From backup to bankable: How dancers are owning the stage

Dance is very central in our lives,” Joseph Walugembe, then director of the National Theatre, once said at the opening of the Dance Week Festival. The remark was taken lightly until he added: “As humans, we dance ourselves into life and sadly out of it.”

Silence engulfed the auditorium, before a burst of laughter, probably after the audience had made mental translations into local languages.

That was when the world was still a little innocent. Today, dance is not what lies between life and death, it is a matter of life and death as it has become the cash cow for some. Elite dancers charge up to sh30m for a full performance.

Dance stars like Hyper Kids and Wembley Mo have gained fame and financial success through dance, securing endorsement deals and choreographing for major artistes.

Whether as choreographers, backup dancers or even social media influencers, dance has become a lucrative career path. With musicians increasingly relying on dancers to add energy and spectacle to their performances, the demand for skilled movers has never been higher.

“When I started dancing, I never thought it could be a career, but now, through social media, I have got gigs and even worked with some big artistes. Dance pays,” Abdi Charity, a professional dancer, says.

Positioning yourself for success

Success in dance starts with skill and dedication, but positioning yourself strategically is just as important.

To stand out, dancers must build a strong portfolio, attend auditions and consistently network with artistes, event organisers and brands.

Social media platforms like TikTok, Instagram and YouTube have also become essential tools in showcasing talent and gaining recognition. Many musicians and event organisers now scout dancers from social media.

“I got my first paid gig because a musician saw my dance video on Instagram. You just have to be consistent and creative,” Angela Namuli, a choreographer, says.

Joining dance crews or training under experienced choreographers can also provide exposure.

Many leading choreographers today, such as Valentino Richard Kabenge and Roz Merie, started by backing up artistes before making names for themselves. Being affiliated with reputable dance groups can open doors to high-profile gigs, both locally and internationally.

“Being part of a dance crew helped me a lot. We trained together, pushed each other, and now, some of us are performing internationally,” Moses Kasule, a dance crew member, says.

Rehearsal process and programme structure

The journey to a breath-taking stage performance begins long before the spotlight hits. It starts with a briefing, where the musician or choreographer shares the creative vision.

Afterwards, the choreography development phase kicks in, with starting steps and sequences crafted to match the rhythm, energy and theme of the music concert. Once the routine is set, dancers enter group training, where precision, uniformity and synchronisation become the focus.

“People see us on stage and think it is easy. But we spend hours rehearsing, sweating and sometimes even getting bruises just to perfect every move. The rehearsal process varies for each artiste, but it typically lasts around three to four months,” Macha Ug, a professional dancer, says.

As the performance nears, dress rehearsals introduce full-costume run-throughs, helping dancers adjust to stage conditions, lighting and the high-energy atmosphere of a live show. The final days are dedicated to last-minute refinements, where every movement is polished, every transition is sharpened and every ounce of nervous excitement turns into fuel for the big moment.

The dance industry in Uganda faces several challenges. Weak structures governing the sector leave dancers without proper representation or policies to protect their interests, while limited performance opportunities make it difficult for them to showcase their talent and earn a sustainable income.

“Many dancers struggle to make a living because the industry lacks financial backing and structured platforms for consistent work,” says Joseph Joshua Segawa, the CEO of Trojan Dancers and a renowned dance coach.

Additionally, dancers often battle stereotypes that paint them as gangsters rather than professionals, further diminishing their credibility and opportunities.

“People do n0t see dance as a serious career; they assume we are just street kids wasting time, yet we put in as much effort as any other art form,” Segawa adds.

The media’s limited coverage of dance, even when Ugandan dancers achieve international success, also stifles industry growth.

Segawa perhaps assumes the coverage the Triplets Ghetto Kids got at the America Got Talent search and other platforms was not enough.

Furthermore, the lack of dedicated training spaces forces many dancers to rehearse in substandard conditions, affecting both their progress and overall performance quality.

“We have world-class talent, but without the right infrastructure and support, it is hard for dancers to reach their full potential,” Segawa says.

Opportunities in dance

For dancers, the possibilities to turn passion into income are diverse.

“I always wanted to be a dancer, but I never knew there were so many ways to make money from it until I started teaching and choreographing,” Macha Ug says. One of the most lucrative ways to earn as a dancer is through performance.

Music videos are a popular choice, where artistes hire dancers for high-energy shoots. Similarly, dancers can showcase their skills as backup performers during concerts and tours. The spotlight also shines on stage performances and theatre, with dancers appearing in plays, musicals and other showcases.

“Traditional and cultural events offer the chance to present both contemporary and traditional dances at festivals. Earnings in these roles often depend on whether the engagement is per performance or a long-term contract,” Abdi Charity says.

“Dancing at cultural festivals has given me a chance to travel the world while doing what I love,” Brenda Kyomuhendo, a cultural dancer, says.

For those who enjoy teaching, dance classes and workshops present another viable option. Becoming an instructor at a dance studio is a common choice, and there is also the opportunity to teach online dance classes via platforms like Zoom or social media. Private coaching opens doors for one-on-one training with individuals, including high-profile celebrities or pageant contestants. Teaching can be highly profitable with hourly fees, private lesson rates, or subscription-based classes.

“I started teaching dance classes as a side hustle, but now it is my main job. Students keep coming because they love the experience and learn valuable skills,” Valentino says.

Risks in the dance industry

The physical demands of dance can lead to injuries such as sprains, muscle tears and fatigue. Dancers must prioritise proper warm-ups, stretching and conditioning to prevent injuries.

“I injured my ankle once, and it took me months to recover. Now, I never skip warm-ups before any session,” Peter Lwanga, a professional free-lance dancer, says.

Job instability is another risk because many dancers work as freelancers, meaning income is not always consistent.

However, those who brand themselves well and diversify their income streams through teaching, choreography and social media influencers can build stable careers.

Gains from dance

Josh Trojans: Dance has given me the ability to empower the youth by providing jobs. Many young people now survive through dance, earning an income and improving their lives. Through dance, I have built strong networks, met influential people and gained access to opportunities I never imagined. It is more than just movement, it is a gateway to success.

Wembly Mo: Dance has taken me to different countries, allowed me to make a good living, and given me much love and trust from people. I have built great friendships and learnt to be social within my community. Giving back is important to me. Through my foundation, I support and mentor vulnerable children, giving them a second chance at life. My charges for performances depend on the concept, but on average, I charge sh30m covering choreography, costumes, dancers’ payments and rehearsal facilitation.