Competing for Creativity: How Dance Competitions Shape Aesthetics and Industry Trends
Main Article Content
Abstract
This article examines how dance competitions globally influence aesthetics, education, and industry dynamics. Spanning from local to international stages, these events provide crucial platforms for dancers to showcase talents, receive feedback, and gain recognition. By fostering technical excellence and encouraging creativity, competitions drive stylistic innovation and shape audience perceptions of dance. They also promote cultural exchange, enriching the diversity of dance forms and deepening appreciation for global artistic expressions. Ultimately, dance competitions are pivotal in pushing the boundaries of artistic achievement and engaging audiences in the evolving world of dance. The objective of this article is to explore and analyze the multifaceted impact of dance competitions on the evolution of dance as an art form, influencing aesthetics, education, and industry dynamics worldwide. These events provide platforms for dancers to showcase talents, receive feedback, and gain recognition from local to international levels. Competitions drive technical excellence through rigorous training and structured evaluations, fostering stylistic innovation and cultural exchange among participants. However, they also operate within a commercial framework, generating revenue through fees and sponsorships, which can sometimes conflict with educational goals and artistic integrity. The article aims to discuss how competitions influence aesthetics, education, and industry dynamics globally, highlighting the benefits and challenges they present. Despite their benefits in promoting creativity and career opportunities, competitions can foster unhealthy competition and impose physical and psychological strains on dancers. Balancing these dynamics is essential to preserve dance's authenticity while harnessing its potential for continual artistic growth and audience engagement.
Article Details

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
References
Hanna, J. L. (1988). Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire. University of Chicago Press.
Foster, S. L. (1997). Choreographing History. Indiana University Press.
Kealiinohomoku, J. (2001). An Anthropologist Looks at Ballet as a Form of Ethnic Dance. In Moving History/Dancing Cultures: A Dance History Reader (pp. 33–43). Wesleyan University Press.
Dodds, S. (2011). Dance on Screen: Genres and Media from Hollywood to Experimental Art. Palgrave Macmillan.
Krasnow, D. H., & Chatfield, S. J. (2009). Dance Science: A Growing Field for Healthy Dancers. Kinesiology Review, 1(1), 10-21.
Lakes, K. D. (2005). The Value of Competitive Dance Education in the Development of Physical, Cognitive, and Social Skills in Young Children. Journal of Dance Education, 5(1), 30-38.
Walker, I. J., & Nordin-Bates, S. M. (2012). Talent Identification and Development in Dance: A Review of the Literature. Research in Dance Education, 13(2), 125-145.
Pickard, A. (2012). Schooling the dancer: The evolution of an identity as a ballet dancer. Research in Dance Education, 13(1), 25-46.
Ericsson, K. A., Krampe, R. T., & Tesch-Römer, C. (1993). The Role of Deliberate Practice in the Acquisition of Expert Performance. Psychological Review, 100(3), 363-406.
Walker, I. J., Nordin-Bates, S. M., & Redding, E. (2010). Talent identification and development in dance: A review of the literature. Research in Dance Education, 11(3), 167-191.
Pickard, A. (2006). Ballet body belief: Perceptions of an ideal ballet body from young ballet dancers. Research in Dance Education, 7(2), 139-153.
Risner, D. (2010). Dance Education Matters: Rebuilding Postsecondary Dance Education for the 21st Century. Arts Education Policy Review, 111(4), 123-135.
Hamilton, L. H. (1998). Advice for Dancers: Emotional Counsel and Practical Strategies. Jossey-Bass.
Wulff, H. (1998). Ballet across Borders: Career and Culture in the World of Dancers. Berg Publishers.
Risner, D. (2014). Revolutionary Pedagogy in Dance: The Quest for Empowerment. In Contemporary Directions in Dance Pedagogy.
American Psychological Association. (2019). Stress in America: Stress and current events. Retrieved from https://www.apa.org/news/press/releases/stress/2019/stress-america-2019.pdf
National Center for Education Statistics. (2020). Diversity and equity in education. Retrieved from https://nces.ed.gov/programs/raceindicators/indicator_rec.asp
Risner, D. (2014). Bullying in Dance: Experiences and Impact in Dance Education. Journal of Dance Education, 14(4), 115-123.
Ziegler, M. (2017). The Maddie Diaries: A Memoir. Gallery Books.
Wulff, H. (1998). Ballet Across Borders: Career and Culture in the World of Dancers. Routledge.
Morgan, K. (2020, October 8). Why I Left the New York City Ballet. YouTube. Retrieved from https://www.youtube.com/watch?v=lXXF1J9U5OI
Jacobs, C. L., Hincapié, C. A., Cassidy, J. D. (2018). Musculoskeletal injuries and pain in dancers: A systematic review update. Journal of Dance Medicine & Science, 22(3), 112-125.
Foster, S. L. (2009). Worlding Dance. Palgrave Macmillan.
CBC News. (2021, June 12). The Business Behind Youth Dance Competitions. Retrieved from https://www.cbc.ca/news/canada/youth-dance-competitions-1.6059601
Adshead-Lansdale, J. (1999). Dance History: An Introduction. Routledge.
Manning, S. (2020). Judging Dance: How Subjectivity Shapes Competitive Outcomes. Dance Research Journal, 52(3), 14-30.
Schloss, J. G. (2009). Foundation: B-boys, B-girls and Hip-Hop Culture in New York. Oxford University Press.
Gupta, S. (2020). Cultural Appropriation in Dance: A Critical Analysis of Western Representation of Bharatanatyam. South Asian Dance Journal, 12(1), 45-58.
One Dance UK. (2020). Healthier Dancer Programme: Mental Health in Dancers. Retrieved from https://www.onedanceuk.org/programme/healthier-dancer-programme/
Desmond, J. C. (1997). Meaning in Motion: New Cultural Studies of Dance. Duke University Press.
Wainwright, S. P., Williams, C., & Turner, B. S. (2005). Fractured Identities: Injury and the Balletic Body. Health, 9(1), 49-66.