Tagconditioning

A Story about Stretching

2015-12-06 11.29.25For anyone involved in the pole dance community, you would have had a thousand involved conversations about flexibility and stretching. Studios everywhere offer conditioning classes to compliment your dance practice, and most people’s pole goal list is dotted with dreams for flat splits and bendy backs. After a few months of dancing you may have also amassed a stash of foam rollers, thera bands, and spiky balls to support you on your journey to flexiness!

 

Coming from a yoga background, I already felt I understood the benefits of increased mobility. But it wasn’t until I started pole that I really focused on stretching and learning about muscle groups and how I could work towards my flexibility goals.

StudioVeena was my first inroad into dedicated stretching in 2013. She still offers tutorials for front and middle splits and back flex and encourages foam rolling as part of a warm up to increase blood flow and support muscles relaxation. The tutorials are between 20-30min, the perfect length to fit into my schedule. After riding home from work, I was already well warmed up and could foam roll and then stretch before dinner. Doing this nearly everyday, I was making amazing gains on my front splits.

I also purchased Delavier’s Stretching Anatomy book, which offered 130 stretching exercises covering the entire body. The diagrams and clear details about how each stretch targeted different muscles really helped me articulate to myself how each stretch was benefiting my body. I could also begin to see how different stretches related to different pole moves, discerning how a strong and stable Butterfly pole pose would require strength and mobility in my back muscles, chest, shoulder, hips and glutes.

It was around 2014 that I started to learn about the difference between dynamic stretching and static stretching. My yoga classes and the StudioVeena series at the time were using static stretches. Cleo had just released her Rockin’ Legs N Abs DVD and I was excited to spice things up.

As well as a being a high intensity warm up and cardio challenge, Cleo worked through exercises for dynamic flex with lots of high front kicks, side kicks and back kicks. The women on the DVD are incredibly flexible and strong and inspirational in their range of motion. It was a great full body workout, but I have found that I don’t use it as much as I had hoped.

Sometimes dynamic stretching gets a back rap, the concern that if you bounce through a stretch or kick your up into a split without the proper strength to hold it there, you risk injury.

Personally, I am very careful with dynamic stretching. It’s important to remember that pole, like yoga, is a body work practice, and you need to listen to your body. After tearing both hamstrings, my physio advised that to reduce the chance of re-injury, I should take it slow with my tendons. If you have grown up with dance and ballet, your muscles and tendons may respond differently. I’m a massive advocate for “it’s never too late to start” but please remember that if your body is older and you don’t have a background in physical activity, diving in to the Rockin’ Legs N Abs video may be too dynamic for your body to handle.

It’s been a long road to recovery after my hamstring injuries. Physically it has taken nearly two years for my hamstrings to feel like stretching again. Emotionally it has also taken nearly two years to work through the fear that I might tear them again too. Attending a flexibility class or even just stretching at home used to bring up a lot of anxiety about damaging my body and I would get flash backs from the moment of injury. Thankfully, time away from stretching my splits allowed me to focus on other goals – back flex, strength tricks and dance flow have been the main focus on my dance practice for the last 2 years.

I still dream about the splits, and my feet touching my head in a back bend! Recently, a friend told me about the Easy Flexibility series and after doing one video with her I bought a split stretching series. I was pleased to find the videos offering a balance between static and dynamic stretches and stemming from an awareness of anatomy that made sense to me. It is also refreshing to be able to complete a video and not be sore the next day. I have been able to get back into a routine of stretching everyday which is great to make progress towards my flexibility goals but also supports range of motion and general well being.

Last month, Indi Pole Wear also released a stretching guide for pole dancers
outlining a sequence of 22 stretches for back and hip mobility. The stretches are familiar (cobra pose, pigeon etc) but also show how you can use a chair or pole to correct form or increase the stretch. The authors also comment on how important your breathing is to promote a relaxed stretch. I’d recommend the sequence to anyone starting out on their stretching journey but like all tutorials that can be used without the spot of a trained instructor, be aware off what your body is telling you in each exercise and take it slow.

Stretching can be a wonderful practice to do on your own, even meditative and insightful as you engage with the process and movements of your own body. But when pushing yourself to get flexier, if you don’t have a teacher to correct your form or remind you to breath, you do run the risk of injury.

There will be a summary of this story in the Cross Training Series, including tutorials of my favourite stretches, as I genuinely believe stretching is beneficial for your pole practice. But I hope that this story inspires you start or return to stretching, either in a class at your studio or at home with one of the methods I have used. If you have a great stretching practice I’d love to hear about it too! Please comment below or get in touch with me through Instagram or Facebook.

Safe stretching!

Cross Training For Aerial – Part 4: Stall Bars

For both strength and flexibility training, sometimes your best choice is to try a new apparatus!

You might have stall bars in your studio, local gym, or maybe in an outdoor playground, and they can be a great asset to your pole training – just ask Oona.

I have been using the stall bars during my warm up and for added conditioning, supporting my strength and flexibility training as well as alignment. My work on the bars has also supported building strength and coordination on my goofy side, the horizontal format allowing me to focus on technique before taking those skills to the pole.

Here are just three ways I’ve been building my stall bar workout:

 

**Flexibility**
Stall-Bars-Back-Flex

I have many posts about how yoga has helped with my back bends, but the stall bars open up new opportunities for opening my chest and shoulders.
Drop backs can be scary and without a spotter or the right technique you risk crunching through your lower back or hurting your wrists as you land. The stall bars can support you as you walk your way down to the floor, or back up. It’s often gentler on the wrists to hold on to the rails and you can move slowly, allowing you to focus on alignment and technique.

 

**Speaking of Technique**
Stall-Bars-Technique

The theory behind pole moves talks a lot about push vs pull, stacking joints, muscle engagement, and breath. When you’re upside-down, however, it’s hard to remember which leg is your left and right let alone think about all those things!
Lots of work on the stall bars can happen with your feet on floor, or at least just off it, inviting you to work on engaging muscle groups and consider alignment before you go upside-down. This kind of training will build muscle memory and strength to reduce the risk of injury or poor technique in more advanced moves.

 

**Strength**
Stall-Bars-Leg-Lifts

Let’s face it, crunches are boring! If you’re a pole dancer, you probably find lots of other exercise boring, which is one of the reasons you started dancing in the first place! But, what if there was a way to make strength training fun again?
Hanging leg lifts are a great ab workout and will incorporate many more muscle groups than sit ups on the floor. Try them with bent knees, straight legs, to the side, air walking. Your straight leg straddles will thank you!

 

For more advanced stall bar tricks, please check out the experts – Oona and Nadia make their workout look just like kids on a jungle gym! What could be more fun than that?

Train Both Sides

2016-02-02 21.23.39Last year I made a conscious effort to train both sides. I even went back to basics in the studio, joining a lower class to work on inside and outside leg hangs and simple combos.

And I can finally say, that it’s starting to pay off!

If you’re an advanced pole dancer you will know that many combos at higher levels require you to interchange with both sides. To land on your good side split, you might need to start on a goofy side leg hang. Or to make sure your strong arm is in the right place in your ayesha, you will need to hook your goofy leg at the beginning of the sequence.

Essentially, you should have no good and bad side for the fundamental moves. Super human pole dancers seem to be able to do everything on both sides, but let’s stick to the basics for now.

The list of moves I was working through for both sides is as follows:

  • floor spins (chair spin, angel, back grab, front hook etc) – left hand high, right hand high
  • climbs – left leg in front, right leg in front
  • straddle – both sides
  • layback – left leg on top, right leg on top
  • hangback – cross knee release and cross ankle release
  • hello boys / wrist seat – left hand high, right hand high
  • inside leg hang – both sides
  • outside leg hang – both sides
  • cupid – both sides
  • pike – both sides
  • butterfly – both sides
  • shoulder mount – both sides
  • brass monkey – both sides

 

I’d also like to add that training both sides for these fundamental moves also helps you remember the contact points and important components of their technique. Sometimes we have learned a move so long ago we’ve filed it in muscle memory and are less aware off what our bodies are doing to hold on. Relearning the basics was also a great mental exercise in discovering what my body was actually doing in each pose.

I’d like to add jade split, ayesha variations and allegra on both sides this year. Especially after seeing the fruits of my labour for the list above in the last few months.

Surprisingly my shoulder mount on both sides was easier than an outside leg hang and cupid. Even my goofy brass monkey seemed to stick more often! It’s taken a long time to feel secure hanging by my goofy leg. But then today .… break through!

Cupid on both sides, so secure, no hands! Success!

So please persist! It hurts, there are bruises, but you will get there! It will help your body feel more balanced and it will make advanced combos so much less scary when you are asked to land in a goofy leg hang!

New Year, New Pole Goals

“To accomplish great things, we must not only act, but also dream.”

10547553_10154477041425425_4923286836691610026_nAs I opened Write Monkey to begin this post about pole goals, this was the quote presented to me.

I’m definitely a dreamer when it comes to pole goals. There is research to suggest that visualization and dreaming are useful tools when setting and working towards goals. You probably do it too when you waiting for a bus or sitting in traffic, a song comes on and you drift away to the performance space in your head where you are flying around the pole nailing your nemesis trick.

There is always a lots of talk about pole goals at the beginning of the year. Bad Kitty have two articles offering advice to keep you on track and motivated when times get tough, and even United Pole Artists share their take on charting your progress.

It’s fun to joke around and set far out goals. Phoenix? Sure! Bird of Paradise? I wish! Rainbow Marchenko? I must be dreaming!

But I think sometimes pole dancers forget that the professionals we swoon over who can accomplish these tricks, are PROFESSIONALS. A home poler, or someone who dances in the studio two or three times a week, unless they have super human flexibility, are unlikely to be able to rainbow marchenko any time soon.

It is also cause for concern when dancers set goals that are too high and set themselves up for injury by skipping over the foundations that would help them get in to the move safely.

I’m not saying don’t dream big, but perhaps use your pole goals as baby steps to reach those dreams.

For example,

Dream move: Phoenix

Baby steps: Regular static pole practice
Ragdoll
Ayesha / Static V
Iron X Controlled descents
Handsprings with variety of grips (cup, split, twisted)
Cartwheel mounts
One arm spins
Chucks

Off the pole conditioning: Handstands, shoulder strengthening,
core work, breath work.

 

You could even put these smaller goals on a timeline and chart your progress. Rather than just attempting a phoenix every pole practice, failing and getting demotivated and then not trying it again for months, the smaller successes will help you stay on track and ensure you are always moving forward towards the end goal. By recording the baby steps and including them in your regular pole practice, you will likely have more strength, control, and understanding of the trick to nail it when the time comes.

The initial quote suggested you need action as well as dream to accomplish your goals. Create an action plan and your dreams will soon be your reality!

What to do when you don’t have a pole

This Christmas break my partner and I are cat sitting at a friend’s place down the road. It’s a lovely house with air conditioning which made the move an easy decision for this time of year. But I don’t have my pole 🙁

What’s a dancer to do?!

DANCE!


I’ve been watching YouTube clips of Merce Cunningham and revisiting some of the ballet technique I learned in my class. The back room of the house has amazing wooden floors so I indulged, rolled back the rug, put on my thigh high socks and flirty dress and spun around to Chino Merino’s new album. Bliss!

 

The nature of floorwork is changing in poledance, gaining influences from contemporary dance and hiphop. Working on carpet at home, it’s hard to come up with new things. The floor boards gave me real freedom to slip and slide and just flow, throwing a little bit of Marlo Fisken in their too!

It has been wonderful to have time to revisit my yoga practice too. I took my mat out onto the grass and down dogged with the ants and creepy crawlies.

The softer grass offered a safer lander for me to work on some freestanding headstands. At home I practice against the pole or the wall, but here wall space is limited. Learning to roll out safely and find balance away from the wall is challenging, but with so much time off on holidays, I was able to dedicate a whole afternoon to refining my practice.

The outcome? I haven’t missed my pole as much as I thought I would. We still have a week or so left here so I still might get withdrawals, but it’s been an enjoyable and productive break. If I had just been at home I probably would have focused on tricks and new transitions, but it’s been great to work on dance, floorwork, and balance. Hopefully I can bring some of this flow and headstanding, back to the pole when I return home.

How do you find ways to still train when away from pole?

Cross Training for Aerial – Part 3: Ballet

ballet armsLet me preface this post by stating that last Monday was my very first ballet class. Unlike my other posts in the Cross Training Series, this one comes from belief and research rather than actual practice.

After an hour and a half of stretching, barre work, floor spins and runs, I am by no means a ballet expert.

 

What I am, however, is an enthusiastic adult student who got to live out her childhood dreams last night – albeit in active wear and socks rather than a tutu and ballet slippers!

Since taking up pole, I have allowed my dance obsession to take it’s own course. When I’m too tired, or it’s too hot to train, I read about dance, watch dance tutorials, and binge on YouTube clips. My research into ballet, just heightened my desire to join a class, and I really do believe it is going to help my pole dancing.

Coming from no dance background, my childhood was busy with hockey and athletics more than cartwheels and ballet school. My hips don’t like to turn out, I have trouble with neutral spine, and when I raise my arms in fifth position my lats and biceps bulge considerably, interrupting the dainty lines of the rest of the ballerinas #poledancerproblems!

If you were a ballerina as a child, you probably already know how your training is of benefit to your current dancing as an adult. You have muscle memory that supports your posture and ability to point your toes. You may even have retained a certain range of flexibility that helps your lines and success with splitty, flexi pole tricks. Your body may also remember that limp hands spoil the grace of many poses, thus ensuring your lines end with the most authentic and poised gestures –  “like holding a flower or champange flute” as I’ve been told!

These are just some of the elements of ballet that I hope I can bring to my own dance practice. I received feedback from a judge once who offered criticism of not using arms and shoulders enough. She explained, that common with many pole dancers, our shoulders are strong and tight, and may help stabilize movement but also restrict it to the point where we don’t use our arms at all except for holding on. I am hoping that ballet classes can help bring movement into my arms and help me coordinate that movement with the rest of my body.

I was given pointers for using my arms from the ballet teacher:

  • I should carry my arms like holding a beach ball
  • I should lower my arms as if I have an orange in my armpit

These are common cues offered to beginners utilising visualisation to think about engagement and alignment. The ballet teacher also came around and made adjustments to the class to help with maintaining posture.

On the barre, I was able to stand behind a girl who clearly was beyond a beginner but seemed to be in the class to refresh her basics. I studied her movements like a hawk, watching her back muscles fire and lengthen as she raised her arms and just floated them around above her head. I could actually see her flatten her shoulder blades against her back bringing new appreciation for the common alignment cue – “shoulders back and down”.

My other light bulb moment from the barre work was observing how my stabilising arm (the one holding on to the barre) was causing my body to do crazy things! It was like my brain was so focused on coordinating the other arm and my legs that it completely ignored cues from the other side of my body. It was only when I was completely out of balance and nearly falling over (yes! while still holding on!) that I realised. The arm holding on to the barre was gripping tightly, white knuckled even, and cramping under my shoulder. My torso became twisted as the tightness on this side attempted to compensate for the lightness I was so seeking with my other arm.

Clearly I was doing it wrong!

These observations provide near endless learning for my body work here on. I plan on taking a full ten week course in beginner ballet in the New Year, hopefully joining a class of true beginners who are open to the ballet teacher to working her magic.

I’d also like to share, perhaps a small consolation. The photo attached is a screenshot from a pole freestyle taken just yesterday nearly a week after my ballet class (when all the DOMs had finally subsided!). I was so pleased to see a little arm flourish appearing to come from nowhere.

Watch this space for more from the barre!