When I was growing up, dance was the focal point of my existence. I began taking lessons at the age of two and continued until I turned eighteen. My routine involved spending three days a week at the dance studio for at least two hours each session, with Fridays dedicated entirely to dance, often lasting until nightfall. It was a demanding schedule that took over my life and, by extension, my mother’s until I became a teenager and could manage my own transportation.
Today, however, the world of dance has evolved into something far more intense and demanding. The primary driver behind this shift? Competitive dance.
Back in the 90s, competitive dance was a relatively niche activity. While competitions existed, they were not nearly as widespread or elaborate as they are now. Currently, competitive dance has transformed into a lifestyle that necessitates significant sacrifices from both the young dancers and their families.
Unlike standard dance classes, competitive dance involves extensive training, typically on weekends, and includes various styles such as hip hop, jazz, ballet, and contemporary. Young dancers—most often girls—are often regarded as the “elite” members of their studios, with teams that focus exclusively on competition. Within these teams, certain performers are selected for solos, duets, and trios, in addition to group dances. Each team prepares a diverse repertoire for the competition season, which spans from September to July. Each dance requires a unique costume, generally much more extravagant than typical recital attire.
A New York Times article provided an insightful look into a competitive dance team at a New Jersey studio, revealing a world that remains largely hidden from outsiders. Despite my background in dance, I was unaware of the extensive phenomenon that competitive dance has become.
Showstopper, one of the first competitions launched in the 1970s, has seen remarkable growth since its inception, evolving from a simple operation in the back of a station wagon to a massive event. As of 2016, approximately 52,000 dancers took part in Showstopper, necessitating a semi-truck just to transport the trophies.
The competitive dance scene has exploded in popularity, particularly since the debut of the Lifetime show Dance Moms in 2011. Many young dancers featured on the program have experienced significant career advancements due to the exposure, amassing dedicated fan bases. I must confess that the show does portray the competitive dance world in an attractive light, replete with drama. It’s no wonder so many girls aspire to compete; the talent and determination displayed by these performers are undeniably captivating.
To better understand this environment, I connected with two real-life “dance moms.” While their experiences are unique, certain aspects resonate universally. First and foremost is the financial burden. Emma, a mother of two daughters aged five and seven (with some girls starting competition as young as four), spends around $2,500 on costumes, competition fees, and private lessons for solos. This figure doesn’t even account for the $2,700 she has already invested in dance school tuition or expenses related to travel and accommodations.
Another parent, Sarah, who has a tween daughter, reports an annual expenditure of $8,000 to $9,000 on competitions, noting that her daughter began competing at the age of five. Some costumes can soar to over $400 due to custom designs and embellishments, turning traditional recital wear into show-stopping ensembles. With each dance requiring its own costume, the financial implications can be staggering—especially for multiple routines.
“These kids are like gladiators,” remarked Jacob, a tap dancer and competition judge with New York City Dance Alliance. He accurately captures the intense atmosphere of the competition where strategy, dominance, and psychological games are at play. The commitment these young dancers make is akin to holding a job, often requiring between 10 and 30 hours of rehearsal per week, including Saturdays. A single dancer may be involved in up to seven group dances, along with a solo, duo, or trio, resulting in a staggering workload of ten dances per competition.
The pressures of group and individual performances create an overwhelming time commitment, all while managing schoolwork and social lives. Which raises the question: when do these children find time to relax with friends? During competitions, they often find themselves crammed into small backstage areas at venues like hotels and convention centers for long hours, sometimes spanning several days, with little to do but practice and watch.
The anxiety levels can be high. Although they are part of a team, these girls also compete against each other. One moment they may be collaborating, and the next moment they’re vying for top spots in solo categories. While not all teams foster cutthroat competition, it’s easy to see how feelings of rivalry and hurt can arise. Many of these young dancers, aged from seven to seventeen, can experience emotional turmoil, particularly when their self-worth becomes intertwined with competition outcomes.
One mother acknowledged the drama prevalent at her daughter’s dance studio, realizing it could be overwhelming, especially for younger dancers. She felt that deviating from the norm could lead to serious repercussions, expressing concern that pulling her daughter from any one dance could result in being ostracized.
“I wish I had said no,” she confided. “But it’s all a big mind game.” After taking a year off for mental health reasons, her daughter has returned to competition, albeit on a modified schedule.
However, it’s important to note that not every dance studio operates in such a high-pressure environment. Laura shared that her daughters’ studio is generally a supportive space, where even the strict instructors maintain kindness. While tears may flow after mistakes, the overall atmosphere is one of encouragement, devoid of the toxicity often depicted in Dance Moms.
It is astonishing to think that a twelve-year-old girl needs to take a mental health break from an activity meant to be enjoyable. It raises a troubling question: should young dancers, whose passion for their art should bring happiness, be pushed to emotional and physical extremes? All for the sake of trophies or recognition? For every Maddie Ziegler, countless others remain in the amateur ranks of competitive dance.
So, is it all truly worth it?
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In summary, competitive dance today is a vastly different experience from traditional dance classes, characterized by intense commitment and pressures. While it can be rewarding, it often comes at a significant emotional and financial cost, raising questions about the true value of such an endeavor.