This paper seeks to illuminate the challenges of integrating new technologies in private sector dance education and explores the formation of digitally mediated identities in adolescent female dancers. Autoethnographic research is supported by Foucauldian theory as well as surveillance and social media scholarship. Research examines how the imagined audience, produced by live-streamed closed-circuit television (CCTV), perpetuates the status quo in systems of Western concert dance education and creates new dimensions in dance competition culture. The values of the dominant class are embedded in institutional systems of training. Structural systems of oppression exclude marginalized groups and maintain the status quo. The argument is extended to include how the imagined audience produced by social media plays a role in reinforcing dance's established exclusionary aesthetic, as dancers create online identities to meet perceived audience expectations and build cultural capital. The discussion explores ways in which the imagined audience exacerbates current concerns in the field of dance education. Existing socioeconomic and institutional barriers perpetuate patriarchal values and reinforce gender expectations. In a post-pandemic world, teachers and students will negotiate new dimensions in dance education produced by manifestations of surveillance as this technological mediation will continue to be the norm.