The University of Utah School of Dance stands as one of the largest and oldest dance programs across the United States, boasting a population of around 200 undergraduates alongside 15 graduate students. Yet, despite training in a prestigious environment, dancers often grapple with significant mental health challenges linked to the sport.
According to a 2014 study conducted by the National Institute of Health, approximately 12% of dancers experience a diagnosed eating disorder, a percentage that rises to 16.4% within the ballet sector. This alarming statistic highlights the mental health crisis that can often plague those dedicated to the discipline of dance. The American Psychiatric Association defines eating disorders as severe disturbances in eating behavior accompanied by distressing thoughts and emotions. The same study found that dancers are three times more likely to develop such disorders compared to their non-dancing peers.
In a recent interview with former and current dancers at the University’s School of Dance, the pervasive presence of diet culture within their program was explored. Despite reporting a generally positive experience at the U compared to other environments, the dancers acknowledged the implicit pressures that accompany the discipline.
Annalise Wood, a junior at the University who divides her time between Ballet West Academy and the U, described dance as both a “physical and mental outlet.” She emphasized the empowerment that comes with pushing oneself in a challenging environment.
However, Wood also candidly shared her struggles with balancing the demands of dance with her personal well-being and academic responsibilities. This sentiment of managing competing obligations was echoed by multiple interviewees, many of whom have dedicated over a decade to their craft. Brielle Boyd, a junior minoring in dance, articulated the pressure to excel from a very young age, describing a studio culture that prioritizes competition.
“There’s very much a company attitude, especially with studio dance,” Boyd mentioned. “If you’re not competing, you’re not super important, you know, you’re just kind of a money bag.” This cutthroat attitude was acknowledged by another alumnus, Benjamin Hannum, who highlighted the pronounced competition among female dancers, contrasting it with the dynamics often seen among their male counterparts.
Gendered competition heavily influences the atmosphere in dance. According to Hannum, while men tend to foster supportive relationships, women often face heightened pressures. “Even if you’re way better than me, we can still be friends. There’s not the same elitism,” he noted. This competitive spirit is exacerbated in professional settings, where dancers face increased scrutiny.
Sara Larsen, currently a fourth-year biomedical engineering student and former professional dancer, recounted the rigorous nature of professional dance environments. Larsen recognized how quickly one learns to navigate a high-pressure atmosphere where mistakes can lead to public humiliation. Despite such challenges, she believes dance is worth the mental and emotional toll it can impose, citing the euphoric feeling that comes from mastering technique.
Outside the University of Utah, the culture surrounding dance can greatly vary between studios and companies, which leads to diverse experiences regarding mental health. Multiple dancers mentioned the pervasive tendency of “tearing themselves down.” Hannum conveyed his ongoing struggles, stating, “You’re always spending time staring in a mirror,” which can skew self-perception, contributing to a negative body image.
Boyd reflected on her experiences with alignment belts—an apparatus used in dance training that can inadvertently highlight physical insecurities. She noted that in her previous studios, these belts would often accentuate insecurities among dancers regarding their bodies, particularly for those who were heavier. “You’re in these tight clothes and you’re not allowed to cover up,” she lamented. “I can learn how to do all this technique and I can be doing it right, but if it doesn’t look good, at the end of the day, you’re still doing it wrong.”
In contrast, many dancers felt that their experiences at the U were considerably more positive. Larsen highlighted, “There’s no diet culture that I experienced, and in my opinion, I think it was definitely one of the most positive dance environments.” Wood echoed this sentiment, mentioning the accessibility of resources such as dieticians and physical therapists that helped maintain a healthy mindset among the dancers. However, she cautioned that stress remains an inherent part of the dance experience.
While the U strives to foster a supportive environment, Wood noted that the larger institution of Ballet West sometimes fails to explicitly acknowledge the toxic elements of diet culture. “Ballet West as an institution doesn’t go out of their way to talk about diet culture as a negative thing,” she explained, yet acknowledged that the U generally commits to promoting a healthy dancer mentality.
Hannum spoke highly of the U’s environment, emphasizing the validation he received from the faculty. He felt a sense of confidence being nurtured there, reinforcing the belief that physical appearance shouldn’t dictate one’s value as a dancer. “You don’t have the perfect ballet body if you have a lot of other great things that companies will like,” he said, contrasting this with experiences at his current company where promotions seem tied to meeting specific aesthetic standards.
Larsen raised a critical question about the potential drawbacks of the flexible grading and attendance policies at the U, suggesting that it may be challenging to produce professional-level dancers without incorporating rigorous standards.
In recognizing the struggle many dancers share with self-image and self-worth, various interviewees cited counseling as an effective coping mechanism in dealing with the intrinsic pressures of dance. Boyd shared that finding a supportive therapist helped her process damaging experiences: “A lot of it is having someone that’s not in dance that doesn’t have that kind of conditioning in their brain,” she said.
Hannum emphasized a mindset of humility and resilience, stressing the importance of making a conscious choice to engage in dance, despite personal insecurities. “It’s accepting that and still going forward with a determination to succeed,” he stated.
Wood articulated her strategies for dealing with the physical toll of dance, such as establishing boundaries and recognizing when to take breaks. She acknowledged the ongoing battle many dancers face with self-worth tied to physical execution within the art form.
Maintaining a healthy perspective around diet culture was another crucial point brought up by Larsen. She encouraged dancers to trust their bodies, reminding them that physical appearance can fluctuate daily. “If you feel like you’re craving something, just have it,” Larsen advised. “You’re just making it so much worse by fighting against your own intuition.”
When reflecting on whether the dance culture could ever fundamentally change, Boyd emphasized the vital role of open discussion and sharing experiences to foster a shift. “Just speaking out about experiences and how they shaped you will be important for actively shifting the whole dance attitude in the United States,” Boyd explained.
Wood urged her peers to advocate for themselves and safeguard their well-being. “A lot of dancers are fighting to change that negative culture,” she said, emphasizing the importance of persistence. “But just because it’s been [like this] for so long doesn’t mean that it should stay the same way.”
As conversations surrounding mental health and body image continue to evolve in the realm of dance, resources are available for students through the University of Utah’s Student Affairs website. It reflects a growing awareness and commitment to ensuring that dancers prioritize their mental well-being while pursuing their passion.
image source from：https://dailyutahchronicle.com/2025/04/19/diet-culture-and-mental-health-at-utahs-school-of-dance/
