By Rhee Gold

When studio owners dream of the ultimate dance studio, they usually conjure up an image of a huge classroom with beautiful hardwood floors. However, there are as many flooring options as there are genres of dance, and some of them don’t include that gleaming wood.

Studio flooring is one of the largest investments a school owner can make, not only in terms of cost but for the safety of the dancers. Safety concerns vary with the genre: Ballet dancers want a nonslip surface; modern or jazz dancers need a smooth surface to avoid injury to their bare feet; tap dancers desire some give along with a nonslip surface. Also, a floor must be able to absorb and dissipate energy and safely return it (called “resilient energy”). If the floor fails to do so, the body becomes a shock absorber, resulting in fatigue, pain, and injury. Most studio owners can’t afford separate classrooms with floors that are suited to each discipline. However, by making smart choices about flooring, they can meet the average needs of all of dancers.

The Subfloor

A floor isn’t simply the surface on top—according to Sam Jamison of Stagestep, it starts with the subflooring, which separates the dancers from hard, non-energy-absorbing surfaces like concrete or tile and provides enough energy absorption and resilient energy, or spring, to prevent impact injuries.

“It’s a built-up floor,” adds Robert Dagger of American Harlequin, “which can be constructed in a number of ways. It may be built up with foam padding on which panels are placed. A basketweave floor, which is an improved variation of the original Russian import, is a sophisticated latticework of flat battens that provide spring by natural flexing.” Although basketweave floors (permanent floors that must be professionally built) work quite well for dance, the battens used in the latticework will, in time, lose their ability to flex, in which case the entire floor must be replaced.

Jamison notes that although rubber pads are sometimes used as sprung-floor cushioning, they are more appropriate for sports floors rather than those in dance schools. “The foam-based subfloors are the best. Ideally the foam should be what is called ‘crosslinked closed-cell’ foam.” This type of foam (the kind used inside a football helmet) is very durable and in most cases will retain its function long after the average person’s lifetime.

“A subfloor is only as good as its cheapest layer,” stresses Jamison. “No matter how well a sprung floor is made, cheating on even one layer could result in the floor’s untimely failure.”

Matt Lincir of Alva’s suggests that consumers consider price, height, installation time, and portability needs when choosing a subfloor. But, he says, generally speaking, “the average dancer just wants to feel that their bones aren’t being jarred when they land.”

The Surface

Numerous options are available for what goes on top of the subfloor, from various woods to several types of vinyl.

Wood surface options

Various types of woods and wood products can be used for the floor surface, from plywood to newer wood-product materials such as oriented strand board (OSB), random wafer board (RWB), and solid-core plywood materials. The wood itself is not the primary factor in determining a floor’s resilience. Although surface-flooring thickness plays a role, the subfloor is a much more determining factor. Wood laid over concrete will have little more resiliency than the concrete. The wood primarily provides the surface characteristics desired in a floor.

“Most studios that want hardwood primarily buy either Canadian hard maple or Norwegian oak,” notes Michael Sean Graves of Entertainment Flooring Systems. “The hardwoods we keep in stock range from medium hard—European oak, birch, beech, iroko—to hard, such as Norwegian oak, ash, Angelique, to very hard—Canadian hard maple, Merbau, Mutenye. Which is better depends on what you want out of the wood—the medium hardwoods are more flexible, but very hard woods are longer lasting. That’s why Norwegian oak is so popular—it’s in the middle of the two camps. The color of the wood is a factor, too—some people prefer a dark, deep color like the Merbau, others prefer the light blond of ash or maple. Oak falls somewhere in the middle.”

Dagger generally avoids oak, which can wear to reveal hard knots and sometimes splinters on the edges. He recommends choosing a clear wood like maple, or possibly beech or ash. Other hardwoods can be exotic, oddly colored, or simply expensive.

Several factors determine how much floor flexibility is optimal. Certainly the types of dance that the floor will be primarily used for are important. But you also should take into account the overall feel and sound of the floor, and how that matches your personal preferences. “I send customers to visit other schools that have different types of wood,” notes Jamison, “and let them decide for themselves what they like.”

Wood facsimiles

Wood facsimiles, though less expensive, do not offer all the benefits of a hardwood floor. According to Ed O’Mara of O’Mara Sprung Floors, they “have a tendency to be slippery.” However, as Joseph Reinke of Dance Equipment International points out, hardwood floors can be slippery, too, depending on their surface finish and upkeep.

Vinyl surface options

“Initially the expense [for wood vs vinyl] is about the same,” says Graves. “The difference is in maintenance and repairs. For argument’s sake, let’s say you could buy a Ferrari for the same price as a Honda. Why would you buy the Honda? Because its maintenance and upkeep are a fraction of the Ferrari’s. In this comparison, the Ferrari is hardwood and the Honda is a vinyl look-alike. Both still require maintenance and upkeep, but you will never spend an equal amount on both. Hardwood floors typically need to be stripped and refinished every nine months to a year. Sometimes this involves sanding as well as constant resurfacing. At the point both floors wear out, a wood floor’s entire system typically has to be replaced. With vinyl, usually just the surface needs replacing.”

Notes O’Mara, “There are also commercial-grade, water-based urethanes for wood surfaces that do not require sanding and stripping to refinish. We recommend a chemical abrasion process followed by buffing and cleaning before applying more urethane. Additionally, the amount of time before a urethane recoat must be applied varies greatly depending on the types of dance for which the floor is used. For many floors it may be years before more urethane is needed. Percussive dance is the only dance form that requires frequent recoating.”

Jamison, however, believes that polyurethane is not a proper finish for a dance floor. Such surfaces, he says, “lack speed controllability.” Another problem with polyurethane coatings is that they can be dangerous for studio owners to apply themselves, so it’s best to have them applied at the factory. “Acrylic finishes are the proper finishes for dance in my opinion,” says Jamison. “Their surfaces can be adjusted for slip resistance and they are water based.”

Tracey Cosgrove of Rosco notes, “Ballet requires a floor that provides stability, especially when on pointe. If you are purchasing a vinyl floor, look for one that provides good controlled slip. You should always consider a sprung floor under whichever vinyl surface you choose.”

Best options for tap classes

"Taps are like hammers; they will mark anything. A bigger concern is loose screws—they’re like little chisels." —Matt Lincir **

According to Jamison, tap is the only dance form that does not have a specific floor. “Any floor that could hold up to tap would be considered a multipurpose floor, and all multipurpose floors are first designed to be tap floors,” he says. “Currently there are finishes for wood and vinyl/Marley floors that are designed for the sole purpose of reducing tap marks and aiding in their removal. These finishes have been used successfully at studios for several years now. Many Marley floors are considered ‘hard Marleys’—they’re specifically designed for multipurpose and percussive dance use. They are very successful in the market and are used far more than wood now. These floors offer several advantages. In many cases they wear as well or better than wood; they require minimal maintenance other than regular cleaning; many are removable; they are not affected by moisture or water; they will not warp or swell like wood; and they will not splinter or need to be sanded. If properly maintained, they have a life span greater than wood’s, and, most important, they cost one-third of the amount of a similar wood floor in both initial expense and long-term maintenance.”

Dagger recommends that schools owners choose a roll-out floor that can take a real pounding, the thickest homogenous, solid (unpadded) sheet vinyl available. If protecting a hardwood floor’s finish is your goal, Reinke suggests laying a Marley-type floor on top of the wood.

As you would when making any significant investment, do your homework before buying a flooring system. And although cost is certainly a factor, don’t jump to the cheapest one just because of price. By the same token, don’t assume that the most expensive is the best for you. Consider maintenance costs over time as well as the initial investment, your individual needs, and possible uses of the floor for the foreseeable future. Many resources are at your disposal, including the Internet, colleagues’ recommendations, and your local dealer—take advantage of them, and make an educated decision about flooring.

  Ask the Experts

 Dance-floor dealers answer frequently asked questions about flooring

Is there a vinyl/Marley floor that can offer the spring dancers need without putting in a subfloor?

The consensus is that a vinyl floor surface cannot ever fully substitute for the benefits of a sprung floor.

Lincir: “There are padded Marley roll-out vinyls, but we don’t recommend them. There may be a point-loading problem, they’re expensive, and they are not a true floating subfloor.”

O’Mara: “One option is to use a vinyl dance surface with closed-cell foam laminated to the bottom. This would give the floor slightly more shock absorption, but it’s not a true sprung dance floor.”

Jamison: “Sprung subfloors are the ideal solution to the problem. There are roll-out floors that provide the injury protection needed for ballet, but we recommend their use only in limited circumstances.”

Dagger: “A vinyl floor with correct padding can work, but roll-out dance floors offer only point elasticity. You need a sprung floor undercarriage to achieve area elasticity.”

Cosgrove: “No vinyl surface can provide enough spring to preserve joint health. Roll-vinyl flooring does not have the ability to accommodate the force of a jump completely safely. You should consider installing a sprung floor.”

Graves: “Some surface floors are softer than others, but that is a byproduct of their design for specific dance styles. Surface floors that provide any significant resilience provide point elasticity only—and typically not a significant amount—which is detrimental to the way most dancers are trained to move.”

Can I take my floor with me when I move my school?

Many flooring systems, including wood and subfloors, as well as vinyls, are manufactured and installed with transportability in mind. When making a purchase, keep in mind your mobility needs; perhaps you have a long-term lease but want to be able to take your floor system with you should you have to move. Perhaps you need a floor that functions in your school but also needs to be taken to different facilities on a regular basis, or even on tour. All of these needs can be accommodated with today’s flooring options.

Sprung floors made up of interlocking panels and cable-tuned systems, as well as roll-out floors that are installed semi-permanently or even just laid loose, can be taken apart and reassembled at a different location. Often these systems can be reconfigured or added to in order to accommodate a bigger or differently shaped space. Built-up or basketweave types of sprung floors are permanent and would have to be left behind if you moved to a new space.

I have a sprung wood floor with a wood surface, but parts are damaged. Can I have sections replaced or do I have to purchase a whole new floor?

Experts agree that in many instances an experienced floor specialist can repair a wood surface. Some of the factors that would come into play: when and how the floor was installed, how many times it has been resurfaced, the overall condition of the rest of the floor, and whether or not the material used is still available. “Although most hardwood is similar in size, the manufacturing process varies greatly and two different types will rarely work with each other,” cautions Jamison.

Dagger notes that repair is easier with butt-joined boards than with mechanically fastened tongue-and-groove constructions. Graves says that repairs to old hardwood floors can also be hard to visually hide. If repair is possible, floor owners should work closely with a professional to get an idea of how it will turn out aesthetically and whether the end result will be satisfactory in their eyes.

I have a wood surface that is often slippery for my dancers. Is there anything I can do about that?
 

“The slip resistance of a wood floor depends on several factors,” notes O’Mara. “The urethane used for a finish is an important element. Once you have selected a good urethane, it must be kept clean. Dust buildup must be prevented—damp mopping is necessary. Furnace filters need to be replaced, especially during the winter months, to further keep dust at a minimum.”

Dagger adds that most wood floors vary from patch to patch. “They also are dependent on finish—sanded, polyurethane lacquer, or nonslip waxes. All these finishes wear and change and, to top it off, some woods are more slippery than others.”

“Slip is best controlled by one of two things outside of regular maintenance,” explains Jamison. “Applying topical treatments that increase the coefficient of friction in order to make a floor less slippery is one option. Proper finishes should be used. We believe that polyurethanes do not offer the proper nonslip characteristics; they are more suited to sports. Acrylics are the preferred finish for dance.”

What do you recommend I clean my floor surface with?

Experts vary on their advice for cleaning wood surfaces. Lincir suggests using a white-vinegar-and-hot-water mixture, wringing out the mop to be just damp before applying it to the floor, and letting it air dry completely. He notes that this cleaning agent will cut through the body oil and sweat that may be on the surface—plus, it’s economical.

Dagger tends to shy away from using any water on bare wood floors, fearing that problems could develop under the seam (swelling, grain lifting, discoloration, and even raising and detaching of the whole floor). He suggests trying the wood cleaners found on the shelves of hardware and home-improvement stores but advises testing a new cleaner first, to be sure it does not leave a slippery residue.

O’Mara recommends using Squeaky Clean by Basic Coatings to clean wood floors (call 800/441-1934 for a dealer near you), while Jamison notes that any wood (or vinyl) floor surface should be cleaned with a neutral, non-residue cleaner, such as Simple Green, Lysol, or products that can be purchased through the flooring company itself. A neutral cleaner is one that is chemically neutral, i.e., the pH is about 7 (the same as water). “Non-residue” means that the cleaner contains no waxes, finishes, or sealants. This information is usually listed on the bottle’s label.

“Vinyl floors,” notes Cosgrove, “should be swept each day and cleaned with a good neutral cleaner at least two to three times per week. Frequency of cleaning depends on how often the floor is used.” Also bear in mind which type of dance is performed on the floor most often, as well as the room’s humidity and temperature.

Flooring Terminology

Floating floor: Similar to a sprung floor (see below) in that the floor can move as it needs to, but only laterally, while a sprung floor can move up and down as well. A floating floor may have direct contact with the existing substructure. A Pergo floor is a type of floating floor.

Marley or vinyl flooring: Vinyl surface flooring. Marley was the name of the company that produced the original vinyl floor for the entertainment industry in Europe. They stopped producing the floors about 1978, but often dancers refer to all vinyl surfaces as “Marley.”

Percussive dance: Any dance type that relies on striking the floor surface, such as tap, clogging, flamenco, and Irish step.

Permanent floor: A permanent part of the facility.

Point elasticity: How much the floor depresses. The higher the point elasticity, the softer the floor; the less the point elasticity, the harder it is.

Point loading: The load a floor can hold at any one point. It is usually measured in psi (pounds per square inch). This is rarely an issue with dance flooring if the customer is dealing with a manufacturer who specializes in dance floors.

Semi-permanent floor: Normally installed using a releasable adhesive that keeps it stable for long periods of time but that can be removed without damaging the floor. Popular with school owners who may need to move their flooring to another facility if their lease expires. A semi-permanent floor can be sprung, vinyl, or a combination of the two.

Sprung floor: Combines a sprung subfloor with a floor surface. A true sprung dance subfloor absorbs energy, returns resilient energy, moves up and down, moves laterally in all directions, and is not attached to any part of the building in any way. A semi-sprung floor has some areas that are not sprung (contact exists between the floor surface and the permanent building structure). An example of a semi-sprung floor is a subfloor built with “sleepers,” wood beams placed on edge on the existing surface. The floor is sprung between the sleepers, but where the it rests directly on the sleeper, it is not sprung and will not have the resiliency that the sprung area has.

Touring floor: Usually a lightweight, resilient, vinyl floor that relaxes easily and stays flat to ensure that a set or stage can be readied in a few hours. Most are intended for highly mobile dance organizations, such as touring companies. Some dance companies travel with sprung floors that are designed to be installed in each theater, over its existing floor. They often cover these sprung touring floors with dance vinyl.

Tips for Purchasing, Installing, and Maintaining a Dance Floor

• To help you select a product, most flooring companies will send you panels or samples of their wood and vinyl surfaces.

• Many taps are made of an aluminum compound. When the tap hits the floor’s surface, the friction creates heat that melts the aluminum onto the floor. What looks like a scuffmark is actually melted metal, which is difficult if not impossible to remove. To protect your wood or vinyl surface, have your students do a “tap check” for loose screws before each class. Have a small screwdriver ready and suggest that your students carry one in their dance bags.

• Placing a vinyl surface floor directly on top of concrete does nothing to protect dancers from stress injuries. An appropriate dance subfloor should also be installed for the safety of your dancers.

• When laying a vinyl floor during the winter months, the floor must be at room temperature for 24 hours before being unrolled. It eliminates the chance that the floor could crack, and the floor will “hug” the floor better.

• Thoroughly vacuum and wash the existing subfloor before rolling out a vinyl surface floor. Debris trapped beneath the vinyl can damage it, and the dancers will feel the lumps under their feet. Cover all screw heads, nails, and other hard-edged protrusions in the subfloor with an appropriate filler, and sand them completely smooth.

• Avoid placing scenery, chairs, tables, or other equipment on a vinyl floor; they may mar the surface finish or even the floor itself.

• Exposure to consistent UV radiation (sunlight) can cause damage to vinyl surfaces and decrease their life expectancy.

• Changes in temperature can cause vinyl to expand and contract.

The following flooring companies and their representatives contributed to this article:

Matt Lincir, Alva’s Dance and Theatrical

Phone: 310/519-1314

Email: info@alvas.com

Website: www.alvas.com

Robert K. Dagger, American Harlequin Corporation

Phone: 800/642-6440

Email: dance@harlequinfloors.com

Website: www.harlequinfloors.com

Joseph Reinke, Dance Equipment International

Phone: 408/267-1446

Email: info@danceequipmentintl.com

Website: www.danceequipmentintl.com

Michael Sean Graves, Entertainment Flooring Systems

Phone: 866/616-3375
Email: info@flooradvice.com

Website: www.flooradvice.com

Ed O’Mara, O’Mara Sprung Floors

Phone: 810/743-8281
Email: office@OmaraSprungFloors.com

Website: www.OmaraSprungFloors.com

Tracey Cosgrove, Rosco USA

Phone: 800/ROSCO-NY

Email: info@rosco.com

Website: www.rosco.com

Sam Jamison, Stagestep

Phone: 800/523-0960 x 101

Email: sam@stagestep.com

Website: www.stagestep.com

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