Commercial dance is constantly evolving – influenced by music trends, fashion, and what we see on stage and screen. I recently chatted with a good friend of mine, Yazmin Harcourt, former Commercial Co-ordinator and Assistant Creative Director at Shockout Arts in Manchester. She reminded me how, years ago, artists like Britney Spears, Janet Jackson and Missy Elliott had a huge influence on the style – shaping everything from choreography to performance quality.
Fast forward to today, and with music from artists like Tyla, Chris Brown, Beyoncé and Tate McRae, the look and feel of commercial has shifted again, with changes not only in movement but also in the way dancers present themselves through fashion.
This is what makes commercial dance so exciting to teach – it keeps us on our toes. But underneath the trends, teachers still need a strong class structure that builds foundations while allowing room for creativity and performance. Here’s a framework you can use when planning your commercial classes:
Commercial Dance Class Structure
1. Warm-up (10 minutes)
Start with a high-intensity warm-up to build stamina and prepare the body for powerful, dynamic movement. This could include cardio-based drills, simple choreography, or bodyweight exercises. It sets the energy for the class and helps dancers prepare for the sharp execution commercial demands.
2. Drills (10–15 minutes)
Yazmin shared how she often uses a combination of focused drills to build key skills:
- Static isolations – working through head, shoulders, ribs, and hips with control and precision.
- Fluidity sequence – encouraging smooth transitions and contrast to the sharper, hard-hitting work.
- Bounce sequence – developing groove and rhythm so dancers don’t lose musicality in the chase for power.
- Core and strength work – planks, balance exercises, or dynamic conditioning to support strong lines and stamina.
3. Across-the-floor / travel work (optional, 5–10 minutes)
If you’ve got the space, add short sequences across the floor to practise transitions, directional changes, and projection. This helps dancers learn how to “fill” a stage.
4. Choreography (20–25 minutes)
The heart of the class. Choose music that reflects what’s current while still offering variety – commercial should stretch versatility. One week could be sass-driven, another could lean into lyrical or Afro-inspired grooves, depending on the music. Encourage dancers to connect with the intention behind the choreography, not just the steps.
5. Performance rounds (5 minutes)
Break the group down into smaller sections and let them perform for one another. This is invaluable for building confidence, stage presence, and the ability to adapt under pressure.
6. Cool down & stretch (5–10 minutes)
Finish with mobility and stretches, bringing the energy down safely and giving dancers time to reset.
Final Thoughts
Artists like Missy Elliott, Janet Jackson, and Michael Jackson showed us years ago how central dancers are to the commercial world – not just as background performers, but as the muse that brings the creative vision of music and choreography together to make a performance come to life. These artists truly supported their dancers and provided a platform for them to shine.
Dance has always been a vital part of the industry, used to enhance an artist’s vision – but as Yazmin reminded me, it can still be underappreciated as both an art form and a technique in its own right. By giving our students both structure and inspiration, we can make sure the next generation of commercial dancers are ready to take up that space with confidence.
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