"Again, each studio is independantly owned, and the obligation by each studio is normally up to the franchisee.

I have worked for both A/M and F/A in past yrs , and there are decent and good owners, and some that are otherwise.

One should not use a broad brush to decribe the whole organisation ."

This claim always struck me as pointing out the fallacy of the whole idea.

What's the point of having a brand name - and paying a premium for it - if those in the know will then point out that each individual franchise location is different, some being good and some unfortunately not so much?

I've always felt that ballroom teachers must be evaluated as individuals. Sometimes that meant taking from people who happened to own franchise studios, but such fact was never relevant to the decision - in effect owning the franchise location was their "day job" unconnected to their real teaching role which was entirely separate from the commercialized offerings available to walk ins at the reception desk.

A natural extension of this is that one is a student of a specific teacher sought out for one purpose or another, not of the studio where they happen to be operating on any given day.

Then "rail " at the people who buy the franchises.

ALL franchises, no matter the product are good, bad, and indifferent.. its a BUSINESS model that works, whether you or I agree or disagree on its merits wont change one damn thing.

Started dancing not long ago. My instructor has made dancing FUN for me. I can tell you if it was not fun I would not be doing it. I do think the prices are rather expensive. If you figure in how much I dance every week including two lessons I can't say enough about the format. This is the corporate world, which I was a part of for many years. They provide floor space, good instructors and weekly activities. You need to take it for what it is and what it provides. Now go out and have some FUN!

To the official poster. I've been a Fred Astaire student for a couple of years now and I sometimes wonder why I'm still there. I guess I don't have the guts to move on. I totally see what you're talking about when it comes to concerns basically being ignored by management. I sometimes even wonder if they gossip about me or any other student which is something else that you brought up. For some reason, my instincts are saying that they are. I'm not going to go any further in explaining my situation since I know what I should do to make things better and I can't find the nerve to do it so I only have myself to blame.

A fiend and AM student told me she had been really looking forward to a comp that was coming up in January. She paid for it long in advance. She worked hard with her instructor. She was told 3 weeks before the event her instructor was NOT going to be allowed to attend. She would just have to dance with someone else. Had she have known she would NOT have gone to this event.

If people get out of franchise studios they will find they pay way less for what they get. You will NOT get the rug pulled out from under you and told to suck it up either.

If people are to take the trouble to learn to dance, why not do it properly and get lessons in International Ballroom Dance.
I have yet to see anyone from these studios able to dance.
Slow motion box steps etc., are not dancing.
Spend your money wisely. Don't waste it. Also avoid the politics of these "studios", which can be nasty.

You obviously have never been to enough studios to evaluate teaching standards.

Yes, there are sub par standards in some schools, but, there are also numerous studios who are more than well informed on good teaching techniques and standards.

How do I know ? I coached all over the States for many years, and "behind " me on their visit list, were former champions in BR and American style .

In ANY profession, one may find sub par performance ( Even in Doctors !! )

For your info.. 2 of the best ever dancers in BR and Latin came out of the FA studio in DC ( one became 3rd in the world, the other 8th in Latin ) I could name numerous others .

I was fortunate enough to train both in their early careers .

I am 81 years of age. In my 20s and 30s I had the pleasure of being an Arthur Murray instructor for 10 years in one of the London, UK, schools. I still teach several times a week for charities, clubs and churches. Many of my students are in their 80s and a couple are in their 90s. I say Thank God for the American, Social style dance. Without it many (and I include younger people) would give up and miss the pleasure that dance brings.

Just as in medicine there is alternative medicine, so in dance there are alternatives. Please allow that there are alternatives in dance. Why not watch a few vids. on You Tube and see what real people doing real dancing is really like. It sure as Hell isn't the International Style.

Were you there when Barry Sandland ( a friend ) was Owner/manager ?..Tom Chapman was the franchisee

He eventually moved to the States, and now has a studio in Florida.

PS.. You are correct about the Amer. style social.. It's light years above the English system, and I still teach the rhythm and smooth style ( QS apart ) to my students .

Curious.. with whom did you train in London ?

I know nothing about American Smooth only what I see on you-tube. To compare that style with the International Style is ridiculous. I watched some of the stuff from the Emerald Championship And let it run. I finished with an International Style from Hong Kong competition. I think when you said Light years above. You should have said Light years apart. There is no comparison at all. What I saw from the Emerald was more like Exhibition Dancing without any lifts. Very little if any body contact. Moving in any direction. International Style both moving as one without breaking hold and moving around the floor in an anti- clockwise direction. I am not criticizing any style, just pointing to the differences in style which cannot be compared. But I see with the Smooth that those in a closed hold look very much like the International not only in stance but also in routine some of which came strait out of the Technique Book.