University of Southern California Dissertations and Theses

The Sparks Project Dance Studio: strategic integrated planning model

(USC Thesis Other)

The Sparks Project Dance Studio: strategic integrated planning model

PDF

Download a page range

Download transcript

Copy asset link

Request this asset

Transcript (if available)

Content Copyright 2024 Channing Marie Sparks
THE SPARKS PROJECT DANCE STUDIO
STRATEGIC INTEGRATED PLANNING (SIP) MODEL
by
Channing Marie Sparks
A Thesis Presented to the
FACULTY OF THE ANNENBERG SCHOOL FOR COMMUNICATION & JOURNALISM
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(PUBLIC RELATIONS AND ADVERTISING)
May 2024

ii
Table of Contents
List of Tables…………………………………………………………………………………….iii
List of Figures……………………………………………………………………………………iv
Abstract…………………………………………………………………………………………...v
Chapter 1: Company or Organizational Background……………………………………………...1
Chapter 2: Mission Statement……………………………………………………………………..2
Chapter 3: Brand Positioning……………………………………………………………………...3
Chapter 4: Statement of Problem or Opportunity…………………………………………………5
Chapter 5: Communication Research……………………………………………………………..7
Chapter 6: Situational Analysis (SWOT) ……………………………………………………….30
Chapter 7: Strategic Insights……………………………………………………………………..37
Chapter 8: Communication Goals………………………………………………………………..39
Chapter 9: Communication Objectives…………………………………………………………..40
Chapter 10: Target Audiences…………………………………………………………………...41
Chapter 11: Current Audience Brand Perceptions……………………………………………….42
Chapter 12: Desired Audience Brand Perceptions……………………………………………….43
Chapter 13: Key Message Mapping……………………………………………………………...44
Chapter 14: Strategies……………………………………………………………………………45
Chapter 15: Tactics………………………………………………………………………………46
Chapter 16: KPIs—Measurement and Evaluation……………………………………………….55
Chapter 17: Timeline (Tentative) ………………………………………………………………..56
Chapter 18: Budget (Tentative) …………………………………………………………………57
References………………………………………………………………………………………..61

iii
List of Tables
Table 1: Property Detail………………………………………………………………………….24
Table 2: Sparks Project Dance Studio Budget…………………………………………………...57
Table 3: Advertising & Marketing Costs (Tentative) …………………………………………...58
Table 4: Website Costs (Tentative) ……………………………………………………………...59
Table 5: Software Expenses (Tentative) ………………………………………………………...59
Table 6: Studio Floor Plan (Tentative) …………………………………………………………..60

iv
List of Figures
Figure 1: Millennium Dance Complex…………………………………………………………..22
Figure 2: Playground LA………………………………………………………………………...23
Figure 3: Playground LA (Downtown)…………………………………………………………..24
Figure 4: Debbie Allen Dance Academy………………………………………………………...25
Figure 5: Snowglobe Perspective………………………………………………………………...26
Figure 6: Tmilly TV: The Studio………………………………………………………………...27
Figure 7: Eighty-Eight Studios…………………………………………………………………..28
Figure 8: Rúts LA Dance Studio…………………………………………………………………29
Figure 9: OOH Ad: Graffiti Art on SPD Building, SPD Merchandise…………………………..46
Figure 10: Sparks Project Dance Studio Logo…………………………………………………...49
Figure 11: Sparks Project Dance Studio Draft Newsletters……………………………………...49
Figure 12: Sparks Project Dance Studio Billboards……………………………………………..50
Figure 13: Sparks Project Dance Studio Building Elements…………………………………….51
Figure 14: Sparks Project Dance Studio Bus Shelter…………………………………………….52
Figure 15: Sparks Project Dance Studio Instagram Draft Post (Carousel Post) ………………...53
Figure 16: Sparks Project Dance Studio Merch………………………………………………….54

v
Abstract
Entrepreneurship is characterized by the process of recognizing opportunities to build a new
product, service, or process while finding the necessary resources to exploit the opportunity and
improve the lifestyle of a group of people. It is the actions of creative entrepreneurs that give rise
to new organizations. To summarize this document, research was conducted in the format of a
Strategic Integrated Planning (SIP) Model, created by Burghardt Tenderich, Ph.D., Professor of
Practice, USC Annenberg. The model encompasses the development of a prospective business,
entitled, the Sparks Project Dance (SPD) Studio. SPD is a professional dance studio dedicated to
providing top-quality dance education from notable industry professionals of color. The research
outlines imperative elements needed to create an inclusive, supportive, and successful learning
environment. These elements include but are not limited to brand positioning, opportunity,
competitors, strategies, tactics, financial planning, etc. Combined with heart and creativity, a
studio focused on representing marginalized groups, particularly people of color, at the forefront
of its company culture is and will be achievable.
Keywords: Entrepreneurship, Diversity, Equity, Inclusion, Representation, Dance.

1
Chapter 1: COMPANY OR ORGANIZATION BACKGROUND
The Sparks Project Dance (SPD) Studio is a professional dance studio located in the Los Angeles
Metropolitan area, projected to open in 2025. Created by Channing Sparks, the Sparks Project
Dance Studio is dedicated to providing top-quality dance education from notable industry
professionals of color. The studio offers scheduled daily commercial-style dance classes in
addition to rental space, workshops, masterclasses, and concept video productions.
SPD is committed to creating an inclusive and supportive learning environment. The studio
focuses on representing marginalized groups, particularly people of color, at the forefront of its
company culture. At the Sparks Project Dance Studio, everyone is welcome. Whether a beginner
or an experienced dancer, we welcome all to join the community.
Niche: Representation, Inclusion.

2
Chapter 2: MISSION STATEMENT
At the Sparks Project Dance Studio, our mission is to provide exceptional dance training in an
inclusive environment where representation is at the forefront of the company’s culture. Notable
professionals of color have the power and perspective to transform lives, inspire, and instill
passion in ALL students, whether a student is pursuing a professional career or simply dancing
for the love of it. Everyone can benefit from a story that’s not their own. SPD believes in
fostering a culture of inclusivity, expression, and creativity where every student feels supported,
valued, seen, and heard.
Internal Stakeholders: Employees
We aim to provide all employees (instructors) with a platform to share their professional
expertise, insight, and stories on a successful career in dance performance. Employees will be
given the opportunity to tell their stories from the perspective of a person of color.
External Stakeholders: Customers (Students)
We aim to provide a space where students, particularly students of color, feel equal, empowered,
and seen. For some, this will be the first time they have a space of this caliber in their lives.

3
Chapter 3: BRAND POSITIONING
The Sparks Project Dance Studio will live amongst many competitive studios in the Los Angeles
Metropolitan area. For this reason, SPD is positioned as a premier dance studio providing quality
training in commercial-style dance from industry professionals of color for students of all ages
and skill sets.
● For: Those who partake in physical activity in the Los Angeles area – particularly geared
toward students of color.
● Brand: SPD is a premier dance studio in Los Angeles.
● That: Promotes quality training in commercial-style dance from notable industry
professionals of color.
● Because: There are not enough spaces where students of color are represented at the
forefront of a dance studio’s culture.
The brand is built on the following principles:
1. Representation: Acknowledging, valuing, and embracing differences among students.
This includes but is not limited to, race, ethnicity, gender, age, ability, sexual orientation,
or socioeconomic background.
2. Inclusivity: Welcoming students of all backgrounds and abilities while striving to create a
supportive and inclusive community that values diversity and inclusion.
3. Exceptional Quality: Our experienced and qualified dance instructors of color will be
able to provide insight into their experiences in the industry from a diverse perspective.

4
4. Innovation: Continuously seeking new ways to innovate, improve, and grow through
various opportunities to provide experiences for students.
5. Passion: Leading with passion, we believe in the dance arts’ ability to transform lives.
Through these key principles, SPD positions itself as a leading dance education and training
provider dedicated to inspiring and empowering students of color to see and achieve their full
potential.

5
Chapter 4: STATEMENT OF PROBLEM OR OPPORTUNITY
The Black Lives Matter movement, formed in the United States in 2013, was a political and
social movement that sought to highlight racism, discrimination, and racial inequality
experienced by African Americans. Following this movement, a change in cultural context
occurred. The fight for representation across diverse marginalized communities became a
headline topic of conversation around the world.
This movement finally allowed me to genuinely ponder my own experiences, parts of my life
that I had suppressed, and feelings I set aside. As a young female, African American student, and
dancer raised in a predominantly white community, there were numerous occasions where
microaggressions, prejudices, stereotypes, biases, inequalities, discrimination, and much more
were placed upon me. Not only as a child or young adult but very much in my life today as well.
For years, I told myself these experiences were unrelated to race. I mean, they “taught” us in
school what slavery and racism were. So, how could I still be experiencing such a demeanor?
But then I got angry.
Then I was hurt.
But like a scab, it always heals. When a scab heals, you see the edges of the scab shrink toward
the middle, leaving behind a new skin. But oftentimes, there is a scar in its place, or in this case a
reminder. This reminder is something I hope to teach to future generations. What it means to be
Black in America. What it means to be Black in a creative field. Most importantly, the

6
importance of advocacy in creative spaces and what the arts can do for everyone when
representation and inclusivity are at the forefront.
Magic.
Moreover, there undoubtedly remains a growing demand for spaces where artists of color are
given a platform to be seen, heard, valued, and appreciated for their efforts in the arts. The
Sparks Project Dance Studio has the opportunity to speak to these marginalized groups and
expand our offerings to these underserved markets by building a space for instructors of color to
take the lead. From this, we can attract a new audience of learners and provide them with a
unique dance experience. By capitalizing on this opportunity, we can grow our business, increase
revenue, and fulfill our mission of providing exceptional dance training in an inclusive
environment where representation is at the forefront of company culture.

7
Chapter 5: COMMUNICATION RESEARCH
Research Questions
★ Why does my community need this dance studio?
★ Are there any gaps in the market that my dance studio could fill?
★ What am I going to do to set my dance studio apart from others?
★ What are the current major trends?
★ What are the existing attitudes/opinions?
★ What are the demographics of the area, in which the studio would be located?
★ What is the target audience?
★ What qualifications and experience should my dance instructors have?
★ What is the goal for my dance studio?
★ What legal requirements are there for starting a dance studio?

8
Research Methodologies
Secondary Research
Academic Journal:
★ What are the existing attitudes/opinions?
● Dance Ethnography and the Limits of Representation:
○ Randy Martin focuses on Western dance in this essay. Martin analyzes the
relationship between representation in dance and writers of the subject. The
author frequently refers to ethnography, which is defined as a qualitative research
method involving immersing oneself in a particular community or organization to
observe their behavior and interactions up close (Caulfield, 2023). Concerning
dance, Martin found that ethnographic writing identifies politics where there is
thought to be none. I believe that politics play a large role in beliefs regarding
intersectionality, described as how systems of inequality based on gender, race,
ethnicity, sexual orientation, gender identity, disability, class, and other forms of
discrimination “intersect” to create unique dynamics and effects. For example,
Martin describes, “[The] nineteenth-century ballet tended to displace women’s
labor on the prior image of an exotic other that could not carry the weight of
intention and hence could not work.” This explains the idea that in the nineteenth
century, women were seen as incapable of the physicality it took to work in the
ballet. Many marginalized groups are also seen to be less capable or completely
excluded based on social identities. Ultimately, Randy Martin found, “the traces
of participation, the work an audience does to create a sense of the object as it is
presented to them, are nowhere to be found in the standard means of

9
representation and documentation and, as such, are absent from the ways in which
history is conventionally conceived.”
Online Articles:
★ What are the existing attitudes/opinions?
★ What is the target audience?
● Dance Magazine: Tokenism vs. Representation:
○ Following the formation of the 2013 Black Lives Matter protests, many dancers
of color became skeptical of the authenticity of reactionary change. Was this true
representation or tokenism? Tokenism is the practice of making only a
perfunctory or symbolic effort to be inclusive to members of minority groups,
especially by recruiting people from underrepresented groups to give the
appearance of racial or gender equality within a workplace or educational context.
Though there is data that displays white people being true to their world when it
comes to BIPOC, however, the data also shows a silent reversal of all effort that
was previously accomplished. “[This] is not to say that there isn’t meaningful
progress being made. We are amid a global shift. Power is being redistributed,
and rules and criteria are being altered. The standards of what was once
acceptable, or enough, no longer suffice. People are no longer just “grateful” to
have a seat at the table—not only do they expect to eat, but they also want to help
plan the menu. The truth is, we lack a suitable metric to measure this progress
because we have never been here before.” With spaces such as the Sparks Project
Dance Studio, supplementary progress can continue to be made.

10
★ Why does my community need this dance studio?
★ What is the goal for my dance studio?
● STU Arts Dance: Representation in Dance:
○ “Dance has been around for centuries, and while it can be dated back to
(basically) the beginning of time, dance styles have definitely changed since then.
However, the one thing that hasn’t changed for years is representation. While
dance has taken the time to evolve, grow, and create, representation has been
scarce throughout the years. In this new generation of dance, thousands of
young and talented dancers who are people of color have challenged the game and
have done so for the better.” Artists such as Misty Copeland, Kyle Hanagami,
Parris Renee Goebel, Stephen “tWitch” Boss, Stephanie Kurlow, Debbie Allen,
and more have paved the way for future creators of color.
★ What are the existing attitudes/opinions?
Stereotypes:
● A New Era of Dance:
○ “It has long been common to see numerous styles of dance being performed and
created focusing on the heterosexuality of the dancers. Males would be the
dominant figure in performances while displaying strong and ‘masculine’
movements, whereas females were given lighter, gentler movements that exhibit
poise and grace. Times have now changed, and the number of LGBTQ+ and
gender-fluid dancers has grown. There are now female dancers who identify more

11
with portraying strength and independence and males who embrace their feminine
side.”
○ “In order to accommodate all dancers, the dance community all over the world
have shown significant change and increased inclusivity in how they represent
gender. It is evident in their pieces how choreographers approach creating their
work with an open concept that does not focus on heterosexual gender norms. As
well as choreographers, LGBTQ+ dancers are using their influence to inspire
younger generations and to invoke change by example.”
○ “Choreographers all over the world have been utilizing their roles to create
choreography that both challenges traditional gender norms and represents all
types of people.”
○ “Several non-binary dancers have begun to gain notoriety and have been
vehemently staying true to their identities as they go about their dance careers,
and therefore have become role models for dancers who do not fit typical femalemale gender roles.”
○ Example:
■ “[On] the American television show, Dancing with the Stars, when
LGBTQ+ celebrity, Jojo Siwa and her professional partner, Jenna Johnson
Chmerkovisky, became the first same-sex pairing to ever compete on the
show in 2021. This was a huge step for the show and for Siwa, who had
just recently come out as queer earlier that year. JoJo’s decision to partner
with a woman sparked the use of more same-sex pairings in their freestyle
routine later on in the season.”

12
★ Are there any gaps in the market that my dance studio could fill?
● The Time is Now: Exploring Diversity, Inclusion, and Representation in the Dance
Department:
○ As of March 2022, the University of Georgia dance department is heading in a
brand-new direction with diversity, inclusion, and representation. Taking the
opportunity to take center stage and dance into the spotlight. Jason Aryeh, the
only instructor of color in the department, shares that being the only person of
color “has its pros and cons.” Aryeh has seen as few as two students of color
audition for the program over three years. It’s his goal to not only increase the
number of diverse students in the program but also add more diverse dance styles
to the curriculum. “My goal is to push every student to at least explore in the
different styles. It makes them unique; it makes them stronger in technique, and
then it makes them marketable to the other dance companies after school,” Aryeh
said. He believes by incorporating new dance styles; inclusion can be brought to
the program. Aryeh is currently teaching West African dance and hopes he can
lead change in DEIA (Diversity, Equity, Inclusion, and Accessibility) and
representation practices within the program by walking this new path. Hadiya
Williams, a junior at the University of Georgia studying dance and journalism,
believes that the department needs assistance with navigating which direction it
goes in next. Though the Sparks Project Dance Studio is not located in Georgia,
SPD can be the start of a transformation for DEIA and representation principles in
the dance community.

13
★ What legal requirements are there for starting a dance studio?
Business Articles:
● Forbes: How to Start a Business in California (2023 Guide):
Steps 1-15:
1. Decide What Type of Business You Want to Start
2. Know Your Reason Why
3. Do Your Market and Competitive Research
4. Create a Business Plan
5. Obtain Business Funding
○ Self-Funding: Many entrepreneurs self-fund their startup ventures. This is a great
option for businesses that require minimal start-up investments.
○ Family / Friend Loans: Make sure the terms of family and friend loans are clear
before accepting funds from those closest to you.
○ Small Business Loans for Startups: The best small business startup loans offer
competitive rates and make it easy to access funds when you need them.
○ Small Business Administration (SBA) Microloans: The SBA offers SBA
microloans up to $50,000.
○ Small Business Grants in California: The advantage of a small business grant is
that you don’t have to repay it.

14
Business Grants & Loan Resources
➔ USA Grant Application
➔ SBA Grants
➔ Economic Opportunity Grant Program (EOG)
➔ Dance USA Grant
➔ New England Foundation for The Arts
➔ California Arts Council Grant
➔ California Nonprofit Performing Arts Grant Program
➔ LA County Arts & Culture
➔ International Consortium for Advancement in Choreography, Inc.
➔ Kenneth Rainin Foundation
6. Choose Your Entity
○ Sole Proprietorship (SP): An unincorporated business. There can only be one
owner, though sole proprietorships can employ staff as with any other business.
○ LLC: One’s assets are shielded from personal liability, and one can elect to have
taxes paid through the LLC. Unlike an SP, an LLC can have multiple owners.
○ Corporation: A legal entity that is owned by shareholders who elect a board of
directors to oversee the business. The corporation bears all tax responsibility and
legal liabilities.
7. Partnerships
○ General Partnership: Must have two or more people and all partners assume
liability for all general partnership obligations unless otherwise agreed to through

15
a separate written arrangement. Partnership profits are taxed as personal income
for the partners.
○ LLP: Must be a licensed lawyer, architect, or accountant. One must establish a
written partnership agreement with other members of the partnership before
applying for an LLP. Some LLPs are also required to maintain certain types of
business insurance, which vary by the services offered.
○ Limited Partnership: Requires at least one general partner, the controlling partner,
and one limited partner. The general partner of a limited partnership is liable for
the lion’s share of the limited partnership’s financial obligations, while the limited
partner, who has a limited amount of control, is subject to liability relative to the
amount of control they have in the limited partnership.
8. Select a Business Name
9. Choose a Registered Agent
○ For an LLC, LP, LLP, or corporation, a registered agent is needed. A registered
agent is a person or company that receives legal and tax correspondence on behalf
of your company.
10. Get a Federal Employer Identification Number
○ An EIN is a unique nine-digit number the IRS assigns to identify and track
business entities in the United States that are subject to taxation.
11. Register Your Company
○ All new businesses―except sole proprietorships―are required to register with
the California Secretary of State.
12. Register a Fictitious Business Name

16
13. Prepare to Pay and Collect Taxes
○ Explore tax credits and incentives for California employers.
14. Obtain Required Business Licenses and Permits
15. Set Up Finances
★ What legal requirements are there for starting a dance studio?
● Starting a Business – California Secretary of State:
Business Plan:
○ A business plan is a blueprint for every aspect of your business. Sales,
Marketing, Advertising, Promotion, and Location are just some of the
categories to consider when creating a plan.
Location:
○ The California Business Investment Services unit provides tailored site
selection services for businesses, real–estate executives, and site selection
consultants.
Licensing / Permits:
○ Most businesses require licenses or permits to operate. To determine what
your business requires, visit CalGOLD (The Gold Standard For Permit
Assistance) and the Department of Consumer Affairs.
■ Note: After utilizing CalGOLD, no further results were generated.

17
★ What am I going to do to set my dance studio apart from others?
★ What are the current major trends?
3. Snowglobe Perspective’s Tips For Opening A Dance Studio:
○ “The same way certain scents evoke certain memories, certain places that we
spend a lot of time in become laced with a lot of emotional significance.”
○ Before the opening of Snowglobe Perspective, the studio offered its promotion
workshops, similar to how Snowglobe Perspective has been hosting online.
1. Pre-Planning
○ Writing a business plan.
○ Where to get start-up financing.
○ Being familiar with legal and financial implications.
○ Information about insurance, licenses, permits, and leases.
○ Make a reputable name for yourself to gain a loyal following.
2. Location
○ “Where you choose the location for your facility is key- you want
to draw in the right number and demographic of dancers. You want
to be in an area where there aren’t 10 other studios within a block,
but you don’t want to be in the middle of nowhere and have 3
students in each class because the commute is too long.”
○ Parking is Important *
3. Inside the Studio
○ The aesthetics and functionality of the studio itself are probably the
most important thing to dancers. So, in its making, you need to

18
have a clear vision of how you want it to look (Cool-toned color
scheme? Modern? Funky? Old-school?) And create it according to
that design. Every little detail counts!
○ Note:
➔ What is the general mood you’re going for?
➔ What color should the walls be?
➔ What cohesive accent would you incorporate? (Wood
details? Neon lights?)
➔ What parts of the space are best suited for what? (Lounge,
private studio, office, etc.)
➔ What do you want the front desk/lounge area to look like?
(First impression for newcomers!)
➔ What kind of floors for the dance floor? For the outside
area?
➔ What kind of lighting and sound system is optimal for class
and shoots?
4. Instructors
○ “Having reliable, qualified instructors is, of course, extremely
important. Use your resources- reach out to your friends, and
friends of friends, to help you contact well-known choreographers
in the area. Make sure you present your plan concisely and
professionally, including important logistical information.”

19
5. Marketing
○ “Branding, in any business, is undeniably important. “Snowglobe
Perspective” rings in most of our minds as the workshop series. So,
making that connection as a physical space where you can get that
same training experience makes complete sense. Jerould Jorge,
who designed the graphics for the studio promotion, t-shirts, logos,
and flyers, goes for a playful yet clean aesthetic while keeping the
color scheme black, white, and blue, in accordance with Isaiah’s
cool-toned preference. Make sure there is continuity in all your
social media channels.”
6. Management / Maintenance
○ In terms of everyday logistics, there is a lot of work that goes into
running the studio, (after setting it up) that we overlook. Front
desk, registration, scheduling, merchandise- they all need
housekeeping regularly.
7. Price
○ At Snowglobe Perspective, classes will be priced at $12, with
package deals of:
➔ 4 class cards for $44
➔ 10 class cards for $100
➔ Unlimited class card for $220 (*packages expire in 30
days).

20
Primary Research
Qualitative Primary Research
● Observations: Recording what you have seen, heard, or encountered in detailed field
notes.
○ Channing Sparks (Student) Observations/Experience
○ Ann-Marie Hall Sparks (Mother) Observations/Experience
● Focus Group: Asking questions and generating discussion among a group of people.
○ Participants: Adili Rikondja, Shylee Madani, Amara Jordan, Carla Hunt, Gerard
Cole, Jay Lim, Jordan Junn, etc.
● Interview: Personally, asking questions in one-on-one conversations.
○ Interviewee: Dexter Carr
Quantitative Primary Research
● Online Survey (Forum): Distributing questionnaires with open-ended questions.
○ Open-ended questions require respondents to type their answers into a comment
box and don’t provide a specific pre-set answer option. Responses will then be
viewed individually.

21
Perspective Dance Studio Research Survey
1. What is your age?
2. What gender do you identify with?
3. What is your race or ethnicity?
4. How much time do you spend dancing a week?
5. How much are you willing to spend on dance training a week?
6. What dance studios do you currently attend?
7. Do you currently have dance instructors of color? Would you like to see more dance
instructors of color?
8. What do you look for in a dance studio?
9. How important is representation to you within a company’s culture? Explain.
10. How important is DEIA (Diversity, Equity, Inclusion, and Accessibility) to you within a
company’s culture? Explain.
11. Do you feel you have a space to dance or create to your fullest potential?
12. How likely are you to attend a dance studio that provides exceptional dance training in an
inclusive environment where representation is at the forefront of the studio’s culture?
★ What am I going to do to set my dance studio apart from others?
★ What are the demographics of the area, in which the studio would be located?
★ What qualifications and experience should my dance instructors have?

22
Competitors Research
Figure 1: Millennium Dance Complex
Millennium Dance Complex is a worldwide premiere dance studio in the commercial dance
world founded in 1992. With locations in Los Angeles, Las Vegas, Orange County, Nashville,
Salt Lake City, Denver, Pittsburgh, China, Japan, Germany, and Brazil, Millennium Dance
Complex is known as “the place where it all happens.” Formerly known as Moro Landis Studios,
CEO Ann Marie Hudson took over upon request and transformed it into Millennium Dance
Complex. Here, it provides A-List clientele and instructors of the world’s most sought-after
dancers and choreographers. This element has catapulted the studio to a global brand.
● 11528 Ventura Blvd,
Studio City, CA 91604

23
Figure 2: Playground LA
Playground LA is brought to Los Angeles by the founder of the Pussy Cat Dolls, Robin Antin,
and Kenny Wormald, best-known for his role as Ren McCormack in the 2011 remake of
Footloose. Located on the famous Melrose Avenue, Playground LA has seen overwhelming
support via social media since its opening in 2017. In a short period, it shared its studio with
some of the industry’s top names, such as Mandy Moore, Jamal Sims, Tyce Diorio, Beyonce’s
Ashley Everett & Maria Fotiadis, Dancing with the Stars Val and Jenna, Stephen Boss, or
tWitch, award-winning, Brian Friedman, and many more. Additionally, they have been hosts for
some big brands, including Adidas, PUMA, Red Bull, and Abercrombie Kids. Playground LA is
opening an expanding location in Downtown Los Angeles in the Summer of 2023.
● 7375 Melrose Ave,
Los Angeles, CA 90046

24
Figure 3: Playground LA (Downtown)
[PERMANATELY CLOSED]
Playground LA (Downtown) is new to the Los Angeles area and was officially opened July
2023. The Playground LA Downtown location is brought to Los Angeles by Robin Antin,
founder of the Pussycat Dolls, and Kenny Wormald, best known for his role as Ren McCormack
in the 2011 remake of Footloose. Like its sister studio, Playground LA Downtown has seen
overwhelming support via social media since its opening.
● 2400 South Grand Ave
Los Angeles, CA 90007
Table 1: Property Detail

25
Figure 4: Debbie Allen Dance Academy
The Debbie Allen Dance Academy is a non-profit organization offering comprehensive dance
classes to students ages four and up in Los Angeles, California. The academy has a focus on
disenfranchised Black and Latino communities through classic dance theater training and
performance. The Debbie Allen Dance Academy provides training in genres from ballet to hip
hop, and modern to musical theater primarily catered to youth through various structured
programs. The Sparks Project Dance Studio will offer commercial-style dance training catered to
Gen Z (11 – 26+) and beyond. At the Sparks Project Dance Studio, dancers can begin training at
the age of 8.
● 1850 S Manhattan Pl,
Los Angeles, CA 90019

26
Figure 5: Snowglobe Perspective
Snowglobe Perspective is in Whittier, California, and is dedicated to highlighting the best in its
community by fostering the top local choreographers. Owned by Isaiah Masters, Snowglobe
Perspective is a name one might recognize from its workshop series and YouTube channel that
swept the Southern California dance community in 2015. A brick-and-mortar location opened in
April 2022, and is managed by Isiah Masters, Dwight Schrute, and Jerould Jorge. With a large
dance floor, unlimited parking, and an amphitheater sound system, expansive mirrors, a
comfortable lounge area, and private dance studios – the Snowglobe Perspective offers daily
drop-ins, monthly and annual class packages. All classes are filmed and uploaded for student
access.
● 2650 Pacific Park Dr,
Whittier, CA 90601

27
Figure 6: Tmilly TV: The Studio
Tmilly TV: The Studio is in North Hollywood, California, and provides the dance community
with a balanced, healthy environment for learning the skills necessary to thrive in a rapidly
evolving career landscape. Known for its iconic videography and production by Tim Milgram,
Tmilly TV also provides online classes and studio rentals for shoots, rehearsals, and events.
Each online course is approximately 20 minutes in length and is tailored by experience level to
help students progress. There are over 80 A-List instructors to choose from, 350 classes, and a
variety of dance genres.
● 5348 Cleon Ave,
North Hollywood, CA 91601

28
Figure 7: Eighty-Eight Studios
Eighty-Eight Studios is in North Hollywood, California, and opened in June 2021. Eighty-Eight
Studios offers three “Industry Ready” Class Pack levels: Elite Package, Pro Package, and
Aspire Package for up to $800. The Elite Package includes 20 Class Pack, 1 HD Reel for
Instagram, a Photoshoot, 1 Private Lesson, and 1 Hour Industry Guidance Session. Finally, it
offers a space of 2,500 sqft, with over 30-foot ceilings for all of one’s rental needs.
● 11105 Weddington St,
North Hollywood, CA 91601

29
Figure 8: Rúts LA Dance Studio
Rúts LA Dance Studio is in Koreatown, California. The studio offers affordable K-Pop dance
classes as well as other commercial dance styles. The owners, and sisters, Diny and Eileen Kim
are experienced professional dancers, who have worked with BTS, Blackpink, and other popular
K-pop groups. “Rūts aims to be a home that encourages you to explore & cultivate yourself
without boundaries – to learn your identity, discover your roots, and ground yourself in who you
are. [They] believe in a community that challenges individuals to become themselves fearlessly,
& through that, can ultimately become shifters of culture through their own movement and
expression.” They offer single drop-in classes for $20, a 10-class package for $180, and an
unlimited class package for $230 a month.
● 101 S Western Ave 1st Floor,
Los Angeles, CA 90004

30
Chapter 6: SITUATIONAL ANALYSIS (SWOT)
Strengths (Internal)
● High Demand: Today, commercial dance is dominating the media industry. There is a
high demand for training in various commercial dance styles.
○ “Commercial dancing has become more popular and accessible in recent years,
thanks in part to the prevalence of dance on social media.”
● Location: Los Angeles, California, is a great location to home dance studios of high
caliber.
○ “Los Angeles is one of the nation’s best cities for dance lovers. International
talent comes to Los Angeles to train and perform, thrilling audiences with
exciting live productions.”
● Demographics: The Sparks Project Dance Studio’s mission is particularly geared toward
students of color to offer minority groups the opportunity to be represented in the dance
performance industry.
○ “Los Angeles County is home to the third largest Black population (936,285) in
the United States. Since their arrival, Black Angelenos have been integral to the
cultural, economic, and sociopolitical landscape of Los Angeles.”
● Platform for POC & Underrepresented Creators: The Sparks Project Dance Studio will
donate the space once a month to dedicated and underrepresented creators of color in an
effort to give back to the community.
● Expanding Media Presence: Social media plays a significant role in dance performance
and entertainment today. Using this tool can be a game changer when promoting the
Sparks Project Dance Studio.

31
○ Social Media and Its Effects in the Commercial Dance World:
■ “Social media [is] dominating many different types of careers in the
industry and used to assist a wide range of performers in showing off their
talents.”
■ BJ Daz, a 34-year-old commercial dancer and choreographer who has
performed for many recording artists, including Pink and Beyoncé, stated,
“...A dancer can be excluded at once from consideration if their social
media is set to private.”
■ “From my interview with Daz, I realized it’s important to stay relevant by
keeping up with social media trends because they are always changing.
Staying engaged and relevant in the context of these changes can enhance
dancers’ careers.”
■ “I found strong indications that social media has significantly impacted all
artistic industries. Dancers and choreographers are losing work on set
because companies are outsourcing their jobs to internet celebrities. It
appears that years invested in expensive dance training is not enough; the
best opportunities now require artists to be social media influencers, too.”
○ Has Social Media Changed How We Experience Dance in Public Spaces?:
■ “Especially in the last 10 years, it’s become increasingly common to see
public dance works gracing our social media feeds.”
■ “...With an influx of content on social platforms, like people filming
themselves dancing for TikTok, the internet has broadened the dance

32
community and made it possible to be a performer or an audience member
in many different ways.”
○ Mastering Dance Videography:
■ “If it hadn’t been for YouTube, a whole generation of talented people
would have remained unknown to the world. Many amateur singers and
dancers have made their names by sharing their videos on social media,
raising the bar for quality content in this arena.”
● Provide Deals & Scholarships: The Sparks Project Dance Studio plans to provide class
packages to cater to more students’ financial positions. Furthermore, SPD will give two
scholarships per year allowing for free dance training to those who display a dedication to
the art of dance.
● Vendor at Black Events:
At these events, SPD can provide business cards and discount codes that give students
their first class free when they register at [Insert SPD Website].
○ Black Market Flea: A uniquely curated experience for Black entrepreneurs,
creatives, and the community. It features 200+ unique businesses holding it down
with the most incredible, mind-blowing goods and services ever seen.
○ Black on the Block: A one-of-a-kind monthly festival featuring 100+ Blackowned businesses. It is not just a market but a curated, immersive experience
featuring great food, music, activations, special guests, and unique networking
opportunities to make for an unforgettable time. This event focuses on uplifting
entrepreneurs who are dedicated to growing their brand. They provide a platform

33
for small businesses to expand their market reach through thousands of attendees,
celebrities, influencers, publications, and social media consistently.
Weaknesses (Internal)
● Clientele: The Sparks Project Dance Studio does not yet have an upscale clientele list as a
new studio. Competitive studios in the Los Angeles Metropolitan area have already
established a solid A-list clientele roster. I do not yet have the connections to provide a
solid A-list roster.
● Less Experience: As the creator of SPD, I (Channing Sparks) began my dance journey
late at 16. Most professional dancers begin their dance career at the young age of three.
● Rent & Maintenance Costs: As a new resident of California and a recent college
graduate, finances can be tight when considering how much money goes into starting a
brand-new business in a competitive market.
Opportunities (External)
● Post-COVID-19 Pandemic: SPD will provide customers with in-person experiences as
many want to feel comfortable again learning in a closed-room setting post the pandemic.
Hosting Workshops, Events, and Video Productions: The ability to hold dance
workshops, intensives, roundtable discussions, agency guidance sessions, concept video
productions, etc., allows SPD to build a closer relationship with our customers and
stakeholders through networking.
● Developing Partnerships:

34
○ Example: For safety purposes, SPD hopes to secure a partnership with Uber or
Lyft to allow dancers a safe trip from the studio to their home destinations.
○ Example: As a studio providing a healthy lifestyle, partnerships with healthy
essential energy drinks are fitting. Drinks such as Celsius, Alani Nu, Bang
Energy, Bloom Nutrition, etc.
● Provide Rental Space: SPD can provide rental space which holds benefits for myself, as
the studio owner, as well as the community at large.
○ Example: SPD will primarily operate in the evening hours, therefore, during the
day – additional revenue can be generated by renting optimized space utilization,
networking, community engagement, promotion and exposure, cultural
enrichment, boosting the local economy, supporting creativity, etc.
○ Example: Fitness Booty Camps/Workshops, Tiny Toes Classes (Ages 3 & under).
● Provide a Wide Range of Interest: Offer a wide range of dance classes to attract a diverse
clientele.
○ Styles: Hip-Hop, Heels, Jazz, Contemporary, Ballet.
● Business to Business Network: Connect with various Universities, Community Colleges,
Gymnastics Gyms, etc.
Threats (External)
● Competition: The multiple well-established dance studios in the Los Angeles
Metropolitan area can make it difficult to attract new students. Additionally, being a new
resident of California gives me less knowledge about the area in which I intend to open
my business.

35
● Economic Challenges: The economic conditions of our nation have had a powerful
impact on the health of the artistic sector. For example, the COVID-19 global pandemic
and an increasing inflation rate have impacted the performing arts industry.
○ So, what is Inflation, and How Will it Impact the Dance Industry?:
■ “Simply speaking, inflation is a systemic rise in prices. This undercuts
everyone’s financial well-being since the impact of inflation directly
translates to a decrease in purchasing power.”
■ “Rapid inflation spells trouble for the dance industry for the same reason
that the recent pandemic was so tough–the field relies on people to
flourish, both for staffing and for consumption.”
■ “When consumers feel uncertain about their financial well-being, they are
less likely to spend money on live performances or donations to arts
organizations, both of which are necessary to keep the dance industry, as
we know it, up and running. Individual dance artists, as a result, are likely
to book less work, see fewer pay increases, or perhaps experience a
decrease in pay altogether.”
○ The Untenable Economics of Dancing:
■ “In 1993, the NEA published a study called Dancemakers that found that
“the average annual income choreographers earned from their artistic
work in 1989 was $6,000, while their professional expenses totaled
$13,000. Including money earned in other pursuits, a dancer’s average
income reached only $22,000. More than twenty years later, it is fair to
say that not much has changed.”

36
■ “Most young dancers are trained professionals, many with graduate
degrees, whose art form depends on their bodies, and yet the persistence of
the myth of “downtown” reinforces an ethos of working for free – or
almost for free – in conditions that are often deleterious to the dancers’
physical health and, ultimately, undermines their status as trained
professionals. The persistence of the myth of downtown means, in
practical terms, that dancers either persist at the expense of their personal
health and financial well-being or they are able to pursue this career
through remittances from an outside economy. That means they are
subsidized through a spouse or family who can provide the support needed
to pursue dance.”
■ “This disinclination to discuss money in real terms and the romantic
poverty of the “downtown” myth leads to a brutal cycle of economic
instability and inequality and a concomitant narrowing of discourse related
to both the production and aesthetic evaluation of dance.”

37
Chapter 7: STRATEGIC INSIGHTS
Midst completing the SWOT analysis, actionable insights were revealed that would
extract an accurate and deeper understanding of a premium dance studio in California.
● Consider Financials: Economic conditions can have a huge impact on the stability of any
business. It’s significant to have a solid business plan and/or policies in place in the event
of a crisis.
● Learn From Competitors: Much can be learned from business competitors. “Learning
from the failures and successes of your competitors is a built-in boost for your company,
saving you time, resources, and money.”
● Having a Solid A-List Clientele Lists Matters (Qualified Instructors): In many of the
competitor studios discussed, what draws students to each is WHO is attending and WHO
is instructing. Lots of customers attend classes based on who is teaching, generally
industry professionals with wide admiration. Drop-in dance classes in California can go
for as much as $30 per class; for this reason, customers want the most out of their classes.
This starts with credible clientele.
● Collaboration & Partnerships Lead to Successful Networking (Offering a Variety of
Opportunities): One connection can always lead to another. By partaking in
collaborations and partnerships, new opportunities continue to arise through developing
relationships, ideas, and experiences. “Business professionals can network with other
industry members to learn about new trends, share insights, and receive valuable
mentorship. Business networking is important because it allows professionals to identify
new opportunities and increase their chances of entrepreneurial success.”

38
● Location & Demographics Are Significant When Opening a Successful Studio
(Understanding Target Audience): Due to SPD’s mission statement aiming to provide
exceptional dance training in an inclusive environment where representation is at the
forefront of a studio’s culture, the location is significant in catering to areas where
inclusivity and diversity lack. By selecting a location where the demographics match the
target audience, you can spend your advertising budget more effectively, know which
social media platforms to focus on, and develop messaging that truly resonates with
current and potential customers. This makes it easier to connect with them and earn their
loyalty.
● Media Exposure Plays a Significant Role in Dance (Continuous Innovation):
Every studio has an iconic look. These looks are easily recognizable. For example, Playground
LA has the iconic “PLAY” letters in which dancers perform in front of in class. After social
media exposure, Playground LA has become a household name. Social media nowadays is a
game changer for business practices. “Social media has evolved from a space for personal
interaction into a vibrant marketing channel for businesses of all sizes. Today, social media is a
must-have for any small business – regardless of what industry you’re in. Whether you already
have a strong social presence or are looking to step up your game.”

39
Chapter 8: COMMUNICATION GOALS
The intended outcomes, at the highest level of communication for the Sparks Project Dance
Studio overall, are as follows:
1. To open and create an authentic, safe space that amplifies artists of color. The company
will promote Diversity, Equity, and Inclusion practices to establish the studio’s unique
value proposition.
2. To acquire a large list of community members (dancers) that attend class regularly – gain
student retention.
3. To obtain an A-list clientele of professional instructors.
4. To achieve a large following on social media, particularly Instagram and the company
website.
5. To attain popularity amongst the Los Angeles Metropolitan dance and performing arts
community.

40
Chapter 9: COMMUNICATION OBJECTIVES
Realistically and quantifiably, the measurable goal subsets are as follows:
Note: SMART: Specific, Measurable, Achievable, Relevant, and Time-Bound.
1. By June 2025, the Sparks Project Dance Studio will open. The studio will demonstrate
DEIA practices by being aware of unconscious bias, communicating the importance of
managing bias, acknowledging and respecting all cultures, and facilitating ongoing
feedback. This can be measured through biannual online surveys (forums).
2. Within the first year of business, the Sparks Project Dance Studio will have 10 notable
professional instructors of color.
3. Within the first year of business, the Sparks Project Dance Studio will have 20 students
per class who attend weekly.
4. Within the first six months, the Sparks Project Dance Studio will have 1K followers on
Instagram. The Instagram account will increase engagement by 10% within the first six
months of the account start date. In addition, the SPD website will have an increase in
visitors and hits by 10% within the first six months of the website start date. This will be
measured using the hosting provider’s built-in tracking, allowing owners to see website
statistics.
5. By the end of the first year of business, SPD will have three articles written by credible
sources to demonstrate memorability amongst the Los Angeles Metropolitan dance and
performing arts community.

41
Chapter 10: TARGET AUDIENCES
● Dancers (Marginalized Groups): SPD is open to ALL dancers, whether they are
beginners or looking to pursue dance performance as a career. Though primarily targeted
at dancers of color, SPD strives to represent all marginalized groups.
● Ages 9+: All SPD classes will be open to ALL ages 9 and up. EXCEPT for heels classes
are only available for dancers ages 16 and up.
● Individuals Who Value Representation: SPD is for individuals who value representation
as a core company principle.
● California (Los Angeles): Those immediately located in California with an expectation to
reach those around the nation utilizing social media.

42
Chapter 11: CURRENT AUDIENCE BRAND PERCEPTIONS
Prior to opening, the target audience will assume the Sparks Project Dance Studio is a
studio similar to Millennium Dance Complex, Playground LA, Snowglobe Perspective,
Tmilly TV: The Studio, Eighty Eight Studios, etc. as all offer similar services in the Los
Angeles Metropolitan area. They will see SPD as a studio comparable to these by
offering credible A-List instructors. The one element setting SPD apart from the rest is its
dedication to representation.

43
Chapter 12: DESIRED AUDIENCE BRAND PERCEPTIONS
The Sparks Project Dance Studio desires to be perceived as an inclusive space for ALL
dancers who prioritize DEI practices, particularly for artists and students of color, as we
put representation at the forefront of our company culture. The studio should be a place
where dancers feel they have equal opportunity to pursue their wildest dreams guided by
A-list industry professionals of color.

44
Chapter 13: KEY MESSAGE MAPPING
Niche: Representation
● “Sparks Project Dance Studio: Where Representation Matters.”
● “At the Sparks Project Dance Studio, I feel like I can do anything.”
● “At the Sparks Project Dance Studio, I feel seen and heard.”
● The Sparks Project Dance Studio represents marginalized groups, particularly people of
color, at the forefront of its company culture.
● The Sparks Project Dance Studio provides opportunities for those who are overlooked.

45
Chapter 14: STRATEGIES
1. Engage in top media relations and social media practices.
2. Hold promotional events at the Sparks Project Dance Studio.
3. Attend special events with complementary objectives.
4. Partner with credible industry professionals and safe transportation services.
5. Shift focus away from the organization and toward the overall industry / societal issue
SPD is aiming to overcome.
6. Make it clear, intentional, and evident to all customers (dancers) that representation is at
the forefront of company culture.
● Example: Chant “The Sparks Project Dance: Where Representation Matters” after
ALL classes.

46
Chapter 15: TACTICS
Paid
As of now, I do not plan to invest in paid influencer marketing. I have been in the dance
community in general for a long time and have also made a lot of connections with
dancers/instructors in the Los Angeles Metropolitan area. Therefore, I am confident I can get
promotions from already-established connections via social media (Earned Media).
● Soft Business Opening – Promote the Opening of SPD
● Host Storytelling Discussion Sessions
○ Mothworks Workshops
● Attend Special Events that Promote Black Owned Businesses:
○ Black on the Block
○ Black Market Flea
● Instagram Ad Boosts
● Facebook Ad Boosts
● Pay-Per-Click (PPC) Ads – a form of advertising that allows you to pay a fee to have
your website on the search engine result page (SERP) when someone types in specific
keywords or phrases to the search engine.
● Figure 9: OOH Ad: Graffiti Art on SPD Building, SPD Merchandise

47
Earned
● Local Journalistic Articles
○ Pitch: “Sparks Project Dance Studio: Where Representation Matters.”
○ Provide News Release Drafts
○ Provide a Soft Opening Date
○ Provide Photos & Infographics
● Non-Paid Influencer Marketing (Social Media)
● Organic Engagement
● Word of Mouth
● Link Building
● Customer Reviews: Google My Business, Facebook, Yelp, and other platforms.
Shared
● Social Media Engagement (Instagram, Facebook, LinkedIn)
● Hosting Live Q&A Sessions on Instagram
● Social Media Contests / Giveaways
● Biannual Online Survey (Forum)
● Email Blasts (Marketing)
● Partnerships (Transportation: Uber or Lyft)
○ Similar to the University of Southern California, SPD can offer a safe
transportation option for students through partnerships with Uber or Lyft. In 2016,
President Carol Folt provided a free Lyft program, known to students as “fryft,
“to provide students with free Lyft rides in the nearby areas to the USC campus.

48
Owned
● Social Media Accounts (Instagram, Facebook, LinkedIn)
● SPD Website
● Newsletters
● Email Blasts (Marketing)
● Content Elements (Infographics, etc.)
Content Elements
• Media List: SPD Media List Draft
• Mock Pitch: SPD Mock Pitch Draft
• Article Example: Koreatown Dance Studio Teaches K-Pop Fans to Move like BTS,
Blackpink
• PR 524 Mock Campaign & Comments: https://channingsparks.com/sparks-project-dancecampaign/. (Advanced ® Proceed)

49
Figure 10: Sparks Project Dance Studio Logo
Figure 11: Sparks Project Dance Studio Draft Newsletters

50
Figure 12: Sparks Project Dance Studio Billboards

51
Figure 13: Sparks Project Dance Studio Building Elements

52
Figure 14: Sparks Project Dance Studio Bus Shelter

53
Figure 15: Sparks Project Dance Studio Instagram Draft Post (Carousel Post)

54
Figure 16: Sparks Project Dance Studio Merch

55
Chapter 16: KPIs – MEASUREMENT & EVALUATION
The KPIs regarding the Sparks Project Dance Studio forward look at the outcome of the
measurement and evaluation step discussed in the communication goals and objectives
sections.
● Revenue Growth: Increase in revenue over time.
● Customer Satisfaction: To open and create an authentic, safe space that promotes
Diversity, Equity, and Inclusion practices for ALL students. This can be measured
through biannual online surveys (forums).
● Brand Awareness: Attain favorability amongst the Los Angeles Metropolitan dance and
performing arts community. Aim to have three articles written by credible sources.
Surveys and consumer surveys are the most traditional ways to measure your reputation.
This could also include website traffic and social media account growth as KPIs.
● Employee Retention Rate: Maintain an A-List clientele of professional instructors, at
least 10 notable professional instructors of color.
● Attendance / Retention Rate: Measures the percentage of students who attend classes
regularly and continue enrolling.
● Audience Growth Rate: To achieve a large following across SPD social media accounts.
This will be measured using the hosting provider’s built-in tracking, allowing owners to
see website statistics.
● Net Promoter Score (NPS): Measures the likelihood that students recommend the studio
to others.

56
Chapter 17: TIMELINE (Tentative)
(6-12 Months) Research and Planning
● April 2023: Begin Strategic Integrated Planning Model
● August 2023: Begin Business Elements
○ First Thesis Draft to the Chair: December 1, 2023
○ Chair Comments: December 12, 2023
○ Final Chair Comments by January 8, 2024
○ Second Reader: January 29, 2024
○ Second Comments: February 12, 2024
○ Third Reader: February 26, 2024
○ Third Comments: March 10, 2024
○ Submit Final Thesis to Graduate School: March 29, 2024, @ 12 PM
(3-6 Months) Commercial Property Search
● May 2024: Scout Los Angeles Metropolitan Area
(3-6 Months) Legal and Administrative Tasks
(2-3 Months) Hiring and Training
(1-2 Months) Marketing and Promotion
(1 Month) Preparing for Opening Day
(1 Day) Grand Opening and Launch
● 2025

57
Chapter 18: BUDGET (Tentative)
How Much Does It Cost to Start a Dance Studio? (In 2023):
● Average Startup: Approximately $20,000
● Maximum Startup: Approximately $40,000
● SPD Financials: SPD Tentative Financials
Table 2: Sparks Project Dance Studio Budget
Expenses Includes Projected
Rent / Mortgage ● Utilities $1.90-2.50 /SF/MO
Equipment ● Curtains / Drapes
● Mirrors
● Flooring (Sq. Ft.)
● Seating / Lounge Space
● Building Décor
● Lighting
● Sound System
● Dance Bars
● Tentative.
● $150 /Mirror
● $35,000
● $500-800
● Tentative.
● $800
● $600
● Tentative.
Staffing ● Studio Manager
● Studio Assistants (Front Desk)
● PR Coordinator
● Photographer / Videographer
● Security
● Bookkeeper
● Tax Professional
● $20-25 /Hour
● $20-25 /Hour
● $20-25 /Hour
● $20-25 /Hour
● $20-25 /Hour
● $20-25 /Hour
● $20-25 /Hour
Insurance ● Property
● General Liability
● Worker Compensation
● $500-5,000 / Year
● Tentative.
● Tentative.
Start-Up Expenses ● $10,000-50,000
Advertising &
Marketing
● $1,000-5,000
Loan / Investors ● Tentative.

58
Tentative Commercial Space
● https://www.commercialcafe.com/commercial-property/us/ca/culver-city/3601-3615-
hayden-avenue/.
● https://www.commercialcafe.com/commercial-property/us/ca/culver-city/8461-higuera-1/
● https://www.commercialcafe.com/commercial-property/us/ca/culver-city/8671-8675-
hayden-place/.
Table 3: Advertising & Marketing Costs (Tentative)

59
Table 4: Website Costs (Tentative)
Table 5: Software Expenses (Tentative)

60
Table 6: Studio Floor Plan (Tentative)

61
References
5 big benefits of social media for small business. (n.d.). Vistaprint. Retrieved March 2, 2024,
from https://www.vistaprint.com/hub/benefits-social-media-forbusiness?PCXTVATINCLUSIVE=&couponCode=NEW25&utm_id=&coupon=&partne
r=google&ps_vtp=16161998800%7C134634576193%7C%7Cdsa1456167871416%7Cc%7C9030937%7C%7Cg&ps_vtp2=g%7C%7C%7C584111360772
%7C%7C%7C%7C%7C&gclid=CjwKCAjwgGjBhBnEiwAMUvNW8Luh5LppSAF8wwwJFSKo4YyCFXSBAzmZjaazO_Iplx6DSUCCwvCxoCmx4QavD_BwE.
Channing Sparks. (2023, April 9). Mock Campaign (Spring 2023 Final) - Channing Sparks.
Channing Sparks. https://channingsparks.com/sparks-project-dance-campaign/.
Dance 2020-10-19T09:00:16.412Z2021-05-16T14:49:11.141Z, S. A. D. in. (2020, October 19).
Representation in Dance. STU Arts Dance.
https://www.stuartsdance.com/post/representation-in-dance.
Dolina, E. (2019, December 9). Mastering Dance Videography. Movavi.
https://www.movavi.io/mastering-dance-videography-en/.
Friscia, S. (2020, November 9). Has Social Media Changed How We Experience Dance in
Public Spaces? Dance Magazine. https://www.dancemagazine.com/social-media-affectssociety/.
Heflin, C. M. (2023, January 9). So, what is Inflation and How Will it Impact the Dance
Industry? | Dance Articles. DancePlug. https://www.danceplug.com/article/so-what-isinflation-and-how-will-it-impact-the-dance-industry.
Hobbs, L. (2022, March 30). The time is now: Exploring diversity, inclusion, and representation
in the dance department. The Red and Black.
https://www.redandblack.com/magazine/the-time-is-now-exploring-diversity-inclusionand-representation-in-the-dance-department/article_7093bd0c-afad-11ec-83eb27f4f25eb8cc.html.
Horwitz, A. (2014, November 12). The Untenable Economics of Dancing. Culturebot.
https://www.culturebot.org/2014/03/21361/the-untenable-economics-of-dancing/.
Howard, T. R. (2021, January 18). Tokenism vs. Representation: How Can We Tell Them Apart?
Dance Magazine. https://www.dancemagazine.com/tokenism-vs-representation/.
Indeed, Editorial Team. (2023, March 10). What Is Networking in Business? (With Tips and
Importance). Indeed. https://www.indeed.com/career-advice/careerdevelopment/networking-inbusiness#:~:text=Key%20takeaways%3A%201%20Business%20professionals%20can%

62
20network%20with,increase%20their%20chances%20of%20entrepreneurial%20success.
%20More%20items.
Jake. (2023, February 8). What is Commercial Dancing: Origins + features + types + videos! -.
Newtypeofclass.com. https://newtypeofclass.com/what-is-commercial-dancing-originsfeatures-types-videos/#:~:text=Commercial%20dancing%20has%20become%20more.
Jeong, H., & Valles • •, M. (2023, May 15). Koreatown Dance Studio Teaches K-Pop Fans to
Move like BTS, Blackpink. NBC Los Angeles.
https://www.nbclosangeles.com/news/koreatown-dance-studio-teacher-k-pop-fans-tomove-like-bts-blackpink/3153317/.
Laos, R. R. (2019). Social Media and Its Effects in the Commercial Dance World.
Escholarship.org. https://escholarship.org/uc/item/6dj8x3wp.
Ma, J. (2024, January 23). Snowglobe Perspective’s Tips for Opening A Dance Studio | STEEZY
Blog. Www.steezy.co. https://www.steezy.co/posts/what-you-need-to-know-beforeopening-a-dance-studio-from-snowglobes-perspective.
Martin, R. (1992). Dance Ethnography and the Limits of Representation. Social Text, 33, 103.
https://doi.org/10.2307/466436.
McClendon, D. (2022, June 21). Dayforce - How to promote diversity, equity, and inclusion in
the workplace. Www.dayforce.com. https://www.dayforce.com/blog/support-diversityand-inclusion-in-theworkplace#:~:text=Ways%20to%20promote%20diversity%2C%20equity%2C%20and%
20inclusion%20in.
Novak, J., & Main, K. (2022, August 22). How To Start a Business In California (2022 Guide).
Forbes. https://www.forbes.com/advisor/business/how-start-business-california/.
Panel, E. (2017, May 18). Lessons You Can Learn from Your Competitors. Forbes.
https://www.forbes.com/sites/forbesfinancecouncil/2017/05/18/lessons-you-can-learnfrom-your-competitors/?sh=21f89361205a.
Publow, P. (2021, December 17). A New Era of Dance. GBC College English — Lemonade.
https://medium.com/gbc-college-english-lemonade/a-new-era-of-dance-8ca3b2f0c3d.
Rittenberg, J. (2022, June 9). How To Write a Business Plan (2022 Guide). Forbes Advisor.
https://www.forbes.com/advisor/business/how-to-write-a-business-plan/.
Rollins, R. (2019, March 14). Los Angeles for Dance Lovers | Discover Los Angeles.
Www.discoverlosangeles.com. https://www.discoverlosangeles.com/los-angeles-fordance-lovers.

63
State of Black Los Angeles County Report. (2023, March 16). Los Angeles County.
https://ceo.lacounty.gov/ardi/sbla/#:~:text=Los%20Angeles%20County%20is%20home.
Walls, P. (2023, January 18). Starter Story: Learn How People Are Starting Successful
Businesses. Www.starterstory.com. https://www.starterstory.com/ideas/dance-studiobusiness/startupcosts#:~:text=1%20The%20minimum%20startup%20costs%20for%20a%20dance.
Zote, J. (2023). 7 Ways to Tap into Your True Target Audience. Sprout Social.
https://sproutsocial.com/insights/target-audience/.

Abstract (if available)

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

The making of a crisis communication plan for a large, public, national professional services company

PDF

Marketing to Millennials and Gen Z: a strategy presented for a startup creative agency

PDF

A post-launch strategic planning model for Hiverlab

PDF

Why public relations is important for the representation of Asian Americans and Pacific Islanders in entertainment

PDF

The grass is already greener: how insights have given non-profit leverage over their for-profit counterparts in digital communication strategies

PDF

Pathway programs for HBCU students in television & film…

PDF

The importance of event planning in strategic public relations

PDF

Perceptions of professional development from the lens of the global teacher in a rapidly evolving, linguistically diverse instructional environment

PDF

A case study of Nintendo during COVID-19: illustrated by the launch of Nintendo Switch and Animal Crossing: New Horizons

PDF

Dance careers in flux: seeking the middle ground between art and commerce

PDF

Examining teachers’ perceptions of diversity, equity, and inclusion professional development

PDF

Stories of persistence: illuminating the experiences of California Latina K–12 leaders: a retention and career development model

PDF

Good intentions are not enough: exploring implicit racial bias in philanthropy

PDF

Navigating ethics in travel public relations: responsible tourism practices in the age of digital media

PDF

Empowering equity: an exploration of how Black women-owned brands can harness social media to overcome public relations’ equity gap to build influence

PDF

“A thread throughout”: the KMO influences on implementing DEI strategic plans in state and municipal governments

PDF

COVID-19 as a catalyst for telehealth: using public relations to assist in widespread public adoption

PDF

The underrepresentation of Latinx in entrepreneurship and the identification of social, societal, and institutional barriers to close the gap

PDF

Principles of transmedia branding

PDF

Collegiate athletics in crisis: a new practical model for crisis communication/management

Asset Metadata

Creator Sparks, Channing Marie (author)

Core Title The Sparks Project Dance Studio: strategic integrated planning model

School Annenberg School for Communication

Degree Master of Arts

Degree Program Public Relations and Advertising

Degree Conferral Date 2024-05

Publication Date 03/27/2024

Defense Date 03/25/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag dance,diversity,entrepreneurship,equity,inclusion,OAI-PMH Harvest,representation

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Tenderich, Burghardt (committee chair), Bamberg, Annelise (committee member), Cook, Fred (committee member)

Creator Email channingsparks1@gmail.com,sparkscm@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113858392

Unique identifier UC113858392

Identifier etd-SparksChan-12714.pdf (filename)

Legacy Identifier etd-SparksChan-12714

Document Type Thesis

Format theses (aat)

Rights Sparks, Channing Marie

Internet Media Type application/pdf

Type texts

Source 20240327-usctheses-batch-1131 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright.

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

Repository Email cisadmin@lib.usc.edu