While full of excitement and fun, competitions are also mentally and physically taxing. It’s easy to find yourself run down after months of rehearsing and performing for hours on end every week. How can both teachers and dancers keep normal fatigue from turning into burnout? By recognizing the telltale signs and making small but meaningful changes.

Contemporary dance doesn’t have a codified technique. True to its name, it looks remarkably different now than it did 10 or even five years ago. And at this point it’s several generations removed from its closest competition-world ancestor, the “lyrical” style of the 1990s. With its blend of lyrical, modern, postmodern, and commercial dance, comp contemporary is full of possibilities. Here, three competition-dance educators share how they’ve seen the genre evolve.

For many dancers, being part of a competitive team is just a short chapter in a long dance journey. But the personal bonds built at competitions and conventions can last a lifetime. These three pairs of dancers who forged their friendships on the comp circuit show that having a tried-and-true teammate in your corner can make a big difference in the professional dance world, too.

Keeping competition routines in tip-top shape is always labor-intensive—but especially when the number is the work of a guest choreographer, who may have set it months ago and probably isn’t available to oversee the cleaning process. Here’s how to polish even the smallest details of a guest artist’s routine without altering the piece’s integrity.

Judging dance competitions demands a unique blend of skills, from articulating useful corrections on the fly to staying focused for hours at a time. With just a few minutes to see and score each routine, it’s easy to feel overwhelmed by everything you may want to say—or, worse, to have nothing to say at all. Here’s how to stay organized, alert, and constructive during long judging days.

In many ways, life on the circuit has been preparing comp kids for professional auditions all along. Here’s how to best leverage your competition experience in an audition setting.

Winning the title of “Mr. or Miss [insert competition name here]” has long been considered the pinnacle of a competitive career. For decades, whether dancers actually identified with those gendered accolades—or the many other gender-based features of competition and convention weekends—was hardly ever questioned. Slowly, that’s beginning to change.

A new generation of competition-kids-turned-ballet-dancers is making its mark. Madison Brown and Brady Farrar, both dancers with American Ballet Theatre Studio Company, have roots in not only dance competitions but competitive TV shows: