In my youth, dance was the very core of my existence. I began my journey at the tender age of two and continued until I turned eighteen. My routine often involved spending three days a week at the dance studio for at least two hours at a time. Fridays were especially dedicated to dance; I would head there right after school and not leave until well after sunset. It was demanding, no doubt, and it dominated my life and my mother’s until I became a teenager and could manage my own transportation.
Fast forward to today, and the world of dance has transformed into something far more intense and demanding than I experienced. The driving force behind this evolution? Competitive dance.
Back in the 90s, competitive dance was not as prominent. Sure, there were competitions, but they lacked the scale and seriousness of today’s events. Now, competitive dance is not merely a recreational activity; it’s a lifestyle that demands significant sacrifices from both the young dancers and their families.
Unlike traditional dance lessons, competitive dance involves extensive training, often on weekends, focusing on various styles including hip hop, jazz, ballet, and contemporary. These young dancers, predominantly girls, are frequently regarded as the “elite” members of their studios, forming specialized teams dedicated to competition. Within these teams, certain dancers are chosen for solos, duets, or trios, alongside their group performances. Competitors prepare a repertoire of dances for the season, which typically spans from September to July, with each performance requiring its own elaborate costume—a far cry from the standard recital attire.
A revealing feature in the New York Times explored a New Jersey dance studio’s competitive team, shedding light on a world that remains largely unknown to outsiders. Despite my years in dance, I had little awareness of the phenomenon that competitive dance has become.
Since its inception in the 1970s, Showstopper—one of the first dance competitions—has evolved from a modest operation out of a station wagon to a massive enterprise. By 2016, approximately 52,000 dancers were participating in Showstopper alone, necessitating a semi-truck just to transport the trophies.
The explosion of competitive dance in recent years can be traced back to the popular Lifetime show, Dance Moms, which premiered in 2011. Many of the young performers featured have gained significant recognition and loyal fan bases. While the show does portray the competitive scene in an appealing light, complete with all the accompanying drama, it’s understandable why so many girls are drawn to the challenge. The talent and drive exhibited by these dancers are undeniably impressive.
To gain further insight, I spoke with two real-life “dance moms.” While their experiences are unique, there are commonalities. First and foremost is the financial commitment. Linda, a mother of two girls aged five and seven (with some dancers starting as young as four), spends around $2,500 annually on costumes, competition fees, and private lessons for solos. This cost is in addition to the $2,700 spent on dance school tuition, not to mention expenses for travel and accommodations.
Another mother, a colleague of mine, reports an annual expenditure of $8,000 to $9,000 for her tween daughter, who began competing at five. Some costumes can exceed $400 due to custom designs and intricate embellishments. These outfits make the typical recital costumes look almost understated. If a child competes in multiple dances, the expenses can quickly add up, potentially leading to a financial shock.
“Children in this arena are like gladiators. The intensity, strategic maneuvering, and the focus on winning are all part of the game,” stated Jason Smith—a tap dancer, competition judge, and instructor at the New York City Dance Alliance. His observation rings true; these young performers are dedicating a significant amount of time and effort to their craft. For some, this amounts to a job-like commitment, with anywhere from 10 to 30 hours of rehearsals each week, including Saturdays. A single dancer might perform in as many as ten routines during one competition.
The group performances alone are demanding, but the individual routines add another layer of complexity. The sheer time commitment can be overwhelming, especially when balanced against school and homework responsibilities.
This situation raises an important question: when do these children find time to socialize? During competitions, dancers often find themselves crammed into small backstage areas in hotels or convention centers for up to 12 hours a day, sometimes over multiple days. Their options are limited to practicing, watching the competition, or nervously waiting for their turn.
The stress can be substantial. Even though these girls are part of a team, they are also competing against one another. One moment they are united, and the next, they are vying against friends in solo categories. While not every child experiences cut-throat competition within their studio, it’s easy to see how feelings of jealousy and rivalry can arise. With ages ranging from 7 to 17, it’s not surprising that emotions can run high.
One mother shared that her daughter’s dance studio was rife with drama. Although she recognized the pressures involved, she felt that deviating from the norm could lead to social repercussions. “I knew I should have said no,” she confided. “But it’s a game of psychological warfare.” After taking a year off to focus on mental health, her daughter returned to competition on a modified schedule.
However, this isn’t the case for all studios. Emma, another mother, reported that her daughters’ studio fosters a positive environment. “Even when the instructors are strict, they maintain a level of kindness. And it’s rare for moms to lose their temper—maybe just at their own kids occasionally, but nothing like what you see on Dance Moms.” While tears may flow when mistakes happen, the overall support within the studio is strong.
It’s astonishing to think that a twelve-year-old girl might need a mental health break from something that should primarily be enjoyable. The reality is concerning; many studios perpetuate an atmosphere of stress and competition. Should young girls, who should be dancing for joy, be pushed to their emotional and physical limits? And for what? A trophy? Recognition? For every standout dancer like Maddie Ziegler, there are countless others who never advance beyond amateur competitive dance.
So, the critical question remains: Is it worth it? If you are interested in exploring more about fertility options, you can check out this fertility booster for men. For a deeper dive into the complexities of modern dance, visit this authoritative source on the topic.
In summary, the competitive dance circuit today is a far cry from traditional dance classes. It demands extensive time, financial investment, and emotional resilience from young dancers and their families. As we reflect on the pressures faced by these children, we must consider if this intense commitment truly enriches their lives or detracts from the joy of dancing.