###### Abstract  
Background/Objectives: Dancers require adequate nutrition support for growth and development during the pre-professional stage, as well as to fuel classes and rehearsals and to enhance performance for both pre-professional and professional dancers. The aim of this study is to understand the energy status and diet of pre-professional and professional dancers in the genres of ballet, contemporary, musical theatre, and opera. Methods: Electronic databases (\(n=9\)) and grey literature were searched for primary studies with no time limit. Screening and data extraction were completed by two reviewers. Results: Twelve studies were included for pre-professional (\(n=7\)) and professional (\(n=5\)) dancers. The genres identified were ballet (\(n=11\)) and contemporary (\(n=1\)), with no studies on musical theatre or opera. Studies on pre-professional ballet and contemporary dancers indicated a negative energy balance and low energy availability. Pre-professional ballet dancers had lower energy intakes than professional dancers. Professional dancers had lower BMI and body fat percentages. Macronutrients were mostly reported using the acceptable macronutrient distribution range for carbohydrates (38-56%E), protein (12-17%E), and total fat (26-42%E). Iron and calcium were the main micronutrients of concern. Conclusions: Accredited sports dietitians are recommended to support pre-professional and professional dancers to optimize their diet for health and performance. Further investigation is needed to quantify and assess dancers' dietary intake using sports nutrition guidelines for reference. dance; pre-professional; professional; ballet; contemporary; musical theatre; opera; performing arts; nutrition; diet; energy status +
Footnote †: This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license ([[https://creativecommons.org/licenses/by/4](https://creativecommons.org/licenses/by/4)]([https://creativecommons.org/licenses/by/4](https://creativecommons.org/licenses/by/4)). the end of class with allegro and coda, where jumps and turns are executed with explosive power [4]. Contemporary classes consist of continuous moderate intensity movement with fewer rest periods [4]. Musical theatre and opera productions may consist of intermittent bursts of moderate to high intensity activity, but the volume and intensity are highly dependent on the main genre and repertoire of the production. To achieve pre-professional status and pursue a career in dance, dancers train for several years from childhood to strive for technical precision. Pre-professional and professional dancers have long working days consisting of classes, conditioning, and repertoire five to seven days a week [5; 6]. This often leaves very little time for rest or meal breaks, further increasing the challenges of maintaining adequate nutritional intake. This is of particular concern during pre-professional years when dancers are undergoing significant growth and development [7]. Once a show is in production, the schedule usually consists of matinee and evening performances, with up to eight shows per week for certain genres. Productions may also tour nationally or internationally, which can introduce additional barriers in achieving nutritional adequacy, such as food unfamiliarity or scarcity [8]. Meas may be catered for on double show days, which may not be conducive to performance as dietitians typically have no input. The complexity of defining energy needs within the art form, coupled with aesthetic ideals, means that dancers may be unable to achieve nutritional adequacy to support their training and performance demands. The unique pressures of the craft to achieve certain physiques that are considered advantageous for career progression also place dancers at an increased risk of engaging in disordered eating behaviors and developing eating disorders [9]. In their systematic review and meta-analysis, [PERSON] et al.