dance – Page 2 – Mel Nutter as Baudelaire

Tagdance

The Spin City Aerial Hoop Bible – Review

How many times have you dreamed of a having a reference book of all the pole moves ever created? Or all of the lyra poses? You could bring it to class, write notes next to the moves to help your remember how you transitioned in and out. You could date and star the moves that you can do, visualise your goals, and have a step by step curriculum for your learning and progression.

Well, dream no longer!

Aerialist Kate Edwards and her fabulous team at Spin City Aerial Fitness have created the bible of our dreams! Now in their 4th edition, The Ultimate Pole Bible and The Ultimate Hoop Bible are going to become your most favourite training companion. For everyone with partners you can also now purchase The Ultimate Doubles Pole Bible and The Ultimate Doubles Hoop Bible.

I got my hands on The Ultimate Hoop Bible last week, and it has already been such an asset to my training. I was a pole dancer for five years in Sydney, but now living in Cambodia I only have access to silks and lyra. My experience on pole has allowed me to progress rather quickly with lyra, however The Ultimate Hoop Bible has really opened my eyes to the variety of artistic expression and dance possibilities.

What you need to know
The Ultimate Hoop Bible contains:

Over 800 clear, professionally photographed lyra poses
Spotting techniques, with photographs
Poses grouped into families based on contact points and difficulty
Glossary with pose names (and other common names) with page numbers
Combo ideas, combining moves from each section
Strength and conditioning tips and techniques
Dynamic moves and transitions for more advanced aerialists
Break down of transitions with photographs of the start, mid point, and finishing positions
PDF, soft cover, and hard cover version available

The authors of The Ultimate Hoop Bible have been incredibly thorough. The book begins with a series of Core Hoop Moves progressing from beginner to advanced. The next 200 plus pages are then filled with families of poses, grouped together based on –

contact points with different grips (hand, knees, elbow, armpit, hip hold),
specific positions on the lyra (top vs bottom bar, in front vs behind the bar, or using the strope)
advanced strength and flexibility poses

For students:
Keep in mind that The Ultimate Hoop Bible is not a manual. The authors make note at the beginning of the book,

“This book should be used as a memory aid for the moves you have learnt from a qualified instructor, rather than to teach yourself new moves.”

There are no step by step instructions of how to get into or out of each move. Despite the fact that so many pole dancers and aerialists use Instagram and social media for inspiration and learning new tricks it is important to be reminded of the mantra “do not try this at home”. Learning without a spotter or instructor increases the chance of injury and also puts you at risk of adopting bad habits that make it difficult to learn more advanced moves down the track. I personally think it a positive aspect that the authors have created the book with such ethical training principles in mind.

I am convinced that The Ultimate Hoop Bible will compliment what you are learning in class. I am in a situation where my instructor has limited English language skills – learning lyra in Cambodia has its pros and cons! The language of dance is universal and modelling and repetition go a long way, however, The Ultimate Hoop Bible has been an amazing asset in bridging a communication gap between myself and my instructor. I can show her moves that I want to learn, and she can suggest variations from the book that are more or less suited to my current skills. Even if both you and your instructor speak the same language, it is so valuable to have a common point of reference, including pose names, removing those moments of trying to explain a trick, “you know the one that Bendy Kate does with her leg up here and her arm is kind of wrapped under and then she does the splits?”

For instructors:
Over 14 aerialists feature in The Ultimate Hoop Bible and worked with the author Kate Edwards to produce the book. For this most recent edition, poses and transitions were also inspired by renowned aerialist and trainer Rebekah Leech, who’s research into movement, safety, aerial dance, and expression have fostered innovation in the field. Rest assured, that as an instructor or studio owner, the advice, techniques, and poses in The Ultimate Hoop Bible come from industry professionals.

Throughout every chapter there are notes on shoulder engagement, hand grip, spotting, and body awareness, that you can share with your students as you explain and model each pose. I was particularly impressed at how the depth of the authors knowledge comes through in the organisation of the book and also through the notes. Kate Edwards has an extensive understanding of body mechanics, anatomy, and safe training practices that will support your own training and instructional techniques.

For example, in the section titled Splits Based Moves, there is note made about the difference in the quality, and safety, of the move when using active flexibility rather than just external resistance. Keeping this in mind when teaching certain split based moves, will allow you to make adjustments for each of your student’s current skill set.

Overall, The Ultimate Hoop Bible will make a great teaching aid, offering options for structuring your class, and supporting safe teaching and dance practice.

For a sneak peak of the Ultimate Hoop Bible head over to the SpinCity YouTube channel.

Or if you are already convinced of the value of this product, head over to the SpinCity website and grab your copy now!

http://www.spincityinstructortraining.com/

Pole Dance Stories

February 6, 2017 / mel

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!

January 27, 2017 / mel

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

January 11, 2017 / mel

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!

Chair Dance

December 17, 2016 / mel

Since being away from my pole and a regular studio space, I have had more time to explore other aspects of my dance practice. Mornings start with at least an hour of yoga and stretching before breakfast. After some work or time exploring our new city I find that my desire to just move leads me to long floor work sessions and most recently choreographing a chair dance routine!

The processes involved in chair dancing has challenged my creativity, flow, and stage presence and has offered a new perspective on tricks and floor work. It’s a great foundation to strengthen your dance skill set too!

Many pole studios offer chair and lap dancing in conjunction with pole, or as separate classes. Training in Sydney, I joined chair dance for one term a few years ago. As a group of three we performed what we learned at a showcase. But aside from this class, my experience dancing on, with, and around a chair has been limited.

Creating a chair routine and recording my chair dance freestyles, I have become aware of three elements of chair dance that may compliment your pole practice.

Creativity
I have to admit that when I first chose to start working on a chair routine I was stumped. I had a song, and knew what feeling I wanted the choreography to take, but it was hard to know where to begin. I could not rely on standby pole combos or spins. I was also limited by the type of chair available, how it could hold my weight in various balances, and the space it offered for placement in poses.

Making shapes and coming up with something new is challenging. I was surprised though at how many of the tricks and shapes I was able to translate from my pole experience. A pike, a back bend, a dynamic transition from a closed shape to an open one. I was reminded about the quality of the movement that matters, not just a shape having a name.

Unpacking this took time and experimentation, but I’m so glad to have had these moments. When I do get back on a pole I hope to have such a larger repertoire of tricks and formulations to return with.

Versatility
Using a prop such as a chair, or an ottoman as you can see in my final routine, offered new angles to explore floor poses and transitions that I was familiar with. It also challenged me to think of new ways to move around the space. The ottoman does not have a back, so I had to make a decision to have it against the wall, or to be able to move around it from all sides. When working with a chair in conjunction with a pole you can also choose to have the chair rest in front of the pole or place it to one side.

I really enjoyed the process of discovering the wall and then working it in to my dance. As I recorded my freestyles and watched how my arms and legs responded to the space, I found a new sensuality in my movements. Touching the chair and wall could be a movement in itself in a way that is not always possible when dancing with a pole.

Engagement
Eye contact, facial expressions, and hand gestures, are all elements of chair dance that make it more intimate. The audience is right there with you and being able to captivate them is much more important. I have already written about stage presence and polishing your choreography, but there is a whole language of the body that can help you tell your story. This was perhaps one of the most powerful lessons I have learned from engaging in chair dance, and something that is probably more related to burlesque and exotic dancing. I’m excited to see how this evolves as I work on new chair and floor routines too.

My “What To Do When You Don’t Have a Pole” videos from my pole hiatus last year got some great air time. Chair dance has reminded me how much I do just love to dance. There have been many moments in the last few weeks where I warm up by just putting on my long socks and turning up the volume. A space to dance needs just a floor and your body, no props required.

I do, however, recommend a chair (or a footstool) if you are looking for ways to change up your dance practice and inspire new movements and inspiration.

You can watch my chair dance routine on Vimeo here.

Pole In Style

November 25, 2016 / mel

I recently partnered with Pole In Style, where you may have seen my guest blog post – The Devil in the Details. As I get to write more content, you as a reader receive a gift of 10% your purchase from their collection. Just use the code MELNUTTER at the checkout and the 10% will be taken off the price straight away!

I am so pleased with the quality and design of the Pole In Style collection. Too often pole brands offer pieces that are too bulky, too skimpy or just plain uncomfortable! I have both the Floral Set (in blue and purple) and the Dancing Warrior Set (white), and I can recommend both to upgrade your pole wear collection.

pis-3

Bottoms
We’ve all stood in the change room when trying on new pole shorts and checked for coverage. Bending over, squatting down, turning ourselves into a pretzel to double triple check that there are no bits hanging out!

The Dancing Warrior bottom are cut like briefs, but with elastic all the way around the crotch and leg holes, nothing is going to move while dancing. They sit low on the hips to flatter any figure, and there is no centre seam for that awful camel toe! I wear an extra small in these bottoms which fit like an Australian size 8. Ordering online can be tricky, but these are true to size.

The Floral Set bottoms I have in both blue and purple. They are more like a boyleg short than a brief, so offer more coverage and give a more sporty look. The contrast waist trim really helps to make these look flattering, and the side trim details sit perfectly on your hips. Same as above, I wear an extra small in these shorts. The entire Pole In Style range is made with four way stretch fabric offering the best in comfort and fit. My dance practice sessions often go for two hours or more, and not only did the shorts not move, they also did not dig in at the seams.

Tops
All of the Pole In Style tops come with removable cup inserts. I am an Australian bust size 10D and some crops tend to flatten my shape so I tend to leave them in. The lining inside the tops create a stable pocket for the cup inserts so they don’t move around. The lining is also made with four way stretch fabric, so even without the cup inserts you fell supported and comfortable.

The Dancing Warrior top is a halter design, with a high neck at the front and cut out detailing in the back. I wear a small and was pleased that the base of the top did not ride up and create underboob when dancing and stretching. Everything stayed in place. I love the look of the back detailing. It’s a striking addition to what looks quite modest at the front. You could easily get away with using this set as a costume for a performance.

The Floral Set top offers great support. Once again there was no chance of it riding up and creating underboob. For bustier women who feel more comfortable with a bra under their crop, this top is cute and strappy, with enough coverage to make it possible.

Leggings

Pole In Style also have a range of leggings and tees in addition to their pole wear. I snapped up a pair of their gray leggings to trial and they didn’t disappoint! I wear an extra small and many other brands are often too short in the leg. These are made for tall women in mind! The leggings are full length with a waist that sits just below my belly button. I love the sneaky bit of colour on the waist band, and once again the four way stretch fabric keeps everything in place, all day. They even have two pockets, perfect for holding your phone or keys if you don’t want to bring your bag to the gym! I wore these leggings on a hiking trip. They were super comfortable, and breathable, and I didn’t have to keep hitching them up like other leggings I have tried.

Customer Service
Mai from Pole In Style is available to answer any questions you may have about your order. She is a pole dancer and yoga enthusiast herself, so she knows what active women are looking for in design and fit. Pole In Style are also on Facebook, Instagram, and Twitter where the pictures speak for themselves!

All of the Pole In Style range can also be used for swimming! How versatile is that?! You’ll definitely see me at the pool or beach rocking my new Floral Set soon!

Head over to Pole In Style and check out their latest collection as well as their pieces on sale. You can use the 10% off code for any purchase!

If you are a studio owner, Mai is also able to set you up as a wholesale partner, enabling you to stock Pole In Style in your studio so your students and customers can by directly from you! Contact me or Pole In Style directly to talk about this option.

Up ↑

Mel Nutter as Baudelaire

Aerialist

Newsletter Sign Up

Please note:

FOLLOW ME

Competing in a Pole Dance Comp in 2020? BUY NOW!