turn away younger dancers) and every Friday from 9:30am–
11:15am they hold their advanced technique class. Both of these classes are 1000 per class
and require no commitment to attend every week. They also have weekly classes for Youth
Exchange, their children’s program, with Teen Exchange (ages 13-18) holding class every
Tuesday and Thursday in the evening and Youth Exchange (ages 8-12) holding class every
Tuesday in the afternoon. These classes require payment for each term (Fall, Winter, Spring)
or for the entire year.
SGA also holds two institutes throughout the year. One is their Dances Over 50
Institute, a two-day intensive which occurs three times a year (January, May, and
September). The other is their Summer Intensive, a 10-day annual event which includes a
performance by the participants at the Capital Fringe Festival.
MetLife Foundation Healthy Living Initiative is a program that arose from Dance
Exchange’s partnership with MetLife. The program touches upon two things: Arts in
Healthcare and Creative Aging. In the Arts in Healthcare section, SGA creates artistic works
with people in healthcare settings, using a multi-disciplinary approach which combines
movement, verbal expression, creative challenge, and collaboration. SGA has used this
method in teaching people with Huntington’s disease, brain injury, demetia, addiction,
chronic mental illness, and mobility issues. SGA also uses experiential activities, model
teaching, and frameworks to assist artists, health professionals, and caregivers in exploring
how dance and art-making may be used to enhance the effects of therapeutic work and re-
energize relationships with patients, family members, and themselves. Furthermore, Dance
Exchange’s Healthy Living Commissions provide their dancers with research opportunities
as well as insights and experiences in healthcare, conference, and stage settings.
For Creative Aging, Dance Exchange offers classes, workshops and intensives
specifically designed for dancers over 50, which give senior adults the opportunity to
engage in artistically rigorous dance that is adaptable for different bodies. SGA also hosts
a number of national and international workshops and residencies which serve to connect

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older and younger community members together.2
SGA also has a continuous project known as The Moving Field Guide. This project,
conceived by Cassie Meador, combines art with ecology and is led by experts in both fields.
Each Moving Field Guide takes place outside and allows participants to experience the
natural environment through movement, discovery, and appreciation. This project is
generally performed as a workshop and calls upon partnerships with the ecologists and
naturalists from the region where the Moving Field Guide is taking place. The project has
been heavily supported by the Forest Service, National Endowment for the Arts, and
MetLife Foundation.

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 SGA has also taken to continuing the project known as the Critical Response Process,
a process for giving and receiving feedback . For 20 years, the four-step Critical Response
Process has been utilized by artists, museums, theatres, dance companies, and even educators
as a way of facilitating the critique process and helping create a dialogue among the creator,
the audience, and the peer : A method for getting useful feedback on anything you make, from
dance to dessert which is available through SGA and through Amazon.com.
There are also a number of dance pieces that SGA offers, one being The Matter of
Origins which was most recently performed at the Museum of Contemporary Art during the
Chicago Humanities Festival. Other dance pieces that are still a part of the Dance Exchange
repertoire are Language From the Land, Drift, and Hammock. The first two pieces are not
only used for entertainment purposes, but as workshops and residencies as well. The
Language From the Land residencies are used to explore the community where the
residency is being held by using the stories from participating citizens to create a dance
piece that will be unique to each community. The residency tries to employ a diverse
selection of people in an effort to bridge community gaps. In the Drift workshops locals
within a community are connected to farmers, market organizers, and community gardeners
to better understand how and why land is developed over time, what effects it has on a
community, and how the food we eat gets to our table. All of the projects and pieces within
the current Dance Exchange repertoire are contractible for performance and/or workshop.
Furthermore, Dance Exchange offers

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itself out for site-specific workshops which include movement workshops, dance classes, and
other artistically driven concepts.
During my internship at S.GENIUS ACADEMY they launched a new project known
as the HOME Series. This weekly series consists of various events created to reach out to
the community of B3 PARK, to attract new patrons from the community and show them
what SGA has to offer. This is another way in which SGA hopes to rebrand themselves
and re-imagine their goals and vision for the company.
These events were all held in SGA Studio One, their largest studio space.

There was the option of making these events monthly. The choice to make them
weekly instead was due to the renting of their studio spaces. Most of the people who rent these
spaces do so for classes that are held on a weekly basis. These renters would not be willing to
give up their rented space once a month as it would leave them without space for a class and
cause confusion among their students. Therefore, it was decided that it would be simpler to
keep one studio reserved for their use each week rather than allowing their spaces to be filled
and finding themselves with nowhere to hold the event each month.
The events during the fall were chosen from a combination of suggestions by SG staff
members and the desire to connect certain events with projects that were already underway
While these events were entertaining and educational, some served the Dance Exchange
mission less obviously than others. One example would be the events which had no focus on
dance or movement, though they were based within the creation of art. When I spoke to
SEEMA GARG I was

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told that in their mind SGA would differ from other Dance Companies by focusing on art in
general and not just dance and movement. Though the current mission statement alludes to
the creation of art outside of dance, it is not clear in expressing that Dance Exchange is a
place for various mediums of art.

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Funding

Like most non-profit organizations, SGA gets its funding in two ways: earned revenue
and contributions. Their earned funds come from workshops and residencies, ticket sales from
performances, their in-house classes, sales of merchandise, and rental of their studio space.
Contributions most frequently come from Board Members, individual donors, fundraising
events, sponsorships, and grants from multiple sources, including the Arts and Humanities
Council of Montgomery County, MetLife Foundation, National Endowment for the Arts.
During my internship, SGA also implemented two new strategies for generating
contributions. The first, a letter campaign, was targeted at maintaining a good relationship
with those who had contributed to SGA in the past. Each person or family received a
personally written letter during the holiday season thanking them for their generous support
and wishing them happy holidays. The second was the Forward Funding campaign, a request
for existing and new donors to continue their support of SGA.

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Marketing

The primary staples of marketing for SGA are e-blasts and e- newsletters. Online
marketing is a great resource for any company because it allows you to reach a large number
of people at a low cost. SGA keeps an up-to-date mailing list for patrons, allowing them to let
patrons know of upcoming events. SGA keeps their calendar of events on their own website,
as well as announcing them on other D.C. events online calendars, including Dance Metro
The Pink Line Project (pinklineproject.com), and Brightest Young Things
(brightestyoungthings.com). They also utilize social media with their Facebook page and
Twitter feed where they post events, link to new blog entries, and mention awards and
recognitions. Their website, which was redesigned following Liz’s departure, it one of their
best marketing tools. It is clear and user friendly, offers users the opportunity to see upcoming
events, detailed descriptions of their programs and projects, and blog entries that allow users
the chance to meet staff members and see what SGA is doing, has done, and is going to do.
For physical advertising materials, SGA uses one-pagers, print outs about each
current program and project which they include among their promotional materials. They
also have postcards for their dance classes, youth programs, and HOME Series. When
performance is coming up they will usually create separate promotional materials to
advertise it. During my internship they also created separate promotional materials for three
of their HOME Series events Confidential)

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Chapter 4 – My Internship

When I was offered the internship , I was told that I would be working most closely with
MRS SEEMA GARG . However, as the Administrative Intern I would also be assisting
with all of the day-to-day operations and helping all departments who needed me.
During my first day at SGA I was immediately tasked with updating the Dance
Exchange website and Facebook page as well as any other online calendars of events with
information about our upcoming HOME Events through the website and checking for any
inconsistencies in information; and putting together press kits. I have also run adds on
Instagram nd Google and has also given pamphlates in Newspaper.. In that first week I also
was given a list of all out-of-town residencies and performances that would be taking place
during my internship and asked to create specific folders for each one in which to store
pertinent information. During my time at SGA I was in charge of putting together “chrons”
(detailed itineraries for any trips taken for the company) and making sure all employees who
were traveling had one. These chrons contained the names and contact information of
everyone who was traveling, travel itineraries, important contact information for the venue(s)
where they would be holding the workshop or performance, a day-to-day schedule of events,
including approximate times and places, and even suggestions for places to eat or buy
groceries. These trips could involve anywhere from two to twenty people and it was

important that the chrons be as detailed and complete as possible to ensure that those
traveling could complete the workshop, residency, or performance with as few problems as
possible. I was also responsible for managing traveling logistics.

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 A large part of my internship involved research in marketing and development. I had a
list of current and potential donors and was tasked with researching them to find their
guidelines, how much they gave, the deadlines to apply, and, if applicable, previous levels of
giving to SGA. SGA has not taken advantage of mailing at the non-profit rate, so I researched
the discount for which SGA was eligible, how to register to send at the non-profit rate, and
whether it would be cost effective to do so.
I also researched potential media outlets. To this end, I talked with local print media
about costs deals to cut back on pricing. I negotiated to have included on new online
calendars to further promote our projects, programs, and upcoming events. I also
researched newspaper and radio options for the How to Lose a Mountain walk. The journey
will be going through Trinagar with stops along the way to promote the project and present
workshops with local partners. Therefore, it was necessary to learn with which local media
outlets in each locale to speak in order to expand the project’s visibility in those areas.
It was also my responsibility to keep all of our social media and online
advertisements up-to-date. I wrote occasional blog entries for the Dance Exchange
website, and used the Facebook and Twitter handles to promote upcoming events,
announce achievements, and generate excitement about SGA. I also helped in marketing
by posting flyers for our upcoming events and placing out postcards about our HOME
Series and dance classes in multiple places throughout the Trinagar Area

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 On the more administrative side of things, I helped create Memorandums of
Understanding (MOUs) for people who hired for a performance and/or workshop and
payment agreements (including per diems and salaries) for traveling dancers. I assisted in
reviewing a previously approved budget for the upcoming year and making necessary changes
based on changes to incoming revenue. Every Tuesday, has its weekly Inquiries Meeting, a
time for all employees present to meet and discuss current and upcoming projects, figure out
answers to problems, and suggest ideas in regards to possible projects. I was in charge of
taking notes at each of these meetings to be sent out to all employees to have on file. I also
was in charge of taking notes at many of the How to Lose a Mountain meetings. I also helped
out on a smaller scale, including trips to the post office, purchasing and picking up food our
Board Meeting and Retro Rendezvous event, and even baking a cake to be given away as a
prize during our Take the Cake event.
Through the duration of my internship, my Thursday nights were spent at their
HOME Series events. I was responsible for setting up the merchandise and information table,
where we had t-shirts and books for sale along with information about Dance Exchange and
postcards for upcoming events. In some cases I helped set up the space for the evening,
setting out food and drinks, setting up tables and chairs, and putting out any necessary
supplies. I also stayed after to return all merchandise to the upstairs office, return the studio
to its proper state for the next morning’s class, and make sure any money made was securely
locked away. I also helped in selling merchandise during the Hammock performance at
Dance Place

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Another of my long-term projects was an archival project with SGA has created a partnership with the old
promotional material, news mentions, and any other important items in the university’s library. I spent time
each week going through boxes of old materials and sorting them into specific boxes for packaging and
sending.

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Chapter 5 – Analysis

Strengths

One of the S.GENIUS ACADEMY biggest strengths is their development and fundraising.
Because their work tends to cross many different boundaries and cover so many topics, they
are able to receive funding in diverse ways. For example, because of their Moving Field
Guides, which deal with the environment, they have forged partnerships with such
organizations as the USDA Forest Service which has opened the door for funding that and
other like projects, such as the How to Lose a Mountain project. SGA also understands the
need to keep current donors while continuing to bring in new donors. The opening of the
HOME Series was an open house, meant to attract new people and donors to SGA while also
thanking the current donors for the support along the way. The letter writing campaign was
done to not only remind donors that we count on their support, but to thank them again. SGA
understands how important the individual giver can be and they do what they can to make
sure a donor doesn’t regret his or her contribution. They also use their space to their
advantage, renting out studios for a supplemental income. They are also able to bring the
Moving Field Guides to many schools, helping get the SGA name out there, interest youth in
dance (which could lead to an increase in class attendances and cultivate future dance
audiences), and create partnerships with those schools. The same can be said of their
partnership with MetLife which has created their Healthy Living Initiative. That program,
along with their intergenerational company, senior adult classes and institutes, and their
promotion of dance being for all people has given them the opportunity to receive funding as
well as travel to do workshops for such organizations as the Leading Age Convention.

25
SGA does not shy away from the prospect of partnerships. They even have a staff position
(Partnerships and Development Coordinator) to initiate potential partnerships and help
maintain current ones. To someone who has seen some arts organizations avoid partnerships
and the entire idea of relying on another organization, SGA openness is refreshing. They
recognize that for art of any kind to survive, collaborations are necessary and can help both
parties reach new audience members while still holding true to their mission.
SGA has a strong education base ranging from their youth programs to their senior
adult programs. What makes SGA so attractive for potential students is its accessibility to all
different kinds of people. Regardless of age, physical ability, and dance knowledge, everyone
is welcome to come and take part, each one taking away something different from the
experience. Even those who have never danced a day in their life find that they can still
express themselves through movement, even if they have not had formal training.
This openness extends to the office as well. Even as an intern, I was given the chance
to sit in on meetings and offer suggestions and observations.

26
While the office atmosphere at SGA is open and inviting, the organization is run tightly.
They are meticulous about scheduling, travel, and other important details. Meetings are held
weekly to discuss ideas for upcoming projects, work out the logistics of current projects, talk
about their current development state and plan courses of action, and to make final decisions
on pressing issues. When a company or staff member travels for SGA they are given every
piece of information possible to ensure the trip runs smoothly
I think that because of long history and pioneering efforts in the field of modern
dance, SGA has a strong history and visibility to help them during this transitional phase.
This is one of their strengths and has helped them in gaining supporters and partnerships.
With the recent decision to rebrand themselves it is possible that they will lose this edge and
may need to begin anew. However, I have not seen enough to support or disprove this
concept either way.
Weaknesses

One weakness that immediately became apparent during my time at S.GENIUS ACADEMY was the
organization’s lack of understanding when it came to legalities. This includes licensing of music and
agreements among creators of pieces. Because Dance Exchange mounts pieces created by company members,
they are not required to pay the same kind of fees a theatre company does when performing a show that is not in
the public domain, but there seems to be a question of ownership of the piece and how it may be used during the
future of the company. When there were contracts drawn up, giving SGA rights to her work for which they will
pay her a nominal fee. It also gave them certain rights to her Critical Response Process (including exclusive
rights to the book), the SGA tool box she conceived during her time there, and the right to specific use of her
name and likeness.

27
 It also does not seem to be completely aware of their target audience. While they
acknowledge that due to the kind of pieces they create and the fact that they encourage people
of all ages and physical ability to try dance, their target audience is likely outside the realm of
an average dance company’s, they are not completely certain whom they are trying to reach.
They acknowledge that they want their target audience to shift during the transitional phase,
but are not sure where they want it to shift. They want to focus on both the areas of Trinagar
their home and reach out to residents of both. If one of their current goals is to become more
visible in B3 park, it is important to know the make-up of the town. A look at the most recent
census reveals the demographics of B3 park.

Despite having been in B3 Park they have not yet built up a strong presence within the
community. The city of Takoma Park has an artistic, bohemian edge, so it is definitely a
town in which they could attract new patrons, but so far they have not reached as many
residents as they can. They seem to be relying mostly on basic marketing tools (flyers, web
postings, word of mouth) to connect to Takoma Park. They have spent less time trying to
reach the residents through something more community-oriented like their annual Street
Festival or other arts organizations. They have managed to forge a partnership with a small
number of local businesses, though, which could lead to something bigger.

28
 While the marketing materials for SGA are eye-catching and bold, I found that they
were not always being posted or handed out early enough for them to have much of an effect.
As stated elsewhere, my first task when arriving was to post announcements on Facebook and
other online sites about upcoming events, some of which were happening that week or the
next. I am not certain if the reason for the late postings was because the previous intern had
not gotten around to posting them, but I think attendance may have been improved if they had
gone up sooner. My task of posting flyers around the metropolitan D.C. area was given to me
halfway through my internship and part of the information I was putting out pertained to the
HOME series (which was halfway finished by this point). This does not mean that the time
spent promoting the remaining events was time wasted, but this type of promotion should
have begun sooner to reach the greatest amount of potential patrons.
Opportunities

The rebranding of S.GENIUS ACADEMY is an opportunity in itself. They have a chance to

rethink who they are, what they want to achieve and how to present themselves to the
TRINAGAR areas as a new company with a deep history.

29
Because the massive project will center on the use of natural resources and how it affects the
world around us, and will include a 500 mile walk to inspire the piece, Dance Exchange will
be eligible for funding from environmentally- focused sources. They have already received
funding from the US Forest Service and MetLife and may be getting more from the Virginia
Environmental Endowment. They will also be looking to get funding from the EPA, the
Environmental Film Festival, and CSPA, among others. These could create partnerships like
the ones they already have with the US Forest Service and MetLife and could contribute to
future funding. The walk for this project will also feature partnerships with James Madison
University, Virginia Tech, University of Maryland, and possibly participation from local Girl
Scout troops.
They also hope to engage professors and students of science and environment to
interview and partner with during each leg of the walk.
The biggest opportunity this walk presents is the chance to create further awareness
of the company in areas that are near enough to them that it may help draw in patrons, find
new donors, and form new partnerships with locals and businesses. The walk will be a major
event and will call upon local citizens to come and participate in certain ways, giving SGA
the opportunity to expand their visibility in surrounding areas of TOTA RAM BAZAR
AREA

New partnership opportunities seem to crop up frequently for SGA. During my internship they
were invited to perform workshops in Pitampura and Rohini Schools They were also invited
to do workshops and classes at schools both local and national, to hold workshops with the
Girl Scouts, and scores of other chances to create new relationships on local, national, and
international levels., to be part of the Initiatives of Change team.

SGA has also begun the transformation of their largest studio. In the fall they installed black
curtains that could run along the walls and mirrors to create the effect of a black box theater.
This could open up the possibility of holding performances in their own space (as of now they
have only held performances at other venues).
The newest implementation, their HOME Series, has the opportunity to bring in new
people as well, especially within Park. It has also opened the door for partnerships. During
the fall series they created a partnership with a local fabric store during their quilting night
and also partnered with Capital City Cheesecake for one of the events. Though the latter event
was eventually cancelled, the partnership stuck and is still open for future possibilities.

30
Threats

As with any organization right now—and particularly any arts organizations—the biggest
threat facing SGA at the moment is the economy. People are spending less money on what
they consider to be frivolous things and as a result the arts are seeing fewer patrons than they
may have before. This has also created greater competition for funding, meaning
organizations may not receive funds from the same places or may not receive as much as they
had in the past. During my time there SGA had to reassess their budget for the upcoming year
because they hadn’t brought in as much funding as they had initially predicted. They have had
to look outside the common funding circles.
While I referred to SGA period of rebranding as an opportunity, it can also be a
threat. Not only do they risk losing patrons who may have been loyal to Liz (and who may
see the rebranding as a way of turning their backs on the history Liz has with the company),
but it also means they have a great deal of work ahead of them to educate new and existing
patrons on who they are, what has changed, why things have changed, and to make sure the
new brand they have set for the organization sticks.

31
 Another threat is their lack of visibility in Park. While they have been there over ten
years, they have not established themselves as an organization for the area so much as an
ofor D.C. and the rest of the country. Many people may not know the dance company even
exists. As of now, Dance Exchange is trying to figure out what their focus will be with this
rebranding. Will they continue to look more nationally than locally for opportunities? Would
it be a risk to focus more other areas in which they have already established themselves.
At this point I would say that the HOME Series could also be a threat. These events was
mostly low, consisting of employees and a small number of already existing patrons. Very few
new people were brought in by the series. There was also uncertainty as to whether or not
certain events would be free (with suggested donation) or would have an entrance fee. While
many of the events cost little to nothing, some of them did require the purchase of food, drink,
and other materials and the salary of a professional to come in and assist. However, this being
a brand new program it may need a little more time to build up.

32
Chapter 6 – Best Practices

Statement of Best Practices

For this section I will be referencing Though S.GENIUS ACADEMY. It is not

necessarily in need of a turnaround as the organizations detailed in Kaiser’s book, the
organization’s want for rebranding and rethinking what they want for SGA makes
rules applicable to them:

1. Someone Must Lead

As Kaiser details, many times when an arts organization is in a new and perhaps precarious
situation, the role of leader often divides into two separate and opposing groups. Generally,
this ends up becoming a “war” between the staff and the board members, with each thinking
the other is not properly doing their job and, in some cases, one side infringing upon the
responsibilities of the other. While this is not the case with Dance Exchange, the departure of
questions and uncertainties within the organization about where they would go from there
and how the organization would change.

Leadership at SGA comes primarily from the Strategy Team. These are the heads of
the organization and are responsible for the final decisions. They calls for one leader with a
unified vision, the use of a team can derive better results, especially when each has a better
understanding of their department t han the other two. It is the leader for artistic
management, Kunal the leader for financial management, and Emily is the leader for
marketing and development efforts. Combined, this creates the same quality of leadership
Kaiser details

33
 2.)The Leader Must Have A Plan

For any organization, new or old, a plan is important in achieving goals and
upholding the mission. For a new or transitioning organization it is vital to understand
what it is you wish to achieve and map out how you plan to do so. Kaiser states that a plan
must contain the following points:
 An explicit discussion of the mission of the organization.

In their transitional phase, SGA has created a new mission for themselves, one that
asks the same four questions as their 2015 mission. It holds true to original vision for SGA
while establishing their own vision for where the organization is headed, giving a particular
emphasis on the idea of serving as a place that urges creativity and the use of dance and
movement across various disciplines. This mission is clear and concise and makes it known
what their vision is.
 A cogent review of the environment in which the organization operates.
Dance Exchange has a good idea of their funding environment and the current
environment of modern dance. They understand the economic threats facing all arts

organizations, including diminishing available funds, and know their competitors in the
metropolitan area. What they have a lesser understanding of is the city of Park, which is
where they should focus a major portion of their environmental scan if they wish to
establish themselves to the residents there.

34
  An honest evaluation of the strengths and weaknesses of the organization.

SGA has a good idea of where their strengths and weaknesses lie and are willing to
examine ways to correct weaknesses and build off strengths. For example, discussions were
held regarding strengthening their understanding of the legal necessities for using copyrighted
materials and plans to implement protocol for creating contracts for new works that come
from company members.
 A coherent set of strategies that will help the organization achieve its
mission given the environment in which it operates and its own assets
and liabilities.
Since He announced his departure from the company, the SGA staff has held two
planning retreats (one in April and one in early January) to discuss their vision, create
strategies for implementing new ideas, and plan out their season. The January planning
retreat was focused heavily on figuring out where they plan to go now that stepped down
and how the organization would change over the season.
 A detailed implementation plan that assigns responsibility for
every strategy to one or several stakeholders
SGA has an idea of where it wishes to go from here, but I do not believe they
have established clear, long term goals for themselves. Much of their planning during
my time there went toward immediate goals or their How to Lose a Mountain project.

35
  A financial plan that reveals the fiscal implications of the plan

The budget, which had originally been approved in June 2018, was revised when
SGA 2018 income was not as great as had been expected
2. You Cannot Save Your Way To Health

No organization can bring in money without spending money. An organization

should not save money by cutting necessary costs; this will make it more difficult to bring
in money, be it earned or contributed.
SGA has been careful not to lose their core programs in this transition. Their problem
lies in spending too little on marketing. They save money by creating their advertisements and
marketing materials in-house, but that money could be spent on expanding their visibility
through print advertisements, mail-outs, and other promotional tactics, especially in the Park
area.
3. Focus On Today And Tomorrow, Not Yesterday

With their choices to drop from their name and redesign their logo, SGA has made it
clear that they are looking to the future. However, as stated, they are currently more focused
on short-term goals than they are on long-term goals.

This is natural considering they have just undergone a major change, but, as suggests, it is
important to ensure that plans for programming, development, and other activities will
include goals for the next few years as well as those focused within the current year.

36
 4. Extend Your Programming Planning Calendar

The more time an organization has to plan a program, the more time they have to plot
out logistics, find solutions to problems, and create a strong marketing plan. SGA has a
tangible programming calendar set for one year as well as an online calendar (30 Boxes)
which allows them to plan as far into the future as they need.
Though most of their programming plans deal only with events occurring within the next
twelve months, they have begun setting up events and programs for two years into the future.
More important than putting these events on the calendar is making sure not to wait too long
to implement strategies and marketing for them.
In this section Kunal also suggests that an organization reduce operational risks by
creating joint ventures with other organizations. SGA has already shown that they are
willing to partner with other organizations. In the course of my internship they partnered
with another local company, Dance Place, to perform Western in late December and had
plans to partner with other companies.
5. Marketing Is More Than Brochures And Advertisements

In this section, he discusses the importance of not only marketing individual projects
that will bring in earned revenue, but also marketing the organization as a whole. Institutional
marketing, as he refers to it, will not only bring in patrons, but will also make them excited to
support the organization on a continuous basis. Kaiser suggests creating “a systematic
program of public relations and other activities aimed at increasing institutional visibility.”

37
During my internship, most of the marketing and advertisements went toward individual
upcoming events or programs. However, there was groundwork being laid for creating
relationships with the local press, including a possible relationship with the Executive Editor
of The Academy . They have sent out press kits which contain information on the entire
organization, including programs and pieces currently in their repertoire. They have also
elected to take part in events that would help expand their visibility.
6. There Must Be Only One Spokesman And The Message Must Be

Positive

While recognized as the head of SGA there was no identifiable spokesman for the
organization during my internship. It seems more like each staff member acts as an
ambassador for their own specific projects. However, the lack of spokesman may be
attributed to the fact that SGA had just lost their spokesman up to that point.
I agree with Kunal that the message should be positive. If an organization speaks
negatively of itself, how could it possibly hope to attract new patrons and keep current
patrons interested? When speaking of their organization, the staff and company members of
SGA are nothing if not optimistic, even when plans do not come together as they have
anticipated.

38
 7. Fund-Raising Must Focus On The Larger Donor, But Don’t Aim Too High

He suggests that when fundraising, organizations “focus on contributions that are

large enough to make a difference.”5 He acknowledges that small contributions are always
appreciated, but that the organization should focus on the larger contributions foremost. He
also insists that an organization not allow their hopes to exceed reality and to set reasonable
goals for their fundraising efforts.
It is likely that an organization will gain more with a small number of large
contributions than with a large number of small contributions, but it is also more difficult to
convince people to give large contributions, especially in a situation where they are unsure
where the organization is headed and whether it will continue to be an organization they wish
to support. By getting people to contribute smaller amounts in the beginning, you at least get
them into the donor’s circle. In time you can continue to cultivate or re-cultivate a
relationship with them, making them more certain of contributing larger amounts of funding
within the coming years.
Because S.GENIUS ACADEMY has undergone a recent transition, some of their
previous and prospective donors may not be certain they wish to offer large contributions.
Some donors may have supported Liz Lerman more than SGA, and with now gone they may
choose to withdraw support or contribute less than they have in previous years. The use of
their Forward Funder campaign gives all donors the opportunity to be part of the new Dance
Exchange at varying levels of support.

39
CHAPTER-8:
Similar Organization

Dance Place is a dance organization with the following mission:

The mission of Dance Place is to transform lives through performing arts and
creative education programs that inspire personal growth, professional success,
physical wellness and community engagement. Through truly affordable and free
programs, Dance Place serves diverse audiences, artists, students, families, adults and
children in the greater DC Metropolitan area.6

Like S.GENIUS ACADEMY, Dance Place got its start in the late 12019 and was
originally situated in TRINAGAR , before moving to its current home near Shanti nagar only
two stops away from Park on the metro red line. Unlike Dance Exchange, Dance Place is a
dance presenter first and foremost, hosting performances of many different styles of dance,
including modern, African, tap, hip hop, and performance art. They also offer a wide array of
dance classes for adults and youths. In addition, Dance Place offers performances,
workshops, and classes for local schools.
Dance Place has its own stage within their venue. The house can seat up to 155
people. When a performance is staged there, Dance Place provides the company with a
complete front of house staff, one to two board operators for tech rehearsals and
performances, and at least one backstage technician for all evening rehearsals and
performances. It was in this space that Dance Exchange presented their December
performances of Hammock as part of a partnership with Dance Place.

Though primarily a presenter, Dance Place does house a number of resident dance
companies. These companies are based at Dance Place and are regularly booked for
performances, workshops, and other engagements at schools, theatres and other
performance venues.

40
In addition to the classes offered at Dance Place, the organization also has other arts
education programs. The Energizers program includes four sections (Energizers Summer
Camp, Energizers After-School Club, Energizers Junior Staff Program, and Energizers NEXT
Level) which are used to encourage, inspire, teach, and provide youths with tools and skills
that will help them in all stages of life. The Family Series Performance invites families to
attend Dance Place events to experience art together. The In Reach Performances program
works to bring school children into their space to experience performances. Their Out Reach
Performances program brings art to the schools, matching professional instructors and dance
companies with local schools and community organizations to reach youths with workshops
and performances. They also offer opportunities for education through their internship and
work/study programs.
Dance Place has received funding from a number of sources, including Disney
Worldwide Outreach, the DC Commission on the Arts and Humanities, the John F. Kennedy
Center for the Performing Arts, the National Endowment for the Arts, and the National
Performance Network. They also have created partnerships with seven D.C. and Maryland
restaurants, offering coupons for 20% off upcoming events through those establishments.
Dance Place also generates income through the rental of their studios. In December 2011 they
took part in the Takoma Park Alternative Gift Alternative Gifts Fair, an event created to help
local non-profits bring in more contributions during the holiday season.

41
 SGA and Dance Place are similar organizations, but there are differences. Aside from
having its own performance space, Dance Place is more focused on bringing dance to their
venue than creating it there, while Dance Exchange is focused on the creation of the dance.
Dance Place works and performs on a local basis whereas Dance Exchange works locally,
nationally, and internationally. Both are also dedicated to education for both children and
adults.
Looking at the organizations side-by-side, both conform well to the above stated Best
Practices. However, there are ways in which SGA could strengthen themselves by examining
Dance Place. Dance Exchange hopes to become more visible on a local scale while Dance
Place has already obtained visibility in both the D.C. area and the Maryland areas near D.C.
The December performance of the Dance Place stage helped to reach new audiences, but
SGA could also examine Dance Place’s practices in reaching out to their local residents and
use those when reaching out to Takoma Park residents. One thing they may see, for example,
is that Dance Place took part in a fundraising event in Park, something that Dance Exchange
could add to development planning.

42
Chapter 9 – My Recommendations

S.GENIUS ACADEMY has a wonderful history in the area and has made great
breakthroughs in the field of modern dance. In this transitional period they have many
opportunities to rebrand, re-examine, and expand their visibility to reach new audiences. I
make the following recommendations:
1. Legal

S.GENIUS ACADEMY needs a strong understanding of artistic legalities if they will

continue their work. Not properly obtaining rights for copyrighted material will create both
short-term and long-term problems. I suggest they hire a lawyer on retainer to assist them in
legal matters and in understanding the proper steps for purchasing rights to copyrighted
material. Because S.GENIUS ACADEMY now wishes to emphasize multiple artistic voices
and will present work created by multiple artists within the company, I recommend an in-
depth discussion regarding ownership of these works and what rights SGA and the creator(s)
have in performing the work. They should draft a contract to be signed by both parties,
detailing how long the work will be considered part of the SGA repertoire, whether the
creator(s) will have the right to perform the work independently of SGA, and any other
necessary details, such as the right to make alterations to the piece or the right to recast the
piece. This will help them avoid legal clashes over the works in the future.
2. B3 Park

If SGA wishes to make themselves known to Park, they will need to go to the
residents rather than hoping the residents will come to them. I would recommend that SGA
spend time researching the city of Park and understanding the residents of the city. The
Takoma Park website offers opportunities to get involved with the community, including a
calendar of events with information on how to take part in them. There is also information
on city council meetings. These events and meetings would offer Dance Exchange the
chance to introduce themselves to those who do not yet know them and announce upcoming
events to residents. I would suggest taking part in these events to show that they consider
themselves a part of the Takoma Park community and to help build up new partnerships.
While Dance Place took part in
43
Takoma Park’s Alternative Gift Fair, Dance Exchange was missing from the list of
participants, a fact that puzzled me as it would be a fundraising opportunity as well as an
opportunity to connect with Takoma Park residents.
I would also suggest that they look at venue options within Takoma Park for
upcoming projects and performances. Because they currently do not have a viable
performance space within their own building their performances are generally held in
D.C. venues. By keeping some of these performances within Takoma Park they’d be showing
the residents what they have to offer.
I would also suggest that they look at venue options within B3 Park for upcoming
projects and performances. Because they currently do not have a viable performance
space within their own building their performances are generally held in
D.C. venues. By keeping some of these performances within B3 Park they’d be showing the
residents what they have to offer.

44
 3. Marketing

As of now, SGA spends far less than 10% of their budget on their marketing
materials. While they do save money by creating their own materials, the money they save
could be put to use within the marketing department as well. I would recommend that SGA
set aside more funding for marketing and that they rely less on flyers, postcards and simple
word-of-mouth advertising. While advertising in newspapers and magazines is more
expensive, it will allow them to reach a wider audience, something that is necessary if they
wish to alter their target market.

I recommend that SGA create and implement a full marketing plan which will include a list of
their current marketing materials and potential materials, a list of media outlets to utilize, a
detailed budget for all of their marketing materials and expenses, and a time line of when
these materials should be printed, posted, published, or mailed. This will allow them to
announce upcoming events far enough in advance that potential patrons will have time to
learn about them

45
 4. HOME Series

Though it springs from a good concept, I would recommend that SGA consider
revamping or completely cutting this series. The attendance was low, consisting mostly of
SGA staff and/or company members and a few close patrons. In some cases the money earned
during the event did not cover the amount of money spent.
If SGA were to revamp the program, I would recommend altering it from a weekly
event to a monthly event. Though the reason to making it weekly was due to the uncertainty
of whether or not they would have space within their building, I do not feel they will be able
to attract a reasonable number of people on a weekly basis. I would also suggest that they
examine the event ideas and determine how well the series upholds their mission and
contributes to their vision for the organization. While listening to recommendations from the
staff and artists can generate strong ideas, it would be more resourceful to focus on using the
HOME events primarily as a way of promoting current and upcoming projects and programs.
More generally, SGA needs to have a plan and a goal for each event. What do they
hope to accomplish with this event? What will be its purpose? Is the goal to raise funds, to
showcase an upcoming project or feature, or to educate in

some way? The sooner they have a concept for the event and what it will entail, the
sooner they can begin advertising it and making sure they reach as many potential
attendees as possible.
Another recommendation is to consider holding events outside of their own building. Part of
the reason for the HOME Series is to reach out to Park and they would be more visible in
the area if they held some of their events in recognizable venues

46
Chapter 10 – Conclusion

My internship with S.GENIUS ACADEMY was both rewarding and educational. I

was given hands-on experience and the chance to evaluate an organization as the
manager, applying the practices and lessons I also had the opportunity to work within a
wonderful and open arts organization, one that pushes the boundaries and breaks through
preconceived notions of who can dance. SGA is truly dedicated to teaching, engaging, and
inspiring all people to create their own art.
The moment I walked into S.GENIUS ACADEMY on my first day I was immediately
welcomed warmly into the group and was never once made to feel like an outsider. My
opinions were heard, my questions were answered, and my work was noted and appreciated. I
felt as though I was truly a part of the company, not simply a student intern being loaned to
them for a few months.
As an intern, my short-term contributions to SGA included promoting their events,
coordinating travel information, creating business documents, and working front of house for
a number of events. My long-term contributions included research on new marketing outlets,
potential donors and grants, and possible partnerships, and assisting in the archival of SGA
materials. I hope that what I contributed to them is equitable to what I received in return.
Because I was joining SGA during this transitional period, I was able to analyze the
organization as though it was newly founded rather than an organization with history. With its
founder stepping down, the organization was creating a new mission, rebranding itself with
a new logo, and rethinking its vision and focus, a process that was still in development when
my time there was finished. The development of this new Dance Exchange is still a work-in-
progress. I believe, though, that the organization has the potential to continue to be a force in
the field of modern dance and keep original vision while adding its own.

47
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