CategoryPole

Reflecting on Fundamentals

A lot has changed in my dance practice in the last year. Without access to a pole I am in a position to discover other ways to dance, to move, to create, and to express myself. More recently, however, I am finding that underlying all of my new discoveries on lyra, silks, yoga, chair dance, and even life modelling, is a layer of fundamental movements.

In many ways I am a beginner again. Five years of pole dance prepped my body for other aerial arts but each apparatus requires new techniques and new revision. I’ve found myself in a process of coming full circle and actually enjoying relearning many foundations of movement.

Noel Burch talks about the learning cycle offering four stages of learning. Rather than thinking of learning as a liner process – not knowing —> knowing. the four stages can be viewed in a cycle. This allows you to adapt to new skills and information that may support or refute what you may know already. Your skills in relation to pole dance and aerial arts do not exist in a vacuum, putting you forever in motion of learning, relearning, revisiting, and mastering.

“The Four Stages of Learning suggests that individuals are initially unaware of how little they know, or unconscious of their incompetence. As they recognize their incompetence, they consciously acquire a skill, then consciously use it. Eventually, the skill can be utilized without it being consciously thought through: the individual is said to have then acquired unconscious competence.” (Wiki)

Let’s think about this in relation to a pole class. The first time you ever walked into a studio you were probably in a state of unconscious incompetence – unaware of the skills and concepts you were about to learn. After a few classes and watching some inspirational dancers, you may progress to conscious incompetence – that overwhelming feeling where there is so much to think about when doing pole moves, everything feels way harder than it looks, and the inevitable question, “when will I ever straddle?”

Gradually, through persistence and regular training, some skills become less difficult. You feel consciously competent – pole dance offers you so much joy and you find endless street poles to show off your new tricks!

The fourth part of the cycle is unconscious competence. An area where things have become familiar allowing muscle memory to take over. You can spin, invert, and dance with a sense of grace and letting go.

Learning does not stop here though. In my case, I took up lyra and silks and although I still remember how to straddle, I have had to consciously revisit the basics. Assuming that my pole dance experience was going to let me just start doing crazy advanced aerial hoop tricks was quickly leading me down the road of developing bad habits.

For instance, knee hangs. Very similar to our trusty outside leg hang in pole, but also very different. What muscles should I be engaging to hold me up? When placing my leg, where should the contact points be?

Interestingly, instead of be being frustrated as I waver between conscious incompetence and conscious competence, I have found that I am really enjoying the process of relearning. And my body is thanking me for it, remaining injury free, and continuing to become stronger and more flexible. I am also learning how to make moves less painful as I revisit how to engage my glutes, and hamstrings rather than just trust that my bent knee will stop me from falling to the ground.

I have found support in instructors like StudioVeena who stress the importance of learning proper technique and focusing on fundamentals. Veena’s Teaching Manual is a fabulous resource for both students and instructors.

She states –

“As instructors we need to remember that every level of pole dance can be fun, improve physical fitness, and provide emotional freedom and expression”

Returning to the basics does not just have to be repetitive drills and boring shapes. Learning about muscle engagement, correct alignment, contact points, and how to use your breath should all be part of each and every move you learn on the pole, or other apparatus. Taking your time to learn slowly, also offers you space to listen to your own body. How did your shoulders respond to that pole hold? Do you need to work on coordination and balance to refine your fireman spin?

My journey into training my goofy side was probably the first step I made towards revisiting the basics. So many pole holds and spins were now muscle memory (unconsciously competent), but to successfully complete the move on the other side meant re-entering the cycle and starting again, albeit with a bit more strength and a lot more knowledge.

Where do you find yourself in the learning cycle? If you have just completed a course or term in a pole studio, you may be resting a the top of the cycle – unconsciously competent. Enjoy it! Fly with freedom and relish in your new skills and learning. But also be aware that as a new term starts the process of learning will start again. Frustrations may brew as you feel like a beginner again but strong foundations are your key to further success!

Nutrition for Pole Dancers and Aerialists

Since moving to Cambodia, my training schedule and format has changed dramatically. It rarely drops below 30C here, even at night, meaning that even a simple walk up and down the Riverside turns me into a dripping mess.

Joining the circus to train on lyra and silks in a large warehouse with no air conditioning also has it’s challenges. By observing and listening to how the locals train and manage the risks of dehydration, I have learned a lot about how to maintain optimum form during my training sessions, and to recover adequately afterwards.

It’s common practice to consider carbs and protein intake when thinking about how to prepare for, and recover after, a workout. But if you find yourself finishing your aerial dance sessions utterly exhausted, or taking longer to recover than your peers, or even if you feel sluggish mentally and emotionally days after your workout, your diet could be lacking in trace elements that support your body and it’s functions.

Trace elements such as zinc, magnesium, potassium, iron, and selenium occur in many foods that you may already be eating. Depending on how intense your training sessions are, and the unique make up of your body, you may need to consider adding more or less of each of the ones described below. Ensuring that you are eating nutrient dense foods before and after your aerial or pole session will support your energy levels throughout the workout and your recovery afterwards.

Let’s look at each mineral, how they work together, the effect it has on your body and which foods will offer you these benefits *

 

Zinc supports the function of over 200 enzymes in your body, including wound healing. If your pole kisses are beginning to build up, adding more foods with zinc in your diet could help them heal. Zinc also works to strengthen the villi in your intestines, increasing the surface area of your digestive tract, allowing your body to absorb more nutrients.

Where to find zinc – Brazil nuts, pecans, kelp, beans, cashews, chickpeas, whole grains, dairy foods, egg yolks, liver, red meat, seafood, oysters, dulse flakes.

 

Calcium is important for bone health and muscular growth as well as cardiovascular health. Your levels of vitamin D affect how much calcium you are absorbing from your food so make sure you get a little bit of sun every day too – what more of a reason do you need to take your pole outside or to the beach?!

Where to find calcium – almonds, brewer’s yeast, Chinese cabbage, kale, broccoli, salmon and sardines (with bones), dairy products, fortified foods such as cereals and tofu.

 

An important mineral that works in conjunction with zinc and calcium, supporting strong bone health. The trio (zinc, calcium, copper) also help transport red blood cells around the body – read: more oxygen delivered to your muscles.

Where to find copper – Cocoa, peas, raisins, almonds, barley, beans, beetroot, broccoli, oysters, liver.

 

Required for strong and flexible joints, skin, and bones. Silicon also supports the health of your heart. By ensuring foods with silicon are part of your diet everyday, you set yourself up to be able to train from a strong and healthy starting point.

Where to find silicon – alfalfa sprouts, beetroots, brown rice, oats, capsicum (peppers) apples, cereals, raw cabbage, peanuts, carrots, onions, cucumber, pumpkin, fish, whole grains, almonds, and oranges.

 

Supports strong healthy bones, nerves, and muscles. This element is also responsible for regulating blood sugar levels. If you find you are craving sweets or a high energy hit after a workout, adding foods rich in manganese could help you curb the cravings and stabilize your blood sugar levels throughout the day.

Where to find manganese – avocados, nuts, pulses, tea, whole grains, seeds, pineapple, and seaweed.

 

Selenium is an important antioxidant used to support the immune system, heart health, and thyroid function. Deficiencies in selenium can weaken the cartilage in your joints, something you want to avoid given how much pressure we put on our joints through during aerial training. You don’t need a lot so it’s safest to get this trace element in whole food form.

Where to find selenium – Brazil nuts, grains, brewer’s yeast, egg yolks, garlic, whole grains, broccoli, dairy products and red meat.

 

Low iron is the classic diagnosis for someone who has low energy and finds it hard to recover after a workout. Iron is responsible for transporting oxygen to the blood. When you are pole dancing, or engaged in any other workout, your muscles need oxygen to function. This is also why learning to breath properly doing a workout is essential.

Where to find iron – Green leafy vegetables, pumpkin seeds, eggs, fish, red meat, poultry, liver, fortified foods, nuts, peas, whole grains.

 

Essential for thyroid function and regulates the function of every cell in your body. Due to soils having naturally varying amounts of iodine, you may need to find supplements and iodized food to ensure you are getting enough.

Where to find iodine – Kelp, iodized salt, seafood, saltwater fish, corn, prunes.

 

Supports strong bones and muscles and assists in metabolizing calcium, magnesium and phosphorus. Boron is also believed to reduce the symptoms of arthritis as well as support cognitive functions such as hand-eye coordination and short term memory, all skills that aerialists need to be safe and successful.

Where to find boron – apples, dates, oranges, plums, sultanas, kiwifruit, carrots, grapes, pears, whole grains, avocado, soybeans, chickpeas, hazelnuts, peanuts, lentils, onion,  and potatoes.

 

Find yourself drinking gallons of water but still feeling thirsty? Get half way through a routine and have to stop due to muscle cramping? Your body is probably in need of electrolytes such as sodium. This mineral maintains the body’s water balance and is one of the key ingredients in sports drinks. Skip the sugars, though, and get sodium from these other sources.

Where to find sodium – olives, miso, celery, shrimp, ham, salt.

 

This mineral supports nerve and muscle health and is also an electrolyte like sodium. It can also help to stabilise blood sugar levels and blood pressure. Insufficient potassium can lead to muscle weakness and dehydration.

Where to find potassium – Coffee, bananas, whole grains, molasses, parsley, mushrooms, pumpkin, fish.

 

Supports bone health, cell renewal and your metabolism. Phosphorus is also needed to make ATP (adenosine triphosphate) a molecule which provides energy to our cells. It is rare to be lacking in phosphorus but if you find you have a low appetite or muscle pain it may help to add some of these foods to your diet.

Where to find phosphorus – asparagus, corn, pumpkin seeds, bran, pulses, leafy green vegetables, eggs, beans, lentils, pork, dairy products,

 

Essential for healthy bones and the functioning of nerves and muscles. Magnesium is also a relaxant and can be used to soothe aching muscles. Add some Epsom Salts (Magnesium Sulfate) to your bath or start taking magnesium supplements to support recovery after a workout.

Where to find magnesium – Eggs, green leafy vegetables, shellfish, dairy products, nuts, whole grains, almonds, wheatgerm.

 


* This content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health professional with any questions you may have regarding a medical condition.

 

 

Saturday Laturday!

At some point, pole dancers and aerialists will begin to see their upper back and shoulders becoming stronger and larger. Racer back tops and sleeveless dresses are now the norm as we cater to our growing lats, shoulders, biceps, and traps. Our bodies are stronger because of pole, yet many women question if their growing lats are something to be proud of or something to cover up.

So, in the spirit of embracing strong women, it is with great pleasure that I introduce #SaturdayLaturday! Show off your lats to the world and support women growing stronger – inside and out!

Just like #sundaybumday, and in the spirit of training safer and stronger, let’s look more closely at our lats, how they work to support us upside down, and how you can keep them injury free.

In the diagram you can see that the lats are the muscles that wrap around the middle and lower spine, extending up through the armpit. They insert on both shoulder blades and the upper arm at the humerus.  Their full name is “latissimus dorsi” which basically translates to “broad muscles of the back” – latissimus = broadest, and dorsum = back.

The lats connect and support movement through the spine, ribs, sacrum, and shoulder blades. Every time you lift you arms above your head and engage your shoulders, sit tall with good posture, or twist and bend your torso, your lats are put to work. Having strong lats will stabilise your scapula and upper back and also aid in shoulder stability. The lats pull your arms down towards your body and help with rotation. Try this: hold our your arm out straight and make a “thumbs down” action rotating from your shoulder. You should be able to feel your lats working in this movement. If you are familiar with a twisted grip mount in pole dancing you will also see the similarities and how your lats work to rotate your arm and shoulder for you to turn your arm and grip the pole.

Bodybuilders use exercises such as chin ups, pull ups, and pull downs  to strengthen and train their lats. Your inverts, shoulder mounts, and any work on silks and lyra, are going to engage your lats as well. Hence, the surprise when someone snaps a pic of you at the beach and you realise how much your back has changed because of pole!

Aerialists and pole dancers spend lots of time pulling with their arms overhead. Having strong lats will help with these movements and will give you better posture. But if the lats are too tight, you may be at risk of rotator cuff injuries as your shoulder overcompensates. Tight lats also make it virtually impossible raise the arms full over head in a backbend, and may even reduce your ability to create a stable base for a headstand (ref).

If alarm bells are going off in your head as you realise tight lats may be stopping you from reaching your flexibility and aerial goals, then read on!

One way to counter tightness and care for your lats is to foam roll them. Lay on your side with your bottom arm outstretched and the roller perpendicular to your torso. From here you should be able to roll forwards and backwards as well as side to side, being careful to not roll over your ribs. Regular foam rolling will help soothe and soften the lats.

When stretching the lats, ensure that your pelvis and ribs remain stable. If you raise your arms over head from a standing position and you find your ribs popping and lower back arching, your lats will not be stretched effectively. “Stabilise the origins” of the muscle by keeping your pelvis and tailbone tucked under and your core engaged. When you raise your arms, you should feel a stretch at the back of the armpit.

You can see how tight your lats are, and have a great lat stretch by trying this exercise on the floor:

Lie on your back on the floor with your arms by your sides. Feel where the back of your rib cage touches the floor, taking special note of the point of contact that lies closest to your waist. Turn your palms up, then lift your arms up and overhead to the floor, or as close to the floor as they will go without you bending your elbows or separating your arms wider than your shoulders.

For most people, this movement will make the lower ribs lift off the floor in back and jut out in front. Now return your arms to your sides and repeat the same actions, but this time, as you reach overhead, press the lower rib cage—the point closest to your waist—firmly into the floor to prevent it from lifting up at all. This will probably create a sensation of stretch on the outer sides of your armpits and make it harder to reach the floor. The stronger the stretch and the greater the restriction of movement, the tighter your lats are. (ref)

Here are some simple stretches to include after your pole dance or aerial session to balance out your training and give your lats some love –

1- Assisted Squat – Use stall bars or a high bench to offer resistance as you hold on with your hands. Start with a neutral pelvis (pictured) and then sink your hips down towards the floor. Tuck the pelvis and feel free to let the back round and relax, gently swaying from side to side to increase the stretch.

2- Elbows on chair – Use a rolled up towel or something to hold on to, to keep your arms from rotating back in. Sit on your knees in front of the chair and rest your elbows on the chair edge (roll up a blanket or yoga mat to make this more comfortable. Sink your hips down and lower your chin to your chest to feel the stretch.

3 – Eagle Pose – Doing this pose seated on a chair will ensure that you keep your pelvis and ribs in alignment, focusing the stretch on your lats without arching the lower back. Wrap your right elbow inside your left and curl your wrists around so your palms are facing each other (or as far as you can go). Lift your elbows towards the sky until you feel the stretch behind your armpits. Take a few breaths and then change sides.


With all the technical talk out of the way, it’s time to show off your lats! Join the #SaturdayLaturday movement, show off how strong and proud you are of your body and give your lats some love for all they do in your dance practice!

Use the hashtag #SaturdayLaturday on Facebook, Instagram and Twitter and lets share the love for our lats!

Pole Dance Stories

Novelist Willa Cather once said, “There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before.”

Then again, it has also been said that there are seven foundation stories from which every successful narrative known has been made.

Choreography can start from many places. You may have heard a song that you just have to dance to. Perhaps you’ve just invented the best combo, and you can visualize it on stage as the climax to a routine. Alternatively, I have often felt with no place to start but a competition or showcase on the horizon that requires me to put something together. In each of these cases, choosing a focus on a story, rather than just a theme or character, may help you construct a fluid routine that has the potential not just to impress but to take your audience on a memorable journey.

If you are looking for inspiration for your next routine, perhaps some insight into the structure of stories could help you. Before or after you choose your song, adding story elements to your performance will ensure that you are engaging the audience from many angles. In my experience, pole dance routines with stories also tend to be appealing to non-pole dancers. The performance becomes more of a show and offers the audience something to understand and relate to when they are unfamiliar with the nature of pole dance.

I outline each of the seven plots below (as described by Christopher Booker in his book The Seven Basic Plots: Why We Tell Stories, 2004) with reference to pop culture examples to help you understand how each is different. Under each example are some points about how the plot could form a container for a rich and meaningful pole dance routine.

1. Overcoming the Monster – The protagonist sets out to defeat an antagonistic force (often evil) which threatens the protagonist and/or protagonist’s homeland.

Examples: James Bond, Attack on Titan, The Hunger Games, Harry Potter, and Shrek, David and Goliath.

This can work well as a doubles or group routine, allowing for dynamic interplay between two or more characters. Costumes and characters here can be diverse, ranging from simple contrasting colours (white vs black), to actors based on real stories themselves.

2. Rags to Riches – The poor protagonist acquires things such as power, wealth, and a mate, before losing it all and gaining it back upon growing as a person.

Examples: Cinderella, Aladdin, Jane Eyre, A Little Princess, Great Expectations

Such a narrative may require props and effective costuming to help support the messages conveyed to the audience. When done well, and with familiar characters, it is possible for the props to “fill in the gaps” allowing you to emphasise just one part of the story over another, avoiding the trap of feeling like you need to fit an entire fairy tale into a 3 minute routine!

3. The Quest – The protagonist and some companions set out to acquire an important object or to get to a location, facing many obstacles and temptations along the way.

Examples: Iliad, Watership Down, The Lord of the Rings, The Land Before Time, One Piece, Indiana Jones

Consider how the music could add a sense of struggle followed by triumph. The poses and shapes chosen by the dancer would also emphasise challenges and then success. When telling this story, the obstacles and temptations would form the bulk of the routine, while the final success would offer the audience a sense of relief. How could the audience feel like they were on the journey with you?

4. Voyage and Return – The protagonist goes to a strange land and, after overcoming the threats it poses to him or her, returns with experience.

Examples: Odyssey, Alice in Wonderland, Goldilocks and the Three Bears, The Hobbit, Gone with the Wind, Chronicles of Narnia, Apollo 13, Labyrinth, Finding Nemo, Gulliver’s Travels, The Wizard of Oz

Try to choose one perspective when telling these types of stories. Or if you are in a group or performing as doubles, keep the elements simple and cut back. I’ve previously shared how much I love Kristy Sellars’ Alice in Wonderland routine. By adding the video projection she was able to share so much more about the journey and the narrative. We might not all be able to be so ambitious, so consider how less is more.

5. Comedy – Light and humorous character with a happy or cheerful ending; a dramatic work in which the central motif is the triumph over adverse circumstance, resulting in a successful or happy conclusion. Booker makes sure to stress that comedy is more than humor. It refers to a pattern where the conflict becomes more and more confusing, but is at last made plain in a single clarifying event. Most romances fall into this category.

Examples: A Midsummer Night’s Dream, Much Ado About Nothing, Twelfth Night, Bridget Jones Diary, Sliding Doors, Mr. Bean

 

Pole Comedy can be hard to accomplish. There are many moves, tricks, and poses that can be dramatised in a funny way, but make sure your performance also has a sense of triumph over struggle so it is more than just goofy dancing.

 

 

6. Tragedy – The protagonist is a hero with one major character flaw or great mistake which is ultimately their undoing. Their unfortunate end evokes pity at their folly and the fall of a fundamentally ‘good’ character.

Examples: Macbeth, Bonnie and Clyde, Anna Karenina, Madame Bovary, Romeo and Juliet, Breaking Bad, Hamlet

This could be a simple as a lyrical or contemporary based routine that captures the emotion of the tragedy. This story line can be a good starting place for those wishing to put more meaning into their routines, or who find energy from an event that has happened in their personal life.

 

7. Rebirth – During the course of the story, an important event forces the main character to change their ways, often making them a better person.

Examples: Beauty and the Beast, The Snow Queen, A Christmas Carol, The Secret Garden, Despicable Me, How the Grinch Stole Christmas

In my mind, this is a more refined version of the “Comedy”, “Voyage and Return” and “Rags to Riches” stories. However, the turning point of the story may happen earlier so within the performance you have more time to express the ideas of the rebirth.


Hopefully these story ideas have inspired you to consider a new routine or have helped you flesh out a previous idea to turn it into a full show! No matter what story plot you choose, remember these key points:

  • Your story needs to be understandable to your audience, which may require that you use props or settings to help them follow the plot.
  • Think about how your costume can also work as a prop to help convey your story. Do you take off something, reveal something new, or change entirely as your character evolves?
  • Many of the familiar fairy tale stories have been done before – think Alice in Wonderland, Snow White, Cinderella. This is not to say that you should avoid these topics, they are done again and again because they translate so well! Perhaps think about how you can add to the story, or present it in a different way. Instead of playing the character of Snow White, how would the story look from the Evil Witch’s perspective? Maybe you are the prince, searching for Cinderella after she loses her shoe?
  • Your performance does not need to tell the entire tale. In three to five minutes this would be a huge undertaking. Choose part of the story that is manageable, and add on with props and costumes that fill in the rest of the narrative for your audience.
  • Make sure you sustain your character throughout your floorwork, transitions, and pole tricks. If you can’t do the trick in character take it out, and choose to maintain the mood and integrity of the performance as a whole. Pole champion Irmingard Mayar warns, pole dancers “can be 100% engaged when off the pole, but as soon as they take their movement into the air they shift to robotic trick-mode” which jars and stops the flow of the story.

 

I’d love to hear your thoughts about pole dance and story telling. Comment below, or tag me in your ideas on Facebook, Twitter, or Instagram!

The Best of the Best!

Great pole dance is often so subjective. A dancer’s choice of song, their style, heels no heels etc etc. Some performances strike a chord depending on when you saw it and what else might have been going on in your life. Occasionally, there are standout favourites that everyone agrees upon, and each dancer usually has their own personal treasures that they revisit time and time again.

 

As I get ready to release my own February Favourites (for all subscribers!), I found time to reflect on my favourite performances from the pole world from last year.

I love the innovation in these routines. The dancer’s ability to turn themselves inside out on the pole, not just in a flexi way, but in a way that expresses creativity and understanding of poses to link them together in a new way. I love seeing old tricks put together in new ways. And I especially love a dancer who expresses a new sense of musicality, hitting beats and finding flow in a way that draws you in, silencing everything else around you as you watch!

If you are still adding pole goals to your list for 2017, perhaps these routines will give you inspiration to think outside the box.

 

Natalia Tatarintseva – I stopped watching a lot of pole dance from the Ukraine and Russia, feeling overwhelmed by their gymnast bodies and apparent mastery of flexi tricks. Then I saw Natalia Tatarintseva who blew me away with her innovation and dance style. I love her use of the prop as well, integrating it into her spins and tricks! Prepare to watch in awe!

 

Elizabeth Gerrard and Nicola Burke – As well as being incredibly in sync, these girls offer new twists on old combos. All coupled with great connection and expression which helps tell the story of their performance. I love their simple gestures emphasised by musical beats.

 

Ke Hong – This guy has amazing flow, grace, and strength. And OMG his pointed toes! I love the drama of pole dance to classical and orchestral music. I’ll be watching what this guy does in the coming year.

 

Kristy Sellars – For all those polers who were hiding under a rock in 2016, Kristy Sellars changed the game in pole dancing forever! After her “Alice in Wonderland” performance, she created “The Abduction”, a collaboration of dance, visual effects, and amazing imagination! I love to share this routine with people who are not pole dancers. It really brings the art to the world stage and sets a new standard for the possibilities of pole dance.

 

Did I miss anyone? Who were your favourites from 2016? And who do you have your eye on for this year?

Let me know on Facebook, Instagram or Twitter and continue the conversation!

The Importance of Breathing

I recently came across a new article by Monika from The Dance Training Project titled “7 Rules for a Highly Effective Movement Practice”.

I’ve followed Monika for a long time, enjoying her thoughts about safe dance training and body awareness. She currently works in Toronto, helping dancers to improve their technique by retraining movement patterns for better alignment and injury prevention. It’s a valuable practice and her insight is relevant to all kinds of dancers and athletes.

In her most recent article Monika makes a point about breathing. My yoga practice has encouraged me to think about the relationship between breath and movement. Vinyasa is defined as “a method of yoga in which movements form a flowing sequence in coordination with the breath.” Breathing properly not only brings oxygen into the blood and to the muscles, it also ensures you are moving from a place of calm and not from a fight-or-flight mode that can lead to tension and injury.

When pole dancing the excitement of a new pole trick, gritting your teeth while you sustain a posture, and the if-I-can-just-ahhh-get-my-foot-to-reach-aahhh-just-there mentality, often results in dancers forgetting about their breath. Holding your breath in, or out, causes the mind and body to become tense and a tense body loses it’s ability to be flexible and strong.

Monika points out,

“If you cannot breathe during the movement, you do not own the movement.”

and she goes to explain,

“Your emotional state and physical health can be interpreted via the quality of your breath, as well as your ability to load and use core musculature to provide dynamic stability and decelerate spinal motion.

In motion, if you can demonstrate a diaphragmatic breathing pattern, you are in charge. Good work.”

Consider a trick that you feel most comfortable with. Beginner or advanced, it does not matter. Many people find a ballerina spin fairly comfortable. It’s a go to for making graceful lines and you can add on elements to show off flexibility or strength.

I’d bet you can breathe fully and completely while spinning in a ballerina. You’re so comfortable that you can even make arm gestures, expressing meaning to make the pose your own. It may even be a resting pose as part of your choreography, where you hold it for 8 counts or so and take a complete breath.

 

Now think about a trick that requires more effort for you. It may be a straddle/invert, jade split, or even an ayesha. What is your breath doing when you attempt these poses? Can you breathe, as Monika says, with a “diaphragmatic breathing pattern”? Or are you taking shallow breaths barely filling the upper part of your lungs? Are you holding your breath?

 

If you video your practice, you may even be able to see your face change as you grit your teeth and the tendons in your neck pop, all signs that you are not breathing properly and not “owning the movement”.

If you are still unconvinced that all of this matters, consider how the quality of your breath will also effect the quality of the movement. A dancer who has been holding their breath as they hold a pose, is going to have to breathe eventually, usually with a gasp that will interrupt their flow and progression into the next pose.

So how do you find space in your dance to breathe?

I recall an instructor once asking us spontaneous questions while training. He suggested a trick, an Ayesha for example, and then asked us to stay in the pose and call out five names. This experience forced our brains to change tack, most often allowing our breath to return to state of normal while we focused on a different task. The act of talking also changes the way you hold your face and neck, allowing a more natural breathing pattern to resume.

Try it for yourself and feel how your own breath changes the movement. Prepare for a straddle/invert and inhale as you go upside-down. Now try it again with an exhale. Some people suggest inverting with your mouth slightly open, reducing the chance that you will grit your teeth. Record yourself or do it with a friend and see if they can see the difference. Most likely, you will also find that the movement feels different to you too.

Once you have experimented with this, consider how you breathe when moving through other poses, or throughout an entire routine. I’ve been known to write in breaths into my choreography as conscious reminders of when to check in and make sure I’m breathing properly.

I’d love to hear and see how it goes! Tag me in your post on Facebook or Instagram.  Head over to The Dance Project too and let Monika know how her wisdom is also helping pole dancers!