Behind the Scenes: How We Prepare for Dance Competitions

Preparing for a dance competition looks glamorous from the outside – the lights, the costumes, the adrenaline. But behind every polished performance is a process that is structured, intentional, and built on months of disciplined work. At Dance Culture Studios, our approach is equal parts planning, artistry, athletic training, and team culture. This article takes you behind the curtain of how we prepare our dancers to stand confidently on any stage, anywhere in the world.

1. Planning the Year: The Foundation of Everything

Every competition season starts long before the music drops. We work with an annual calendar that aligns with:

• the age groups and goals of our dancers,

• the competitions that make sense for their development,

• and the outcomes we want to achieve.

Yes, the calendar has structure, but it needs flexibility. Each studio year brings different learners, different strengths and different logistical realities. A good competition plan bends where necessary without losing clarity.

Once the competitions are selected, we map the timeline backwards. This gives us a long-range view of rehearsals, concepts, admin, coaching, and all the moving parts that shape the journey.

2. Understanding the Rules: It’s Not Optional

Before a single move is created, we study the competition from top to bottom. That includes:

• official rules and regulations,

• judging criteria,

• stage dimensions and lighting,

• the level and style of dancers who typically enter,

• and the culture of the competition.

We visit the website. We comb through their social media. We watch past videos. We analyse what works and what falls flat. This avoids surprises later and allows us to set choreography that plays to our strengths and aligns with what judges actually reward.

Competitions differ. Some lean heavily on technique. Some look for fusion styles. Some reward storytelling, musicality or entertainment value. We take all of this into account long before the first rehearsal.

3. Choosing the Team: More Than Just Talent

Team selection is a thoughtful process. We consider:

• individual strengths and weaknesses,

• technical skill,

• performance quality,

• work ethic,

• the chemistry between dancers,

• and the goals of each student.

A competition team must make sense on paper and on the floor. We don’t simply choose “the best dancers” – we choose the right dancers for the right routine. A brilliant dancer in the wrong formation is still the wrong dancer for that item.

Once the team is set, the creative engine starts running.

4. Concept, Music and Costumes: The Creative Core

Choosing the theme, music, story and look is always one of the most exciting stages. But it’s not random. It is:

• guided by the competition requirements,

• shaped by the team’s strengths,

• and tested against what will read clearly on stage.

We ask honest questions:

• Does this concept suit these dancers?

• Will this choice stand out against the usual entries?

• Will the judges “get it”?

• Are we showcasing skill or simply adding noise?

Music is edited, layered and refined. Costumes are either sourced or custom-made – depending on budget, practicality and time. We consider prop use, visual impact, and whether any “gimmick” will elevate the routine or distract from it.

5. Choreography and Rehearsal: Where Hard Work Lives

Once the creative direction is set, choreography begins. This part takes time. A concept can come together quickly, but refining it – polishing the timing, the musical textures, the formations – demands hours of work.

We always plan a buffer because creativity refuses to follow a strict timetable. Choreography often evolves in the studio. Pieces get adjusted, swapped out, or completely re-worked. Sections that looked perfect in theory can fall flat when danced. And that’s normal.

We also assess fitness. A dancer who is technically strong may still need conditioning for a demanding routine. The earlier we identify this, the stronger the final product.

Ideally the routine is finished weeks before the event. But in reality, most studios – even the best ones – push right to the edge. What matters is that the last few weeks are used wisely for cleaning, stamina runs and confidence-building.

6. Admin, Entries and Communication: The Unseen Backbone

A competition is not just choreography. Behind the scenes there is:

• registering on time,

• submitting music,

• checking schedules,

• confirming venue logistics,

• booking costumes,

• and keeping parents informed every step of the way.

This admin work is invisible but essential. Without it, the rest falls apart. Clear communication between studio, parents, choreographers and dancers ensures everyone arrives prepared, dressed correctly and ready to perform.

7. Rehearsal Runs, Full-Outs and Simulation Days

Closer to the event, we begin simulation sessions. These include:

• dancing full-out,

• rehearsing entrances and exits,

• running the routine in costume,

• practising with props,

• and recreating stage conditions as closely as possible.

This phase builds confidence. It teaches dancers how to handle nerves, how to recover mid-routine and how to stay connected as a team. It also exposes things that aren’t working – a costume detail, a formation, a transition – while there’s still time to fix them.

8. Preparing for the Day: Performance Starts Before You Arrive

The night before a competition matters. Dancers are guided on:

• what to pack,

• what food to eat,

• how to manage nerves,

• how long hair and make-up will take,

• and how early to arrive.

We also cover performance etiquette:

• what behaviour is expected backstage,

• how to interact with other teams,

• how to respond after dancing,

• and how to conduct yourself whether you win or lose.

We teach dancers to represent themselves, their studio and their country with dignity.

9. Competition Day: Structure and Leadership

On the day, everyone must know their roles:

• Who is collecting registration armbands?

• Who leads the warm-up?

• Which adults are allowed backstage?

• When may dancers move independently?

• Who manages costumes, props and make-up?

• Who is recording photos and videos?

This system prevents chaos and allows the dancers to focus on performing at their best.

10. Afterwards: Reflection, Learning and Growth

Once it is all done, we debrief. We analyse:

• Did we meet our objectives?

• What worked?

• What didn’t?

• Where did we fall short?

• What did the judges say?

• What lessons must we carry into the next season?

Winning is wonderful. Losing is useful. Either way, the experience grows the dancer. The goal is consistent improvement, not momentary glory.

Final Thoughts

Competition is never just about medals. It is about development, discipline and discovering who you are under pressure. At Dance Culture Studios, our process isn’t glamorous – it’s deliberate. It’s structured. It’s focused. And it works.

We build artistic athletes. We build confident performers. And we build young people who can stand on any stage, anywhere, and know they belong there.