“So You Think You Can Dance” (SYTYCD) has undeniably been a monumental force in advocating for and elevating dance over the last two decades. It has ignited inspiration in a new generation, seamlessly weaving dance back into the fabric of popular and artistic culture. The evolution is evident when comparing Broadway shows pre- and post-SYTYCD. The stark contrast between traditional Golden Age musicals and contemporary, choreography-driven productions like “Jagged Little Pill” and “Hamilton” underscores SYTYCD’s impact.
On the surface, SYTYCD resembles a typical reality competition show, akin to “American Idol.” However, under the guidance of producer and long-time judge Nigel Lythgoe, himself a seasoned dancer and choreographer, SYTYCD transcended mere competition. It transformed into an artistic endeavor, prioritizing the creation of high-caliber dance pieces and nurturing the growth of its dancers into exceptional artists. This ethos was solidified when the prize shifted from “America’s Best Dancer” to “America’s Favorite Dancer,” emphasizing that audience preference, while valid, differs from objectively defining “best” in the realm of art. As Nigel Lythgoe eloquently stated, “we don’t vote dancers off this show, we vote dancers on…”
Season 18 of SYTYCD, however, marks a noticeable shift, prompting a critical look at its current direction. While the talent of the dancers remains undeniable – arguably showcasing some of the best contestants in the show’s history – and the judging panel is composed of beloved SYTYCD alumni, including Alison Holker and Maksim Chmerkovskiy, alongside the vibrant JoJo Siwa and, initially, Comfort Fedoke, fundamental changes to the show’s format raise concerns.
The Judges’ Panel and Evolving Show Format
The So You Think You Can Dance 2024 Judges, Alison Holker, Maksim Chmerkovskiy, and JoJo Siwa, bring a wealth of experience and passion to the judging table. Alison Holker, known for her dynamic contemporary style and infectious energy, is a SYTYCD All-Star who has carved a successful career as a dancer, choreographer, and TV personality. Maksim Chmerkovskiy, a ballroom dance icon, adds his sharp eye for technique and charismatic personality to the panel. JoJo Siwa, representing a younger generation of dance enthusiasts, infuses the show with her signature enthusiasm and broad appeal. Comfort Fedoke, who appeared during the audition phase, is also a respected figure in the dance community, known for her hip-hop expertise.
Despite the esteemed panel of so you think you can dance 2024 judges, Season 18 has implemented changes that deviate from the show’s established strengths. The initial auditions felt curated and limited, lacking the sense of broad discovery that characterized previous seasons. The absence of the iconic “L.A. Week” is a significant loss. This week traditionally showcased dancers grappling with diverse styles, pushing their boundaries, and demonstrating rapid growth. Instead, Season 18 presented only two group audition numbers, seemingly within the dancers’ comfort zones, and with unclear elimination processes leading to a drastically reduced contestant pool.
The lack of transparency regarding eliminations is particularly concerning. SYTYCD has historically celebrated diversity, featuring dancers of various body types and abilities. This season introduced Kaylee, a wheelchair user with Ehlers-Danlos syndrome, who delivered a powerful audition. While celebrated initially, her subsequent disappearance without explanation raises questions about the show’s commitment to showcasing diverse journeys, especially given similar experiences with other talented dancers from varied backgrounds.
Shift in Focus: Real-World Challenges vs. Artistry
Season 18’s format further compresses the competition. A top 10 was selected, already a significant reduction, and then two dancers were eliminated in the first week, followed by another two in the second, leaving only six contestants within the initial two weeks. This rapid elimination pace deprives viewers of the opportunity to connect with and appreciate the individual artistry of many dancers.
The stated rationale for these changes is to focus on “finding dancers who could work in the real world right now and give them real-world challenges.” This has manifested in challenges like music video shoots in week one and a Broadway-style routine in week two. However, these challenges, while relevant to commercial dance, arguably fall short of the rigorous demands of past SYTYCD seasons. Previously, dancers faced the intense pressure of learning complex duets in diverse styles with minimal rehearsal time – a far more accurate reflection of the demands of a professional dance career. Three days to learn a short Broadway routine seems generous compared to the typical pace of professional productions.
Moreover, limiting the weekly performances to primarily group numbers diminishes the focus on individual artistry and the creation of compelling dance pieces. The introduction of “house drama,” seemingly staged and superficial, further detracts from the core essence of SYTYCD – the celebration of dance artistry. While the contestants themselves appear to be fostering a supportive environment, this manufactured drama feels like an unnecessary diversion from the dance performances.
The absence of a live audience for performances, except during eliminations, creates a sterile atmosphere, transforming the show into a competition devoid of the energy and emotional connection that live reactions provide. The elimination of audience voting further reinforces this shift away from a communal celebration of dance, making the experience feel more like a prolonged job interview than an artistic showcase.
Reclaiming the Artistry of SYTYCD
The strength of SYTYCD has always been its dedication to artistry and its ability to move audiences through dance. To recapture this essence, a return to prioritizing individual performances, in-depth exploration of choreography, and showcasing the artistic decision-making process is crucial. Allowing viewers to truly connect with the dancers and their journeys, beyond superficial challenges and manufactured drama, is essential. The so you think you can dance 2024 judges have the expertise to guide this course correction, emphasizing artistic growth and meaningful feedback over contrived reality TV tropes.
Knowing the profound impact SYTYCD has had on the dance world, these changes are disheartening. The show holds a unique position in global dance culture, serving as a vital platform for cultivating new talent and inspiring future generations. A return to the core values of artistry and audience engagement is paramount to ensuring SYTYCD’s continued relevance and positive influence on the dance world. There is still time to refocus and redirect Season 18 towards celebrating the true power and beauty of dance.
