Creating Safer Dance Spaces: What Good Safeguarding Looks Like in Practice

Safeguarding in dance has never been more important. Although research into abuse in dance remains limited compared with sport, abuse in dance is significantly under researched. This lack of evidence is concerning in itself because it means harmful practices can remain hidden, unchallenged and poorly understood. At the same time, more dancers are now speaking publicly about their experiences, revealing patterns of emotional, physical and psychological harm that have often been normalised within traditional training environments. These accounts highlight the urgent need for safeguarding approaches that move beyond written policy and become embedded in everyday practice.

What is safeguarding?

Safeguarding is defined as “the actions taken to protect individuals from abuse, harm and neglect while actively supporting their health, well-being and human rights” (Cumming et al., 2024).

In dance, this includes addressing the physical and psychological pressures that can arise from authoritarian teaching styles, steep power imbalances and competitive environments. These cultural features can make it difficult for dancers to speak out, even when they feel unsafe or distressed. Over time, such environments may contribute to anxiety, disordered eating, injury and long-term emotional harm.

To create safer dance spaces, safeguarding must be designed and implemented with dancers, teachers, clinicians and other stakeholders across the dance ecology. The following five components outline what effective safeguarding looks like in practice.

1. Visible culture

A strong safeguarding culture must be visible in daily interactions, not hidden within policy documents. Research shows that authoritarian teaching practices, such as public humiliation, body shaming and unquestioned obedience, have become normalised in many dance settings (Milne et al., 2024). These practices blur the line between instruction and harm.

For example, a dancer being told in front of peers that her body is “not the right shape” for a role is not constructive feedback. It is a safeguarding concern. A visible safeguarding culture challenges these norms by modelling respectful communication, encouraging questions and prioritising the dancer’s humanity over performance outcomes.

2. Clear reporting pathways

Dancers need clear, confidential and reliable ways to raise concerns. Yet reporting in dance is often inconsistent or informal, leaving dancers unsure of what to do when something feels wrong. A recent scoping review highlights the need for transparent procedures, clear codes of conduct and safe routes for reporting concerns without fear of reprisal (Dwarika et al., 2025).

Consider a young dancer who repeatedly receives painful hands-on corrections but feels she cannot say no. Without a clear reporting pathway, she may internalise the experience as “normal” or fear being labelled difficult. Effective pathways include designated safeguarding leads, anonymous options and clear explanations of what happens after a concern is raised.

3. Participatory mechanisms

Safeguarding is most effective when dancers are active participants. Participatory mechanisms give dancers a voice in shaping their environment and help build a culture of shared responsibility. Consent is a central part of this. In dance, where physical contact and vulnerability are common, affirmative consent practices help ensure that dancers feel in control of their bodies and boundaries (McMains, 2022).

For instance, a dancer might agree to partner work but decline lifts that feel unsafe. When teachers respect this boundary, it reinforces that dancers’ choices matter. Participatory safeguarding also includes opportunities for dancers to provide feedback, contribute to decision making and engage in conversations about safety.

4. Trained staff and accountability

Safeguarding cannot be effective without knowledgeable and accountable staff. Many dance teachers enter the profession without formal training in pedagogy, child development or trauma-informed practice. This can unintentionally perpetuate harmful methods. Research emphasises the need for training that helps teachers recognise signs of distress, understand the impact of their communication and adopt safer, more supportive approaches (Cumming et al., 2024).

For example, a teacher who understands trauma-informed practice will know that a dancer freezing during a correction may be overwhelmed rather than disrespectful. Accountability structures, such as codes of conduct and clear expectations for behaviour, ensure that safeguarding responsibilities are shared and upheld across the organisation.

5. Monitoring and feedback loops

Safeguarding is not a one-time task but an ongoing process that requires regular review. Monitoring and feedback loops help organisations identify what is working, where gaps remain and how practice can be improved. A systems-based approach to safeguarding highlights the importance of continuous learning and reflection across all levels of the dance environment (Dwarika et al., 2025).

For example, a studio might notice repeated concerns about costume requirements and respond by revising dress codes to prioritise comfort and autonomy. When organisations commit to ongoing monitoring, safeguarding becomes dynamic and responsive rather than static.

For practical activities for the dance studio, check out this post: "Making Safeguarding Visible in the Studio: 3 Activities Every Dance Teacher Should Try"

Why this matters

The consequences of poor safeguarding are significant. Dancers who experience unsafe environments may feel unable to speak out, leading to emotional distress, anxiety, disordered eating and long-term psychological harm. These impacts are not limited to elite settings but can occur across all levels of dance. By embedding safeguarding into everyday practice, the sector can create environments that support dancers’ health, dignity and artistic development.

Call to action

Safeguarding in dance requires collective commitment. Teachers, studio owners, clinicians, parents and dancers all play a role in shaping safer environments. Organisations are encouraged to review their current practices, engage with dancers’ experiences and invest in training that supports trauma-informed, equitable and participatory approaches. By making safeguarding visible, accessible and collaborative, the dance community can move beyond policy and towards meaningful cultural change.

Conclusion

Good safeguarding in dance is not defined by the presence of a policy but by the lived experience of safety within the studio. A visible safeguarding culture, clear reporting pathways, participatory mechanisms, trained staff and ongoing monitoring form the foundation of safe and supportive dance environments. As more dancers speak out about their experiences, the sector has an opportunity to respond with compassion, accountability and action. Creating safer dance spaces is not only a safeguarding obligation but a commitment to the well-being and flourishing of every dancer.

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Written and infographic desgined by Aleksandra Ogorek.

References

• Cumming, J., Nordin-Bates, S. M., Johnson, C., Sanchez, E. N., & Karageanes, S. J. (2024). High time to enhance dancer welfare: A call to action to improve safeguarding and abuse prevention in dance. BMJ Open Sport & Exercise Medicine, 10(2), e001811. https://doi.org/10.1136/bmjsem-2023-001811

• Dwarika, M. S., Jordan-Dewhurst, T., Tidmarsh, G., Kolitsida, M., Sanchez, E., Quinton, M. L., & Cumming, J. (2025). Risk and protective factors for safeguarding and abuse prevent ion in dance: A scoping review. International Journal of Sport and Exercise Psychology, 0(0), 1–27. https://doi.org/10.1080/1612197X.2025.2611828

• McMains, J. (2022). Fostering a Culture of Consent in Social Dance Communities. Journal of Dance Education, 22(4), 256–264. https://doi.org/10.1080/15290824.2020.1851693

• Milne, A., Atkinson, M., Kerr, G., & Stirling, A. (2024). Instructional Practices and Interpretations of Harm: A Qualitative Inquiry with 24 Competitive Dancers. Journal of Dance Education, 25(1), 55–66. https://doi.org/10.1080/15290824.2023.2224799