Backstage everything seemed fine. Suddenly, your heart is racing, palms sweating, mouth is dry and muscles tense. It's time. You've rehearsed countless hours over months and it all comes down to the next three minutes. A teammate smiles and says "See you on the other side," while another shows a clenched fist, gives a confident nod mouths "Fuerte!" Your team is announced - "Go, go go!" - you climb the stairs onto the stage.

 

Your thoughts are jumping "Why does the stage look smaller?" "Cross left leg first," "I hope we can hear the song cue over the crowd," and "Watch steps left right, left." You struggle to look forward. "Damn it's bright!" The stage lights, off during Tech Rehearsal are blinding. "Stay away from the edge, it's quite a drop." Friends shout your name as you focus on the entrance steps learned

just an hour earlier. "Stop, spin, present." Then it happens, you see your Mom and Grandmother in the front row, beaming smiles and swollen eyes.  "Ay no Mama, don't cry!" your focus shifts. It’s the first time they've seen you perform. Now shaking, you take your partner’s hands you think "Hold it together and smile, it's go-time."

 

Whether dancing at a local club, performing at a salsa congress or competing in the World Latin Dance Cup (WLDC), every dancer experiences some level of stress, nervousness and even anxiety about a show. Its natural, a physical reaction reflecting an emotional commitment. It's an instinctive mechanism in action. Performers share a unique passion and competitive spirit to be their best on stage, striving for perfection and the rush knowing all eyes are on them. Intuitively they understand that the crowd is waiting in anticipation and rooting for each and everyone to do their best. No one wants a bad show. Even so, it happens - even to the top levels of professional dancers. Jitters, butterflies, and shakes - all a result of nerves.

 

For larger events, the weeks of practice runs and rehearsal performances, activities the night before and final touches the day of all culminate in one place, the "Green Room." Most don't know what a Green Room is or will ever see one. This makeshift holding area corrals all performers from the last hours before showtime until each has their turn on stage. It's there where excitement and energy infuse the air while senses are distracted by the vibrant costumes, smells of hairspray and makeup powder, shining body glitter, rhinestones and camera flashes. A pep-talk followed by the traditional group "Boooooyyyaaaa!" kicks things into gear, a cue prompting show coordinators to maintain an organized chaos by quickly escorting each act to the stage, a job akin to herding cats. Tropical beats and the sound of applause permeate the walls indicating progress. "That was #3' we're up in around 30 minutes" is overheard while screams of joy, hugs and high-fives go around the groups returning after their run.

 

Scanning a Green Room at a major event, such as an ATP Salsa Congress or the WLDC, you would see many of the best in the business alongside seasoned performers and a few select first time performers. The approach each takes to prepare both physically and mentally vary widely - some have rituals, some routines, and others have quirks that borderline superstitious. The following techniques range from practical applications to unusual foreplay, all put in practice to help these performers peak for their best show. 

 

Gaby Equiz, Director of Alma Latina Dance Company and WLDC Champion, has pre-performance rituals which both focus their teams and raise their energy level. Breathing exercises, a short meditative prayer are used to focus and calm her dancers followed by traditional “Exito!” cheer, similar to those you see in football and other sports used to raise energy levels. Even so, Gaby stresses team cohesion and stage presence. “Even if you make a mistake, put on a show. People will not even notice a mess up when they see your incredible face showing them you are a star.”  Her husband and co-director, Sergio Jasso would advise to project confidence. “Instill in your partner that you are both ready and are there for her (him), even if inside your stomach is turning.” Both add “It’s visible on stage which teams fully support and trust one another and which ones don’t, so take care of one another before, during and after a performance.” 

 

The lulls between initial call times and an actual performance can add to anxiety before a performance. Seasoned performers, such as world traveller and performer Burju Perez of Hacha y Machete, find ways to stay busy, but relaxed. “After I stretch and warm up, I’ll touch up my makeup as it keeps me busy until show time and keeps me calm. I’ll listen to 80's music and Victor and I can both jam to 90's hip hop, which calms our nerves right down. Sometimes, we play games back stage with any other silly people that will join us.” 2010 Steven’s Ladies Styling Champion Viviana Serra would add “I’m very focused, but performing by myself can be much scarier than dancing with teamates. So I’ll look in the mirror and tell myself I’m good and to be confident. If I’m really scared, I’ll ask other people for words of encouragement.” One of San Diego’s popular performers, Tasha Tia, dresses warm and stays calm listening to a mix of Bob Marley, John Mayer, and Jason Mraz. Even so, once backstage she bounces around and shakes her hands saying “I am so nervous, I am so nervous!” repeatedly. If you’ve seen her perform, you know it must work.

 

It’s different for everyone. Some performers take a mental approach, such as Martin Galezz visualising parts of his routine much like an Olympic skier reviewing the slalom course with eyes closed; a physical ritual, like Omar Munoz bouncing in place and slapping his face like a boxer to get his blood flowing; or spiritual perspective, like Serena Cuevas, WLDC Finalist and Deseo Dance Company Director, picturing herself as a young girl dancing for the love of it.  The trick is to figure out what works best for you.  David Stein, international performer and Director of Majesty In Motion has tried a variety of methods over ten years of performing. His performances both with his team and his wife Jennifer are notorious for both precision and showmanship.  “Its different for everyone and what works may change over time as you gain experience.  I’ve done so many things and still work at it.”  

 

In general, nerves are a good thing. When channeled correctly, they provide an x-factor which manifest in different ways ranging from explosive energy to unleashed stage personality, even when Grandma is blowing you kisses from her front row seat.