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Interview with Helena Lehmann

October 22, 2017 by Elen Ramírez Leave a Comment

“Whatever you do, do it with elegance” – so reads the motto of ballerina Helena Lehmann and she seems to follow it with every fiber of her heart and every inch of her body. At the age of  four, Helena tried her first steps into the world of ballet and worked for many years as ballet  dancer in Odessa National Academic Opera and Ballet Theater in Ukraine. When she moved to  Germany, she discovered pole dancing. And now she is working with her artistic performance  “Helena Vertical Dance” all over the world.

1. Helena how long have you been doing pole? What is your story?

I started with pole dancing five years ago and I loved it from the first moment. Even though it  was not easy for me to climb up on the pole at first . Ballet dancers are flexible and have strong  legs, but no power in the arms… But I had a vision: to combine pole dancing with my ballet  skills and to create an artistic performance to beautiful lyrical music. Nothing could stop me from  my dream! I was on “fire”, and I wanted to learn fast. That is why I decided, beside my work as a  ballet dancer, to take private pole lessons at least three times a week. I also went regularly to  the Gym to work on my strength. I just kept practicing, kept this vision in mind and already after  four months I had my first professional performance in  Germany!

2. What challenges did you have when you just started your artistic career in pole
dance?

My challenge was to be so good at what I do, that it would be accepted and seen as an artistic performance. Back then the German Variety scene was very skeptical about pole dancing.  When I presented my artistic performance, I chose to call it “Vertical Dance” not “Pole Dance”.  Otherwise, some producers or agencies would not even have looked at it. Now I am very happy  to see that pole dancing is accepted and seen as an art in many different types of shows and  events.

Helena Lehmann pole artist

Featured photo and this photo by Gerhard Grossberger 

3. How is your creative work process when you prepare your performances?

Everything starts with the music… I find a music piece which inspires me and listen to it many times while I am visualizing a choreography… I see it in pictures, kind of like drawing a sketch in  my mind of a future  performance. Then I create three or four combinations of different pole  tricks and try them on a part of  the music where they could fit. In the end I combine all these pieces with a dance choreography. I practice until it gets “smooth” and fits perfectly to the  music. If I take a song with lyrics, first of all I listen to the meaning of the words, so I can  transform it into a dance. I like to change songs, so I can keep my feelings “fresh”. I also work  with live music quite often, the band and I we play and perform together and the result can be  truly magical .

4. What do you appreciate the most in a performance and in an artist?

In a performance, what I appreciate the most is uniqueness. In an artist, beside the love and dedication to his/her art, I appreciate a true personality on stage and backstage.

5. In which countries have you performed? Do you have some funny episode to  share?

I have performed in Japan, India, China, Turkey, Holland, Italy, Spain, France, Switzerland,  Austria, Germany.  Once I was working in Germany, where besides my artistic performance I had to act and talk on
stage. The story of the show was that all artists are acting as themselves and we show to the  audience what our life is like. The show was taking place in the hotel where all artist live and  work together (like in real life). My first appearance on stage was:  I enter with my suitcase, like I had just arrived from the railway station and wanted to check in to  the hotel. I see the hotel owner and his assistant but they are busy. I say “hello” to get the  attention, they turn and as the owner of the hotel sees me, he is falling in love with me from the  first moment (he was a pantomime artist and played this moment very well with). When I ask  him a question, he cannot not talk, because he is so amazed by my beauty. His assistant  answers my question instead, gives me the key to my room and I go off the stage.
Well, on one of the shows I come on stage, I say “hello” and at this moment when the owner  turns to me a big fly lands on my nose, so instead of falling in love with me he starts to laugh,  points a finger at my nose and says “there is a fly”… I was not prepared for such a reaction and  we all three started to laugh on stage… The difficult thing was that I still had to continue the  conversation with his assistant, but all three of us could hardly talk through the tears from   laughing… I do not really remember how I handled it until the end of this scene, but I remember  I just wanted to go off the stage, because I was so embarrassed…

6. What is your favorite pole movement and which trick was the most difficult for
you?

Ballerina is my favorite, it is just so perfectly beautiful. The Flag was the most difficult trick for me! It took me long time to get it right!

7. What bands, singers or composers do you like for your pole dance training and
performances? Is it easy for you to find the right music?

For performance I take for example Ludovico Einaudi, Adele, London Grammar, Lana del Rey.  For practice I like to listen Trip Hop, Chillstep, lofi Hip Hop, Bonobo, Ta-ku and many others .

Helena Lehmann vertical dance

Photo by   Sifu Hans Schenkel 

8. Who are your pole inspirations?

Anastasia Skukhtorova, very elegant and graceful.

9. Which pole do you like to use and why?

I use X-Stage Lite 45mm Chrome or sometimes Silicone Black. It is comfortable and easy to  transport by car, easy to install and put on and off the stage.

10. What is your favorite pole store?

Normally I order online by www.poleshop.de or www.polesportshop.de

11. What tips can you give for those who are on the way to become professional pole
dancers?

First of all you have to take good care of your body. Your body is like a house where your soul  lives. You can practice a lot and intensively, but do not forget to take a good rest after. I do  practice a lot and I do different kinds of practice, not only pole tricks. Sometimes I do stretching  and ballet lessons, on other days I go to the gym or do exercises for my strength. Or I practice  pole with a stretching session afterwards. It is always different, depending on how I feel and if I  have a show in the evening or just free time. We are all different. It is important that you listen to  your body and to it needs, otherwise sooner or later you will get a burn out. You have to take at  least one day in a week off and do something nice and relaxing for you. It can be a massage, a  spa day or just a lazy, cozy day in bed. Eat a good organic food, a lot of vegetables and fruits,  you will have more energy and feel better. I do not speak about diet, no! I speak about your  lifestyle, about your well being. It must feel good to you!
Also there might come a moment, where you feel that there is no progress and you will get into  a little depression. Well, that is okay, it happened to me too. Try to understand where it comes  from. Maybe you practice to hard? Then take a little rest today. Or maybe you criticize yourself  to much? Go easy on yourself and stop comparing yourself to others! We are all different and  have a different learning curve. Acknowledge all your little successes and write them down. Say  to your self “well done” for all that you have already reached! Maybe your practice becomes a  routine and you just have to change something… do something new, different. Maybe learn a  new style of dance, or change your training space, music or practice outfit? You just have to  know, that this feeling will go away and very soon you will feel better and that it is all okay.  Stay focused, be brave and have fun with it! Find your uniqueness!

Helena Lehmann vertical dancer

Photo by   Lutske Veenstra

12. Where one can book you for a show or visit your classes and workshops?

For the next five month I will be performing everyday ( Mondays off) in  Hansa Theater in Hamburg. You are welcome to see my show or contact me for  booking.

Thank you very much Helena!

Pole

Interview with Brandon Scott

June 19, 2017 by Elen Ramírez Leave a Comment

Brandon is a self-made aerial acrobat, currently living in Las Vegas. He has a background in gymnastics, dance, and musical theater, and currently performs and teaches on Aerial Fabric, Straps, Hammock, Spansets, Chains, Rope, Rings, and other specialty apparatus. He currently holds the title of US Aerial Champion, and teaches classes and privates at Trapeze Las Vegas: The Studio.

1. How did you come to circus arts and how was your process of developing your style?

I took my very first Aerial Silks class in January of 2013, and from that moment on began pursuing my passion for the art, until I could begin to make a full-time living in the circus sphere. I trained with my instructor, Darla Davis, at Aeris Aerial in Sandy Utah for 2 ½ years, and her teaching philosophy is very technical, with a focus on basics, incremental progression, and polished advanced skills (which oddly was also very similar to the philosophy of my gymnastics coach Christopher Sommer of Gymnasticbodies). Because of this focus from my coaches, my style is very classical, with traditional lines and excellent technique, but I have combined that with my background in music (piano, french horn, voice, and musical theater) to create a lyrical style to my aerial as well.

Brandon-Hansen-split-balance

Photo:  Max Torendell

2. What is your favorite apparatus and why? How often do you train and perform?

Aerial Fabric has got to take the cake for me. Not only does it hold space in my heart as my first apparatus, but silks also have a nearly endless variety of skills, sequences, and drops to discover and work on. Even now after working intensively with them for several years, there is always something new to learn! My training schedule during a regular week includes 4 days of aerial training, 3 days of weight-lifting, 2 days of dance class, and 6 days of stretching. At the moment, I perform irregularly at gigs and event, so I can perform a few times a month, or once every few months, depending on demand.

Brandon-hansen-aerial-silks

Photo: Charles Ruscher

3. What exercises would you recommend to get stronger for aerial straps? Could you suggest a routine for aerial arts students?

The most basic exercise that aerialists should master before beginning straps training is the shoulder-shrug. Shrugs are small movements that strengthen the tissues surrounding your scapula in your shoulders and upper-back. These should be performed with excellent technique while upright, inverted, as well as on a single-arm (they can also be done on the floor in a push-up position, or in a handstand). Inability to perform shrugs in each of these directions is a sign that the shoulder-girdle is not physically prepared for aerial straps work.

4. What exercises could one do at home daily without aerial apparatus as additional training?

There are many bodyweight exercises on can do at home to supplement aerial training. I’ll give you three of my favorites:

V-Ups: Lying on your back on the floor, assume a Hollow-Body position, then lift your upper and lower body together, with your butt as a pivot point, and compress your abs into your thighs for a moment, before lowering back down to your hollow-body. Easier version would be crunches. This exercise is vital for developing solid core strength, active hamstring flexibility and pike compression, as well as balance and self-awareness between the upper and lower body. Recommendation: 3 Sets x 20 Reps.

Push ups: Although push-ups are a nearly ubiquitous exercise, they are also extremely important, and shouldn’t be overlooked in one’s personal training. Pushups strengthen many of the muscles of the upper-body (which are so important for aerial work) include the Major and Minor Pectorals, the shoulders, triceps and biceps, back and scapula stabalizers, as well as the core. They can also be done in dozens of variations: by changing arm position (elbows perpendicular right angles, or close into the body) as a plank on hands or forearms, with hands or feet elevated on a block, slow-motion or explosive with hopping, etc.

Squats: As aerialists, we don’t think we really need to strengthen our lower-body as much because we are mostly using upper-body strength in the air; but working on leg strength is very important for balancing your split flexibility, as well as aesthetically balancing your physique. There is lots of information online about proper form for regular body-weight squats, but I would recommend also looking into single-leg squats as well, which work on many muscle groups (including glutes, piriformis, quads, hamstrings, calves, and plantar muscles) as well as equilibrium and balance.

Brandon-Hansen-aerialist

Photo: Anna Cicone

5. How was your experience at the US Aerial Championship? What would you recommend to those who would like to participate?

Competing in US Aerial was an amazing experience, both in 2015 and 2016. The first year, I went without knowing a single other person who was competing, and that was interesting because I got to kind of fly under the radar. But between the two Championships, my Instagram had grown from 3k followers to 25k, and by the time I went, I already knew almost all of the boys I was competing against, as well as many of the artists in the other divisions too! Because of that, it felt less like a competition, and more like a festival, where we were all trying to do our best, and routing each other on because we were already friends!

If you have interest in participating in a festival or competition, make sure you stay on top of deadlines! You can have the most beautiful act in the world, but if you miss the date by which you need to send in your submission video, or fill out your participation form, you may be out of luck. Doing these things in a timely manner can also give you a better chance of getting into a competition, as well as save you money on fees. On the performance side, remember that most competitions weigh your story, character, and emotion equally against more traditional elements of strength and technique, so if you can make them both equally strong, you will impress the judges, and stand out from your competitors. Don’t let the results be your main focus, however. Go to a competition with humility and optimism, giving the best performance you can, as well as rooting for the other aerialists, are you will always come out a winner!

Brandon-Hansen-US-Aerial

Photo: Cristian Buitron, US Aerial Championship

6. Could you give some tips and exercises aerial silks duo?

What is important to consider for both flyer and catcher? What are the common mistakes?

Like all aerial arts, the most important aspect of duo work is safety. But this takes on a whole knew level when you are working with another person. On the surface level, this includes having the right kind and amount of mats, working at a height that is appropriate for your level, and when doing more advanced tricks (like release moves) considering training in a space with a foam pit. On a more personal level, communication is essential so that both partners are on the same page, and so that they can eliminate as many surprises as possible. This also mean being honest if something doesn’t feel quite right, and being able to give ear when your partner has suggestions for what would make things easier on their end.

For the base, you’re main goal (at least initially) is going to be conditioning, both to make sure that you can lift your flier safely for a good length of time, as well as getting your body prepped to endure the specific pressure of the apparatus in the position you choose to base in (like your lower back and inner thighs for a cross-back-straddle, or your quads in catcher’s position on a trapeze). And while the positions I just mentioned are the most common, don’t be afraid to change it up, and get creative with your basing positions. This will make things more interesting for you, as well as the audience.

As for the flyer, you can make things a lot easier for your base by keeping your core engaged, and learning to hold your own bodyweight in the air. It may seem to you that your weight doesn’t change from moment to moment, but how you hold your body actually has a huge effect on how heavy you feel to your base.

Additionally, you have got to be the one to let your base know if anything does not feel right. Having trust that your partner will keep you safe is extremely important, but on the other hand, YOU are (most likely) the person most in danger of an accident, so be sure to respect both your body and your instincts, and communicate these things to your base.

7. Could you share some advanced trick for aerial silks solo or duo? Do you have a video of it?

If students would like to learn aerial technique from me, I have regular classes at Trapeze Las Vegas: The Studio, and am available for privates and workshops wherever I happen to be traveling to.

8. Could you please share a short warm-up before performing?

When warming up, my advice is to be continually moving. This can come in the form of light cardio (jogging in place, jumping jacks) bodyweight exercises (as I described earlier) and Dynamic stretching. I would recommend avoiding static stretches as much as possible until you are ready to cool down (though some are appropriate to prepare your body to be flexible in the air).

9. Do you have some funny episode during your performance or training to share?

Around Christmas, I was recording some training to post on my instagram, and I got a little carried away with my spinning, and my fabric tail ended up knocking a bunch of stuff off a cabinet in the space. Oops!!

10. Where one can book you for a show or visit your classes and workshops?

To schedule classes, workshops, privates, or performances, I can be emailed at brandonscottacrobat@gmail.com

Featured photo:  Daniel Woods, Inspire Media

Aerial Arts

Interview with Iram Ramírez

June 18, 2017 by Elen Ramírez Leave a Comment

“Hi Everyone! My name is Iram Ramirez, I am 22 years old, I’m from Camargo Chihuahua Mexico, I have been an Aerialist for almost 5 years, instructor and choreographer in Alpha Dance Studio for 3 years. I am a student of Business Administration at the Universidad Autonoma de Chihuahua, I speak Spanish and English.

I have competed in the Mexican convention called Expression Dance winning first place in senior category duo and first in Solo Senior category in hoop, and was choreographer for a first place routine category Teens duo and third in Senior category duo.
I was a finalist in the international competition U.S. Aerial 2016 getting a 3rd place in ratings, also I am known as one of the top 6 international aerialists by that international organization of Aerial Dance.
I have taught workshops in different parts of Mexico and the United States as well as in Douglas Arizona at the academy “BB Dancer” in March and in October 2016, I taught workshop in the city of San Jose Costa Rica at the academy Krama Yoga in September 2016 and in Mexicali Baja California Mx at the academy “Danza Vertical” in January 2017.”

Iram-Ramírez-silks-duo

Photo:  Dani Cisneros Ramirez

1. How did you start aerial silks? What was challenging for you when you just started?

Well, I started aerial silks because I went to an Aerial competition here in Chihuahua Mexico by Expression Dance, and I thought that aerial arts were just for girls, but then I saw 3 guys competing, I was amazed, because they did some strength stuff and I loved it. Then I said to myself that I have to try it and…. Here I am!
At the beginning the most challenging things were all the drops, I used to hate them soooooo much!, but now we are good friends.

2. Do you focus mainly on aerial silks or do you also train with other apparatus? Where do you perform and train?

My favorite apparatus are silks, I love them because you can do a lot of things there, you can play with them, dance with them and you can do a lot of wraps or poses that you also can do in other apparatus, but also I like Lyra (Aerial Hoop), and I train in Alpha Dance Studio, it’s a dance academy here in Camargo and I’ve been there for almost 5 years, I also dance Jazz and Hip Hop (most of the people don’t know that).

3. How is circus scene in Mexico and in the USA in your opinion?

Well for me it’s better in the USA, because more people love to go and watch all the shows and don’t have any problem to pay for them, in Mexico it’s not so popular, because as Mexicans we don’t have the habit of taking  time for a circus show and similar stuff.

4. How often and how long do you train?

I teach aerial 10 hours weekly and I train for 5 hours weekly.

Iram-Ramírez-aerial-silks

Photo:  Dani Cisneros Ramirez

5. What are the best exercises to strengthen the shoulders?

There are a lot of them, one is hanging in the lyra and pulling you up with the strength of the shoulders without bending your elbows, and there is another one in silks – doing a Christ pose, and opening and closing the poses, it helps for back strength too.

6. What do you do for a warm-up before the training?

I start from the top, moving my head, shoulders, hands, then  go lower to the chest, hips, knees and feet. After the warm-up I stretch my body, legs and back, do splits and middle splits. At the end I warm up in the silks with pulling up and holding, inversions and with more flexibility stuff and then I’m ready to start.

Improvising…🌎💙😄 #AlphaDanceStudio #AerialSilks #AerialFabrics #Telas #DanzaAerea #AerialTissue #Lyra #AerialHoop #Aerialist #Aerialists #Aerialistsofig #Usaerial #AerialNation #CircusInspiration #Aerialistnation #CircusAroundTheWorld #CircusInternational #gymasticsshoutouts #IGDPostMe #usaerial #Muscle #Circus #Circo #Stretch #Stretching #Strong #Stronger

A post shared by Iram Ramirez (@iramsin559) on Aug 28, 2016 at 8:23am PDT

Conquering the basics… 5 roll ups and some back bend 😬💙 #AlphaDanceStudio #AerialSilks #AerialFabrics #Telas #DanzaAerea #AerialTissue #Lyra #AerialHoop #Aerialist #Aerialists #Usaerial #AerialNation #CircusInspiration #Aerialistnation #CircusAroundTheWorld #CircusInternational #gymasticsshoutouts #IGDPostMe #usaerial #Muscle #Circus #Circo #Stretch #Stretching #Strong #Stronger @usaerial @cirfit_usa @cirquedusoleil @cirquedusoleilcasting @circusaroundtheworld @circus.international @circusinspiration @instagram @instagrames @gymnasticsshoutouts @instagymnastdancers

A post shared by Iram Ramirez (@iramsin559) on Nov 21, 2016 at 10:45am PST

7. How was your flexibility development from the moment you started aerial arts till now?

Which exercises helped you the best in back bending? What tips can you give for anybody who is working on their flexibility?

My improvement was so big, for back bend you have to try to touch your feet with your head, many people think that a good back bend is trying to touch your butt with your head, but if you do this you are just crunching your back and it won’t help a lot, so if you lengthen your back you will see better results and the best advice/tip that I can give you guys is, after a flexibility class or after you were working your flexibility you have to rest, if you don’t rest you will get injury and no one wants that… it’s HORRIBLE!

Iram-Ramírez-aerial-hoop

Photo:  Dani Cisneros Ramirez

8. How was your experience at the US Aerials?

How did you prepare your choreography? How were your feelings when you entered the stage and after your performance? What advice would you give to those who would like to participate in the US Aerials?

It was an amazing experience, I loved when, all the people that don’t even know me, were clapping and yelling, when I was in the scenario, it was so special for me.
I did my own choreography with some personal moves, I started choreographing in my head, then I did it on silks.
Well I wasn’t scared or nervous because all of us had a rehearsal before the show, so I think I was more nervous in the rehearsal than in the show. After my performance I felt so happy for me, because I did it so well, all the people were yelling and clapping, then all my friends and family, who saw my performance online were texting me a lot of positive things so, I was so happy.
My advice is… Do it! Try it! Never be afraid, and you have to know always that we are learning all the time, every day, so if you don’t win, don’t be sad, just raise your head and train to be better than you, but the most important thing is, always be humble, that will help you a lot. 

9. Where one can book you for a show or visit your classes and workshops?

You  can book a workshop, private classes and performance via e-mail: iramramirezads@hotmail.com or you can send me a message via Instagram or Facebook. You can check my work on Social Media and follow me. If you guys have a question or need an advice, I would be so glad to answer all those questions via DM.

This was my performance at the US Aerial, check it!

Featured photos:  Dani Cisneros Ramirez

Aerial Arts

Interview with Thula Moon

January 27, 2017 by Elen Ramírez Leave a Comment

1. Thula could you please tell me about your way to circus arts? What is your artistic story?

I was born on the Big Island of Hawaii and grew up on the east side of the island in Puna. I started in an acrobatics class when I was around 5 and started performing with kids and adults yet it was a little “dry” since our teacher was 80 years old. At age 6, we found a local youth circus program called the Hiccup Circus. I was only allowed to join only if my mom participated with me since the starting age was 7. We brought acrobatics into the circus. I also took gymnastic classes. At age 12, I auditioned and secured a spot with a summer youth circus tour on the East Coast called Circus Smirkus and travelled/performed with them for three summers. On the fourth summer, I got a big wake up call by not being accepted. Up until that point, I had been riding on my natural talent yet didn’t take it seriously enough. In 2009, I shifted from being a normal teenager and committed to 6 hours of training/day as well as online schooling so that I could pursue my dream to be a professional circus performer. Within a year and a half of this rigorous routine, I was hired at the age of 16 to perform with The Great American Circus which was a traditional circus that performed internationally.

2. How do you create your choreographies and transitions?

My act that I graduated from The National Circus School in Montreal took about three years of developing sequences and transitions. It was a combination of me exploring and training for hours and hours and then also having guidance from my artistic and technique coaches. Now that I have an act that I am very happy with each detail I can adapt it to different shows and songs. Sometimes I switch around the sequences or specific tricks within a sequence but for the most part I usually have three sequences within a number. I video myself training quite often because you are your worst critic. When I create new transitions I try to make them as fluid as possible and the least amount of use with my hands.

Thula Moon Épreuve synthèse 2015 à l'École nationale de cirque de Montréal.

3. Is it easy for you to find the right music? How do you look for music for your performances and what are your favorite bands, singers or composers?

I find that searching for the perfect song is probably the most frustrating and time consuming part of creating a new piece. I spend hours and hours researching different artist/composers/videos ect. It can be difficult to find a song that has all the components that you want it one song. For aerial numbers it is important that the song has enough musical changes and doesn’t become to repetitive. It is also important to really love the song because you hear is so many times! I am always on the look out for new act songs, when I’m out and hear a song that captures me I make sure to take note of it. I also get a lot of inspiration from different soundtracks from movies and shows that I go watch.

4. Could you please share a good warm-up routine for aerialists?

My usual daily warm up on hoop is five skin the cats, then one are meat hooks on each side x3, one arm straddle ups on each arm 3x, meat hook to straddle on each arm 3x, back side plenches 3x each side. Then I like to warm up most of my dynamic elements.

5. What are the best flexibility exercises for chest stand on the hoop?

Chest stand (the way I do it) is one of my signature moves that I developed. I don’t teach this element on hoop. Training contortion on the ground is a great way to increase your flexibility in the air. Holding chest stands and learning how to breathe in the pose can help a lot to increase your flexibility. My secret for warming my back up quickly is stretching with a foam roller. I warm up my bridges and chest stands with it in my back so it takes the pressure off my muscles. I also do chest stands elevated so my chest is higher than my feet. This increases the flexibility in your upper back.

6. You have a very innovative and dynamic style. Could you give some tips for dynamic transitions on the hoop?

It’s important to find your own style and way to move on a hoop. Many artist could do similar skills but it is the transitions into each or way of moving on a hoop that makes it so unique. Once you know how to manipulate a hoop it’s all about exploring your own different possibilities. Sometimes you can get stuck moving in the same way. At the moment its best to either leave it alone for a little while until you can come back with a fresh take or ask for an outside eye. Sometimes it can take months to figure out a “new” transition and other times it happens right away. Watching videos is a great way for inspiration but it is very important to be inspired but not copy! Don’t learn how they do it but make it yours. Experiment with creating transitions that don’t involve your hands or adding a twist or extra roll. Always think of continuing through and not sure getting to the position.

7. In which countries are you performing?

How is it with rigging for performances in different countries? What is important to consider there as an aerialist?

In most contracts that I do the company has a rigger who installs everything for me. I don’t currently own my own pulley system because I haven’t work as a independent contractor in Germany that much yet…But I will most likely purchase my own at some point. I just finished a contract with Cirque Eloize performing in the show ID. We were performing in Cancun, Mexico and in a city a few hours outside of Shanghai, China. My next contract is at the Adelaide Fringe festival in Australia. It’s with a new creation called Filament that I was apart of. We premiered this past summer in Czech Republic and this will be the first long run of the show. We have a rigger with this show as well. It is still very important as an aerialist to double check your own rigging no matter what. I am always aware of what the hardware looks like and if I see anything abnormal I won’t perform until its inspected.

Épreuve synthèse 2015 à l'École nationale de cirque de Montréal.
Épreuve synthèse 2015 à l’École nationale de cirque de Montréal.
Épreuve synthèse 2015 à l'École nationale de cirque de Montréal.
Épreuve synthèse 2015 à l’École nationale de cirque de Montréal.

8. Could you share some tips for foot hangs on the hoop and for dropping into a foot hang?

Most aerialist prefer one to the other of foot to heel hang. I have always preferred heel hangs. Of course at the beginning it hurt but after a while you build calluses and the pain goes away. I wear a foam protection on my ankle to protect from the impact of the drop. Learning to hold hangs is all about the correct placement and then just training endurance on it daily! Learning how to transfer from knee hang to heel hang is an important first step to the drop. Starting from knee hang holding your ankles in a back arch and then lowering to heels without letting go of your hands. It takes a good amount of back/shoulder flexibility to be able to do this. Next step is being able to shift your weight to just one leg and releasing the other.

9. How do you travel with the hoop? Do you take your hoop with you, how does it work with packaging, costs, etc.?

I have a custom made hoop bag that a company from Quebec made for me. It is a circular bag with a flat bottom. It is about 10″ wide and fits my hoop plus rigging and other show material I may travel with. It has removed wheels that attach with Velcro. The bag also has backpack straps. When I have it on I look like a ninja turtle! I always travel with my hoop but the company I am with at the time pays for the cost of travel. My hoop is very light and only weighs a few kg but with the other things I throw in my bag it usually ways around 15kg. It is usually checked in as a sports equipment.

10. Where one can book you for a show or visit your classes and workshops?

For show/act bookings as well as privates and workshops I am available via email, website, as well as on my social media!

Facebook
Instagram
Website
Email: thulamoon@live.com

Photos:  Warren Zelman Photography

Aerial Arts

Interview with Amy Hastie

January 26, 2017 by Elen Ramírez Leave a Comment

Meet Amy Hastie. “I live in Margaret River, Western Australia. I run the Wild Star Dance, Margaret River Circus Center. I have always loved dancing but have now anchored my passion in aerial dance arts. I am currently on a mission raising funds by preselling for the printing of my “60 Tricks on Aerial Silk” Instructional Choreography Cards.”

1. Amy could you please a little bit about yourself, how have you come to aerial arts, on which apparatus you are performing, where are you working?

I came to aerial arts after I sampled almost every other style of dance under the sun!! I absolutely loved the fact that dancing in the air gives you 360 degrees of spherical expression, where as on the floor you’ve only got half that to work in. My favorite apparatus is a tricky one to figure out. Trapeze was my first love, but I’m sort of infatuated with hammock at the moment. I work in my own business, Wild Star Dance, I offer the dance side of circus; static trapeze, aerial silks and acrobatic dance as well as stocking aerial dance products and transforming the basis of my curriculum into my “60 Tricks Cards”

2. Amy has a crowd funding campaign for her aerial project for kids. Amy could you please tell us about your project. What it´s about, how did you come to this idea?

When I first started teaching aerial dance I searched the net, asked fellow dancers and hunted for literature abroad to find some pathway on which I could base my curriculum. I came up with nothing! So I chose to create my own, which has proven such a valuable teaching aid for me and apparatus inspiration for my students that I am working to make it available to everyone. The product is a set of 60 cards with a picture of the trick on the front and instructions how to get into and out of that trick on the reverse. It comes in a box with a little information booklet. And it’s not just for kids!

boxlabelsilks-by-Amie-Hastie

3. That´s amazing Amy. For everyone who wants to support your project where we can find your crowd funding campaign?

I am currently preselling enough sets of “60 Tricks on Aerial Silk” cards to print the initial 1000 sets. If you’d like to jump on board and order a set of silk or trapeze instructional cards, head to my website wildstardance.com.

Could you please tell us about your static trapeze project?

I ran a successful campaign in order to print my “60 Tricks on Static Trapeze” Instructional Choreography Cards at the end of last year, these are now available through my website. They are now what I and many others base our teaching pathway on, the students absolutely love them, and they make the instructors job easier for sure! The students can organize the A5 cards under the trapeze as a choreographic reference, and if the order they’ve chosen doesn’t work, they jump down and shuffle them around.

4. What do you like teaching and performing the most – silks or trapeze? How differ your feeling on silks and on trapeze?

Where exactly do you see more difference: in the dynamic, space, etc.?

Although silks is the most popular apparatus, I prefer the trapeze. I feel that the possible transitions from one pose to the next is completely open due to the rest point the bar provides. Meaning the students are more easily able to take the improvisational dance style they discover on the floor into the air. Silks takes a little more time and dedication to achieve the same level of personal expression.

5. How is circus education in your country? What do you think about children circus education in general? Maybe you could give us some insights.

Circus is still very much a fringe activity, but I do see it creeping more into mainstream acceptance as a valid physical activity for kids. I love the cradling of individuality that circus arts can provide for kids. For me, aerial dance is a vehicle for personal expression, fitness and self esteem. What kid doesn’t need all 3?? Perfect!

Amy-teaching-kids

Amy-and-her-kids
Amy-kids--circus-class

6. Do you teach with the music?

What are your favorite music bands, singers or compositors for performances and for teaching if you use music at your classes?

Is it challenging for you to find good music?

I do teach with music yes. Live is always preferred for performance if it is possible, might be the Spanish dancer in me speaking there! I tend to let the kids guide the music choices for it is difficult to dance if you’re not moved by the music. Hence we often end up with the top 50 hits on repeat, forcing me to throw in a bit of Yann Tiersen or Yael Naim every now and then. Finding good music in this technological age is so easy! I love that!

7. Could you give some tips for those who teach circus aerial silks to children or want to do it?

What are your 3 biggest learnings from teaching kids?

1. Don’t squash their natural style of expression, learning good form is essential but not at the cost of unique movement.
2. Have a clear pathway, like the one my “60 Tricks” cards provide, they love to see how far they’ve come and where they’re headed.
3. Keep them safe. These are our next generation, you are setting patterns for life.

8. Do you have a kid? How is performing and having a kid? What is your approach to it: do you want or are you teaching circus to your kid too?

I have 3 children, a 10 year old daughter and two sons 12 and 17. The oldest and the youngest are heavily into circus arts, they are an awesome acro balance team. The middle boy sees a different path so provides some variety in family pass times! I gently offer to teach my kids whatever I know and happily do so when they ask. I believe that pushing anyone into a learning is the fastest way to kill any potential passion they may harbour for it.
I have chosen to share my skills over performing them due to my beautiful children. Hence opening my own studio. Performance as a career focus means a different life style to the one I currently share with my family, dogs, chooks and the beach! I still get performance opportunities, I just don’t need to rely on them for income.

Amy-Hastie-silks

Amy-Hastie-Silks-Cards

9. Could you please share 2 or 3 tricks on the silks with explanation for our adult readers to try out and learn? Do you have something interesting, advanced or intermediate?

-The way I have chosen to share my tricks is through my cards! Here is a sneak peak…(I have popped these 3 cards in with the other photos)

10-orange-hammock-back

22-yellow-awake-back

44-indigo-music-box-back

10. What are your plans for the next year and what is challenging for you right now?

My plans for the next year are to continue the work I started this year in my new studio. Teaching, making and supplying equipment and developing my curriculum further. What is challenging for me is trying to raise enough funds to get my silk cards printed so head to the website above now!!

11. Where one can find your school or book you for a performance?

My website wildstardance.com is the best contact, or you can always drop into my studio, I’m usually here!

Photos:  Lauren Trickett Photography

Aerial Arts

Aerial Arts Festival in Berlin

October 28, 2016 by Elen Ramírez Leave a Comment

The cultural center of Germany, Berlin celebrates Aerial Arts Festival in Berlin.  Jana Korb and Daniel Megnet together with their Partners for the Festival Maulhelden Büro and Wintergarten Variete, State Acrobatics School Berlin has organized this amazing event.

Jana korb and arnulf rating aerial arts festival in Berlin

Jana Korb & Arnulf Rating

Aerial Arts Festival is a great meeting place for international aerialists connecting performers from different countries. The festival has a well-thought program that combines training and jamming with gala shows, open stage and workshops by artists for different aerial apparatus.

The festival opened with a Gala show by amazing aerial performers from different disciplines: Ilona Jäntti, Emiliano Ron, Leo Hedman, Carmen Küster, Ana Jordão and Isabelle Schuster. The next day followed with a welcome dinner and several days of training and workshops in the State Acrobatics School in Berlin. 2 Days of Talks and discussions on the topics of safety in aerial arts and history of aerial apparatus were an informative and useful contribution to the Festival program. Open stage gave a chance to many artists to show their work. The Festival ends with the Closing Gala Show in Frankfurt Oder. – Best of Aerial Arts in Frankfurt/Oder.

The Closing Gala will take place this Sunday, 30th of October. Don´t miss the chance to see amazing performers to show their artistic work. To get the tickets you can send an e-mail to ticket@muv-ffo.de or call the Ticket-Hotline: (0335) 40 10 120.

Who will be performing at the Closing Gala in Frankfurt?

Cécile Mont-Reynaud, famous aerial performer from Paris who developed her own original apparatus called ”Ariane´s chemins croisés“ where she plays with dance, acrobatics and risks „L’art du risque“.

Emiliano Ron, the Rope Master based in Barcelona and travelling the world to perform and teach aerial rope. His incredible strong and risky movements surprise the audience all over the globe.

Carmen Küster from Berlin works on Counterweight Trapeze which hang only on one point instead of two. Her strength in combination with acting makes it a great performance to see.

Collectif and then… from  London, Praha and Berlin make awesome shows combining aerial acrobatics on different aerial apparatus, physical theater, dance and music.

Ana Jordao is an aerial rope performer who explores the frontiers between aerial arts and physical theater to create her own artistic work.

Roxana Küwen from Lüneburg performs juggling on the trapeze in a lyrical and surreal style.

Here once more where to get the tickets
Ticket-Hotline: +49(0) 335 40 10-120
E-Mail: ticket@muv-ffo.de
Price: 18,-  € and reduced.: 15,- €
Where? Kleist Forum, Platz der Einheit 1, 15230 Frankfurt (Oder)

Project Management
Jana Korb
Daniel Megnet

Host
Vuesch – Verein zur Überwindung der Schwerkraft e.V.

Photos:  Tobi As Stiefel— with Jana Korb, Jana Korb – Aerial Arts and Arnulf Rating.

Aerial Arts

10 Simple Ways to Boost Your Energy for Pole Fitness Classes

October 9, 2016 by Elen Ramírez Leave a Comment

Do you ever feel too sluggish to get out of bed, let alone go to your pole dancing class? We all have those days, especially during the cold months of the year, when that familiar feeling of “the winter blues” kicks in.
Putting aside all the comfy excuses we can make to stay in, here are some of the simplest ways you can ensure higher energy levels and avoid skipping pole dancing on any given day!

1. Pick a Short Wake up Routine

In addition to ten alarm clocks strategically dispersed all over your room to force you to get out of bed, there are less painful ways to get your juices flowing.
My personal favorite is doing the Sun Salutation for about 10 minutes as soon as I wake up. It helps me stretch, prepare my mind for work, and it gives me a much needed morning warm up which ensures a consistent energy flow.
Your routine, however, can be anything else. Taking a not-too-hot shower while listening to your favorite tunes or doing some other exercises can be equally beneficial.

2. Monitor Your Diet

Taking care of your diet doesn’t mean paying attention only to what you eat, but also when, how and how much.
Make sure to have a generous breakfast with proteins and complex carbs that will allow a steady release of glucose into your bloodstream.

This doesn’t mean that you should neglect the quality of your lunch or dinner, so keep your food versatile and nutritious, and your meals moderate.
Regular healthy snacks can also help, especially before an intense pole workout, so there is no need to shy away from some fruit or a handful of almonds.

snacks-for-pole-training

3. Sleep Better

Perhaps eight hours of sleep every night is not what everyone needs, but we could all use a healthy sleeping pattern.
Since your body operates on an internal clock, it can get confused if you keep changing your bedtime, so stick to a schedule.
It would be best for your mind to remove all artificial light sources, such as your TV, phone or computer, and take a time-out from those gadgets about an hour or two before bedtime. This way, you will give your eyes and your brain enough time to unwind.

get-fit-for-pole-training

4. Find Time for Some Sun

I know that it can be difficult to find a sunny spot in a city during winter, but if there is even the slightest chance of doing that – take it!
Sunlight is your best friend for gaining more energy. It will not only give your body plenty of vitamin D, but it will also keep your skin safe and healthy.

5. Get Creative

Getting stuck in repetitive tasks is the perfect way to get bored out of your mind, which will only make you want to not do anything. Dancing will also seem less attractive, so taking up new hobbies is your way out.

It can be as simple as learning how to make a new hairdo or experimenting with a meal, but starting a whole new hobby is an even better choice. This will keep you alert and active, so your pole classes will seem even more appealing than before.

6. Meditate

Perhaps it seems counterintuitive, but allowing yourself a few peaceful moments through meditation can increase your energy.
Practicing mindfulness and meditation is not only good as a before bed routine, but also as a technique to relax your mind in preparation for the entire day, which will help you cope with stress and be more creative in your pole classes.

meditate

7. Go Outside

Even if it’s not sunny! Nature has an incredible effect on your mind and your body, so spending some time outside on a regular basis will do wonders for your mental and physical health.
That feeling of being tired can more often than not be associated with mental lack of energy. Being outside, breathing fresh air and surrounding yourself with nature’s wonders is one of those few perfect scenarios that put your mind at ease and into a state of recuperation.
After a brisk walk in the park, or better yet, in a forest, you will feel energized and focused, ready to bust some moves and break a sweat!

8. Drink Water

So many people care about their diet, but they forget that crucial element – hydration.
While you can always enjoy a glass of orange juice or a cup of tea, water is your key ingredient in staying focused and full of energy, especially if you are just starting out to learn how to pole dance.
Any physical activity, especially difficult ones like dancing put plenty of stress on your body. You need to keep yourself hydrated, to make the class more comfortable and to be better equipped to handle your muscle soreness.

9. Avoid Alcohol and Smoking

Even if you stick to all the rules mentioned above, if you go overboard with drinking alcohol or smoking, you will put your body under lots of stress, which will deplete your energy levels.
If you find it almost impossible to do this, find a support regime that will help you kick those unhealthy habits for good! It is not just dancing that will benefit from this change, every aspect of your life will bloom with energy and positivity.

10. Enjoy Some Music

If you need an instant energy boost that will also last you the whole day, play some uplifting music, sing along and use that chance to prep for the pole class. This is not just a random idea that could potentially help, but a foolproof, science-backed method to have your whole body brimming with energy in no time.
So pick your music or listen to the radio, but if there is such a thing as the perfect way to put a smile on your face and get your pumped up for pole dancing, this is the one!

Mary nurtures her passion for fitness every day and eats chocolate on Sundays. She likes to do what ‘‘girls are not supposed to do.” She loves to train at the gym and at the dance studio where she teaches pole dancing.

Pole

Introducing X-Purr Pole For Cats With Cats Inspired Tutorials.

October 8, 2016 by Elen Ramírez Leave a Comment

1. How this idea occurred to you and Arloa?

Natasha: We attended CatCon in Los Angeles at the end of last June (yes, Cat Convention is an actual thing) and saw just about every cat toy and accessory under the sun catering to every type of cat owner – whether you’re into heavy metal, comic books or yoga. We realized there was no consumer pet product that merged pole fitness and cats, and why shouldn’t there be? Pole dancers notoriously love cats, and cats have been photobombing home cat videos since YouTube began, so why shouldn’t there be a product for them?

The light bulb went off, and we literally came up with the idea for X-Purr right on the CatCon show floor. A week later, we built our first prototype and have never looked back!

2. How was reaction of the first people who heard about it and tried it out?

Natasha: We officially debuted X-Purr at Pole Expo this year in Las Vegas, and the reception was so positive! It’s pretty obvious the X-Purr is a parody of the X-Pole Stage Pole, and X-Pole has been so cool with our project, and will even be handling our ordering and fulfillment. When we first launched our Kickstarter (now ended and fully funded at 129% – yay!) we saw people making Facebook comments like, “Is this for real?” and “Is this a joke?” It’s clear now that it’s not! We’re very serious about making X-Purr the best scratching post it can possibly be, but tongue-in-cheek and catered to polers, of course.

Arloa: What’s more important though, is that cats love it! Between Natasha and I, we have 5 cats, which are all obsessed with the X-Purr (check out my cats Monet and Tabitha getting jiggy with the pole – watch below). We also brought the X-Purr to Cat Connection, a local cat rescue in L.A. where Natasha and I adopted all 5 of our cats. The kitties at the shelter there went nuts. (check out a video of that action – watch below).

3. Are you distracted if you pole cat dance?

Natasha: Well, it’s certainly distracting when you’re training at home and your cat is getting in the way, attempting to climb your pole, or more dangerously, batting at your hair and face when you’re dangling upside down in an inside leg hang! That was one of the things we thought about when we created X-Purr. The X-Purr allows your cat to dance on its own pole while you get to work out in peace on YOUR pole.

4. Can it develop creativity for you as a pole dancer watching your cat?

Natasha: Of course! Cats are an endless source of creative inspiration. They’re lithe, flexible and move with intent and purpose – all qualities we can certainly adopt as pole dancers.

5. How is the cats reaction to music?

Arloa: Cats love anything with a groove and a slinky beat. We don’t think cats like heavy metal though.

6. How does it changes cat´s behavior, for example less scratched furniture?

Arloa: Cats have a natural inclination to rip things to shreds, whether it’s your couch, rug or a roll of toilet paper, and as you know, it’s a massive pain in the ass. Anything you can add to your home that will get in the way of this ingrained destruction is a plus. We want cats to attack the X-Purr, not your expensive couch, so we loaded the X-Purr with catnip. Our sisal rope is treated with catnip after it’s attached to the post, there’s a catnip-filled disco ball at the top of the pole, and we also sell a catnip “Pole Cleaner” spray that people can spray onto the pole, or on any favorite kitty toy.

7. How does a cat behave when you are training pole dance?

Natasha: My cats always look on with concern when I’m hanging upside down, and then they try to spot me, usually in the form of a bat to the face! For our Kickstarter video, we put together a compilation of at-home pole training videos of how difficult it can be to train at home when your cat wants to play too, or when your cat photobombs your video at a critical moment (like in Heidi Coker’s video).

8. Do you think there should be pole dance competition between the cats in 2017?

Arloa: We actually have something similar in the works. Watch for news of this in 2017.

9. What tips can pole dancers take from their cat? Do you see some benefits?

Natasha: Get enough sleep. Naps are good for you. Stretch every time you get off the couch. Look out the window. Sleep in the sun. Never stop playing.

10. Could you teach our readers 2 movements on the pole or floor work that you and/or Arloa learned from your cats.

It will be amazing if you could make 2 funny videos. Maybe people will really get inspired to get the cats and the cat pole for the new moves.

Video Tutorial with Natasha Wang inspired by her cat.

Video Tutorial with Arloa Reston inspired by her cat.

10. For those who love your idea, how can they support your campaign and buy X-Purr pole stages for their cats?

Arloa: Our Kickstarter wrapped already, but those who want to be kept up to date on X-Purr can follow us on Facebook @XPurrPole , where we’re posting all our latest news . We’re shipping to our Kickstarter backers starting in December, and will make the X-Purr available to consumers as of this March. We have other products in the pipeline that merge the world of pole and cats, and maybe some other furry animal species too!

11. Win X-Purr Giveaway T-Shirt from Natasha and Arloa. Here are the rules:

1) Comment below  this post on Facebook with your picture doing pole with your cat.
2) Tag @activonga and @xpurrpole
3) Use the hashtag #XPurrActivonga
4) Like the Activonga and X-Purr Facebook Pages
5) Tag a friend

The winner will be announced in 2 weeks .

x-puur-giveaway-natasha-arloa

Have a great day and get some new moves from your cat pole dancing. Share this article with your friends so that they could participate in the giveaway photo competition.

Pole

Aerial Theater by Jana Korb – Kafka. Vintage! Women! Varieté! And More.

October 3, 2016 by Elen Ramírez Leave a Comment

I´m very excited to introduce Jana Korb, a well-known aerial theater artist from Germany. Jana has many performance projects and is performing all over Germany and neighboring countries. She is also the organizer of the Aerial Arts Festival in Berlin.

1. Dear Jana, could you please tell me a bit about yourself, what brought you to aerial arts?

I came to aerial acrobatics from gymnastics and climbing – sports. I moved to Berlin from Munich, where I had the mountains, and I came to Berlin where I needed something that was high up. Somehow I ended up doing trapeze, which I really love.

2. How have you developed your style as an aerial artist?

Style. It is a long process, I will always be developing my style. I have studied cultural science and fine arts, and Russian. I was doing acrobatics and aerial arts as a sport during the university years. Then I started changing my artistic creation: within fine arts I explored more and more performance arts, and from there I went to street art and circus art. I always wanted to tell stories and my language was my body, and I was still doing a lot of sports. In the process I actually started to put my art and sports together – art plus sports equals circus, doesn’t it!
I never used to consider myself a circus performer – I always said that I am doing aerial arts, not circus arts. Just lately I started calling myself a circus artist. This was a political decision, to add to the visibility of circus in Germany – but my heart is into theater and aerial theater.
I have always wanted to tell stories and my language is my body. I am inspired by Kabakov, Pivovarov and other artists from Moskovsky Romanticheskiy Conceptualism. My first piece worked very much in the style of this conceptual art. For me this is also connected to Czech experimental theater and Czech Surrealism.
Another thing that is immensely important to me, is to create stories about and from women. So I mostly take women’s points of view, empowering stories about women. So I consider my style feminist as well – hoping not to produce Agit Prop.

3. You perform a lot on trapeze. What makes trapeze special for you?

For me the trapeze is not so much an object, but space. Space where everything is possible, though it is very confined. So I create theater for a confined space. This spacial aspect is much stronger on the trapeze than on silks or rope, where the space is not so defined. I create in this space and for this space.

janakorb-by-vojtechbrtnicky

Foto: Vojtěch Brtnický

But a trapeze also is very specific equipment. Everybody sees it as a circus prop. That makes it hard to transcend it – unlike a rope, a rope can be anything – it is not tied to the circus.
But compared to other apparati, the trapeze is very pure. Silks are messy, I love training and performing with them. But for me it is hard to create on silks.
I just love the trapeze. It is a specific space, I like creating for that space.

And what about aerial hoop?

I don’t love hoop as much as the trapeze. I perform with it (we just created a new piece with two counterweight hoops), but I am not too attached to it. Maybe it is because of the history of the hoop. Hoop comes from contortion, trapeze comes from athletics. I’m more an athlete than a contortionist…

4. Jana, could you please tell me a bit more about your projects?

I have different directions of creation: on one hand I create aerial theater and on the other – I do aerial shows. In my aerial shows I perform by being strong and beautiful. I create them for entertainment and show business – for earning money by being great at what I am doing.
Aerial theater is about creating art. I aim to get money for doing it, but I probably would do it anyway.

I have different companies for my creation. In our trio collective mosaique we do fire shows, aerial shows and walking acts. This is very good for entertainment, events, festivals, weddings etc.

In my other collective Korb + Stiefel I mostly create aerial theater. I created a few solos, but also produced pieces with more people.
With my aerial theater I create stories about women. My recent production is a story by Franz Kafka about a trapeze artist who never comes down to the ground.

janakorb-sassyjassy-by-vojtechbrtnicky

Foto: Vojtěch Brtnický

Very important for me is my Vintage! Women! Varieté!: I researched women in circus that really existed and have created a documentary theater, where we perform as these women and tell their stories and recreate their circus tricks.
In circus there were so many interesting people who did wonderful things – but nobody knows about them. So I went to search for them. In circus they tend not to mention the names of the individual performers. They talk about the best flyers on earth but didn’t show the names. This is a slowly changing issue in contemporary circus.
This is my ongoing women-in-circus-project. With it goes an exhibition to give more background information about these women. I have created further solo performances and lecture performances, a film and shows as a M.C.

As I said, I like doing silks very much, but I don’t like the aesthetics. But I have created a new silks duet together with Sylvia from Sol’Air: The Sassy Jassy Sisters. We re-created aerial ballet from the 1920s. It is my first silks piece that I really love! Maybe because it is in the style of the Vintage! Women! Variete!

Apart from that I work in ensembles just as a performer. One is in Munich on a Chandelier, Eclair en l’Air. I also have cooperations with other aerialists to do duets and more.
I love performing as an aerialist being just strong and beautiful. In my aerial theater I work with themes that are about more than beauty.

5. Have you also performed on original aerial apparatus?

What other apparatus have you worked on?

I rather transcend existing apparatus than create new ones. For example, in Frau Vladusch I work on three trapezes. In the end I use them all together like a thick rope.
In Paper Dolls I work with ten ropes with silks technique.

For Vertigo (a production that we do not perform any more) I made a cover for my silks, so they could transform from being a covered rope to being silks. This might be my original apparatus – I have never seen anyone do it (or copy it ;-).
My friend from Sol’Air invented the Tissu-Trapeze – instead of ropes the bar hangs on silks. I work for her sometimes and we also created a duet on the Tissu-Trapeze.
And there is the chandelier company. Very much fun to work on a chandelier!

janakorb-by-miretarantzau

On silks I work in so many different groups, constellations, duets and companies, that I have a really big repertoire of choreographies and tricks. So it is very easy and fun for me to improvise on the silks. Unlike on the trapeze: I usually prepare a choreography in my head, because I only do my own work on the trapeze, I never work in groups.

As for the hoop, I feel I am too stiff for the hoop – or the hoop is too stiff for me…

6. What is the difference between the Varieté and Circus?

I don’t perform in circus. I only performed in one traditional circus. I did varieté – that was fun. But also it felt like having a nine to five job. I felt trapped doing the same every day for three month, without creating. I am happy to perform in varietés, because it’s a good job, but I couldn’t do it all the time.
That is the main difference to theater and street theater: I create my own things. In varieté I am a part of the big show.
I would love to create a whole show for varieté and it would be great to find a variete that will co-produce my work.
We have the Wintergarten hosting the Luftartistik Festspiele Opening Gala! My first show that I put together for a variete!

7. How about the safety during the performance?

Every space is different. In every space you have to check different things. For street performances I bring my own structure to set up.
And of course you have to know what you are doing.

vojtech-brtnicky-janakorb2

Foto: Vojtěch Brtnický

8. I saw that you are also doing fire in the aerial hoop. What is the secret behind it?

Aerial hoop is the best for fire in the air, because it has more metal than inflammable material. But I have played with fire while working on silks as well.
When spinning in the hoop you have to watch the direction of the fire, because the wind from the spinning makes the fire move in a different way than on the ground.
I mostly eat fire in the hoop. The fire must always be above you, not below you, which is hard when you are upside down…

9. How much do you train, warm up and stretch?

This has changed a bit, because over the last few years I started travelling immensely much. Before that it was routine work: creating and training in winter and travelling in summer. This year from January to May I had about seven projects that I had to produce, create, train and rehearse. So I didn’t have time for real every day training. And it continued until the end of September.
So I had to find a new way to train every day, because I don’t have time to train two to four hours a day as I did before. So I am developing my training that I can do everywhere. Stretching and strengthening four to five times a week in hotels or wherever. Whenever I have a chance to train on apparatus I do that, but usually that means rehearsing rather than training.

10. Could you please tell me a bit more about your aerial theater?

How about Frau Vladusch and Kafka projects?

Creating Frau Vladusch was very biographic work. I wanted to work with Erica Ruhl as my director. So we started by talking, discussing, thinking. Then we slowly started working with the body and on the trapeze. It was a six months creation process.

My Kafka production has a very long process – almost 15 years. It started as an acrobalance duet with Anja Gessenhardt. Until now I have created four different shows about the same story. It is a story about a trapeze artist who lives on her trapeze and never comes down. This summer I was touring with my newest production – a solo on the trapeze. For my research I tried to “live” on the trapeze – the longest was for three hours. This was very interesting – you really get to know your trapeze.

11. How is your choice of the music?

The music depends on the piece. Ticking clocks in Frau Vladusch. For the Paper Dolls I worked with a musician. She did all the music, the vocals and the electronics. In Vintage! Women! Variete! we worked with historic music of the time.

The music depends on what I am creating. I prefer working with music without words, without text. Or I create my own text.

It is easier, when I receive music to create a piece. This sometimes happens for events. Then I just create a choreography to the music.

12. What is the best exercise to do the foot hang on the trapeze?

You have to stretch your legs and calves, so you’ll be able to reach the ground when bending forward with straight feet. You have to stretch the back side of your legs. And you have to be strong enough to do it against gravity. So you need to train your core. And then of course it is overcoming the pain of hanging by your feet.

janakorb-by-thomaskelling
Foto:  Thomas Kelling

13. How about one hand hanging? What should you consider not to injure the shoulders?

Meathook, back meathook and one hand hangs are different tricks. So there are different tips for all of them.

For just hanging on one hand you have to be strong enough in the shoulder to pull your shoulders down, to take your chest out. Shoulders should be on the same level, arms behind the ears. So it should not look different whether you hang by one or two hands. It is about the strength in the shoulders and working your back muscles.

The meathook and the back meathook are totally different techniques. Pull your shoulders back and down. And keep tension in the belly, the core must be strong.

14. What tips can you give to the aerial students?

Don’t train with YouTube, train with a trainer, unless you know what you are doing. When I started there was no YouTube yet. So there was no danger that you see something and copy it in a wrong way.

Another thing – have respect for danger. If you are not afraid, because you are not a scared person, respect is very important. People who don’t have respect are those who fall.

15. What are the most common mistakes on trapeze?

Students tend to hang with relaxed shoulders, which can hurt them very badly, especially when they are beginners and don´t have the strength in the shoulders yet. So always work with your shoulders.

And also as I just said, people, who don’t have respect and who are not afraid of height, get hurt easily. People who think that it’s fun to let themselves fall down, because there is a nice crash mat. Falling is a technique to learn as well.

16. Where one can book you for a show?

To book me you can contact my manager Lena – see my website.

janakorb.de
aerialartsfestival.de
vintage-woman-variete.blogspot.de
mosaique-feuershow.de

 

 

Aerial Arts

Interview with Anne-Sophie: Circus scene in Argentina

October 3, 2016 by Elen Ramírez Leave a Comment

Anne-Sophie Lohmeier   or  Aerialistik as she calls herself,  is an aerial silks performer and teacher  from Munich. In this interview you will learn about her interesting way to aerial arts.

1. How did you come to aerial arts?

How long have you been doing aerial silks and what have you done before?

When I studied in Buenos Aires (2005), I saw an aerial silk performance for the first time. The silk hung on a tree in a park. I was totally impressed by the flying lightness that the girl transmitted through her aerial dance. After the performance I told her how much I liked her performance, she invited me to come to her class once a week in the park and try it out. So each Saturday I made a long trip with the train to take 1 hour silks class. Since then I never stopped training.

2. What is the difference between circus scene in Germany and Argentina?

In Germany they distinguish between the “professional” aerial artists and “semi professional”, that is those who make their living not only from aerial acrobatics. This comes from the distinction between the “New circus” (“Neues Zirkus”) und Cirque Nouveau according to the French tradition, which is regarded as “the serious circus”. On the other hand, they don´t acknowledge the art by the new circus artists, who don´t suit into it the circus communities. I find this classification very sad.

This separation is accompanied often with the distinction between “new circus”, the close to the Cirque Nouveau is based in France and is “serious” circus and on the other side of the circus-makers who do not fit there and therefore often not as an art form  to be considered  seriously. I find it a pity   and one-dimensional. Unfortunately it often causes difficulties for those who   have to fit into the new or contemporary circus to be  taken seriously as artists.

In Argentina almost nobody makes their living only with aerial acrobatics. One lives for circus though has to make money with other jobs. As the circus is not the main income source, one doesn´t has to do certain things to fit into and to make a career. Circus there is a way of life, people meet in a park and train and spend time together . That´s why the scene in Argentina es different from that one in Germany. In Argentina it´s more multifaceted and bigger. I suppose that it is the reason why I came to circus in Argentina and not in Germany.

3. With which aerial apparatus do you train?

What do you like the most:  Aerial Silks, Aerial Hoop or Aerial Rope? Why? Do you also do something else besides aerials, like, for example,  dance or yoga?

I train mostly aerial silks, in the second place trapeze and sometimes I try out floor acrobatics, but it´s sure that the silks is my favorite where I have more connection. Aerial silks allows so many aesthetic and expression ways, at the same time fascinating with its lightness of a fabric. Besides that I like yoga, dance, for example, Tango Argentino.

skills-anne-sophie

4.  How long do you usually train?

I train approximately 2-3 times per week for 3 hours.

5.  In which countries  have you performed?

Can you share some interesting episode from your performances ?

I performed many times in Córdoba and Buenos Aires in Argentine, as well as in different places in Bayern – Passau, Eichstatt, Munich and other cities, also in Poland and Palestina. Usually I perform at festivals and   at marketing campaigns, for example for BMW Mini. The most interesting show I had in Palestina, because me and my partner Kathrin Müller were the only women and were not sure what costumes that doesn´t go against religion or culture to put and in such a way that is doesn´t hinder the movements on silks. From the very first month we noticed the excitement of the public and it encouraged us in our performances.

Another unforgettable performance for me was my show for Mini BMW in the Freizeithalle in Munich, where I had to put a costume with lights for my music and the spirit of the show. I was nervous about the lights, but they ignited exactly at the right moment.

6.  How aerial dance influences your lifestyle and nutrition?

Of course I eat mindfully and to the measure as aerial acrobatics takes a lot of energy and effort. Usually I just listen to my body and if it wants a hamburger or fried potatoes, I respect it.

7. Which aerial artists inspire you?

Mariana Sanchez is my inspiration, she managed to bring her dream into reality and to organize an aerial space with aerial apparatus and never lost her passion for circus. I also admire Emiliano Ron, aerial rope artist who now lives in Europe. The rope for him is his life, he takes care of his life and his body. (??) Both of them have kept an optimistic attitude about life in spite of the difficulties. This is very difficult for the Germans.

8.  How much time do you need to prepare a performance?

It all depends. At the moment we work on the piece that we want to present in summer. It´s important to have time to try out with forms, to play and to try some cool stuff in the air all together. What is also good is to have a deadline, like for example a festival project. What I also like is to let me be surprised be the music and the public. At the Wannda-Festival in Munich it´s very exciting. I decide one week before if I perform or not. I think out the costume and the music, and the rest happens at the moment. I don´t know which music will come, nor who will be the DJ. Moreover there is no scheduled time for my performance which makes it so spontaneous. I´m fascinated from the dynamics and just-once performances that lets me develop new movements and choreography. That´s why my performances at Wannda Festival are so exciting for me.

anne-sophie-circus-scene

9.  Do you work more with agencies or do you get the most of performances through your contacts?

I get the most of performances though my personal contacts and seldom from the agencies.

10.  What do you take with you  when you have a show?

Accessories, music and a as much calmness as possible, thought sometimes it´s challenging.

11. How long do you warm-up before your aerial silks show?  What is important to consider for a good warm-up?

It´s not always easy, but at least for 10 minutes. Try to think about your whole body, though little time can make you nervous. Many event organizers often just don´t understand the importance of a warm-up.

12. What are the best ointment   for aerialists?

I use Bepanthen for skin injuries and Voltaren against pains.

13.  What training tips can you give to the   readers?

Personally I like all possible strength and flexibility exercises directly on the silks.

Anne-Sophie prepared 2 videos with tricks. You can watch them here:

Duo Tricks

Aerial Arts

Otgo Waller: Famous Mongolian Contortionist from Las Vegas

October 2, 2016 by Elen Ramírez Leave a Comment

Otgo Waller is a professional contortionist as well as the creator and owner of Flexible Body Art LLC technique and school. Otgo grew up in the shadow of the holy mountain Bogd Uul near the Mongolian capital city of Ulaanbaatar. When Otgo was 7 years old she dreamed of becoming a contortionist, and by 13 years old Otgo was one of the best contortionists in the world. In 1980, Otgo graduated from the Mongolian State Circus, specializing in Contortion Art. She also appeared on Mongolia’s postage stamp as one of the most prestigious contortionists in Mongolia. In 1991, the Ringling Brothers & Barnum Bailey circus discovered Otgo and she immigrated to America. After arriving in America, Otgo’s career exploded.

flexible-body-art-llc-otgo-waller

Otgo was featured on the NBC, Discovery Channel, SyFy Network, PAX Network, MTV, “The Tonight Show with Jay Leno,” “Donny and Marie Show,” “ Ripley’s Believe it or Not,” and E Network’s “Talk Soup.” She has also been a featured performer with Cirque du Soliel’s “O” Show, the NBA halftime shows, NHL halftime shows, NCAA halftime shows, and Britney Spears “MTV Video Music Awards.”

Otgo Waller’s choreographic works have been featured at the 2010 Winter Olympics Opening and Closing ceremonies, The International Contortion Convention, and the San Diego Circus.
After performing for many years, Otgo began to teach the art of contortion and flexibility. Otgo created her own training technique to help every individual become more flexible. Otgo has trained people of all ages and levels. Her most notable clients include Olympic athletes, top professional contortionist and circus artists, international high fashion models, competitive body builders, and national level ice skaters.

otgo-waller-contortion-is-a-traditional-art-form

My country is well known for its contortionists. In Mongolia, contortion is a traditional art form that has been passed on for generations. This is why we have the best training programs for contortion. I started to study contortion in Mongolia at eight years old. I’ve spent 30 years performing and perfecting my art. Over the past 10 years I have been teaching people, of all ages, how they can increase their flexibility. I’ve learned it’s necessary to treat each students body individually because their needs are all so different. This is why I have created my own unique program to help every individual become more flexible and reach their potential as a contortionist. We are all unique, different ages, and different pasts. However, if we do the right exercises we can all can learn the art of contortion. It is amazing how the human body can transform.

Contortion

Ballet exercises for aerialists with Severine Reisp

October 2, 2016 by Elen Ramírez Leave a Comment

Severine Reisp is a talented ballet dancer who is studying dance in the USA. I got to know Severine at the Ballet Academy in Berlin. Severine has some great tips to share for aerialists and you can also learn her story.

1. Severine, could you tell us a bit about yourself: how did you start ballet?

At age 4 my parents took me to see the ballet Giselle and I was super fascinated by the dancers for the whole performance. After that, I desperately wanted my mother to put me in a ballet school. In the beginning I only went 1 – 3 times a week for training. Later when I was 13, I passed the audition to attend a ballet boarding school in Essen. I didn´t like the environment there, as I was far away from home and the pressure for a 13-year-old girl alone without parents was very high. I moved back to Bielefeld, my hometown. There I took classes with the former head of the dance theatre Bielefeld who studied at the Royal Ballet School in England. At the age of 16 I received a scholarship to study in England, where I could take part in a vocational dance course (12 hours per week) in addition to finishing secondary school. After graduating I applied to the Joffrey Ballet School in New York. I was accepted and continued my dance career there. After a year there I was offered a traineeship with State Street Ballet in Santa Barbara, California. Since I also wanted to finish my college degree I decided to take a step back from classical ballet and now study dance formally in college whilst taking classes in psychology and film.

severine-by-cejaephotography

2. What was it like to get a study place at the Ballet Academy in the US?

How was your application process? What was the biggest challenge for you?

The admission process for the Joffrey Ballet School is similar to auditions in for ballet schools in Europe. You have to participate in an audition or send a video with ballet barre work, Diagonal, Center, Allegro, Jumps, Pointe Work and a ballet variation and a modern variation. The process was the same when I applied for a trainee position at the State Street Ballet. I also completed a Summer Intensive at the Joffrey Ballet School before starting the year round program. For me the most difficult thing was to have the courage to draw attention to myself. Americans know how to highlight their strengths, and it is important to get contacts in the professional world, to get the attention of choreographer and teacher. I don´t find it always easy to put myself in the foreground. In order to study at a college in the States, you have to do both the ACT and IELTS test and write a tremendous amount of essays. Unfortunately Germany does not provide scholarships, one is completely dependent on the colleges to provide financial aid. I applied to many to see where I get scholarships. I also got scholarships to attend Joffrey´s summer intensive and year round program. The application process took me more than a year and was really time consuming. My old secondary school did not offer any help to learn about the application process for the USA so I really had to put a lot of time into finding everything out about the admission requirements.
Since I am also a permanent resident of the USA, I can apply for some government sponsored student aid in the US.

3. Are there scholarships in the United States to study ballet?

It is completely dependent on the individual colleges or ballet schools in the US. Private colleges in the States offer more scholarships than State Universities. One should always ask each university. Especially ballet schools pay attention to your addition or video reel which will reveal them if you have the talent to get accepted and get scholarships.

4. What are the differences between ballet academies in Germany and in the US?

At many universities in the USA you can also study other subjects. For example, you can study dance and minor in Business or Psychology. Universities are structured according to the principle of Liberal Arts i.e. it combines subjects from various disciplines. Ballet schools also put more emphasis on diversity. Most dancers, who study there, train in ballet, Jazz, Contemporary and Modern.

exercises for aerialists

5. How often and when do you train?

How is your usual ballet training? Are you training immediately after getting up? Do you have a specific sequence that you do every day in the morning? Do you stretch before sleeping?

Last year I had a morning class from 9-10.30 at the Company and then at 12-3 a Technique Class, Modern and Variations and then possibly rehearsals. I am currently enrolled at Sarah Lawrence College and my schedule is super packed. I have dance technique classes everyday and then my academic classes, psychology and film in addition to bi weekly one on one meetings with my professors where I will work on conference work (a research paper for the end of the semester). In the afternoon I also take part in a performance project twice a week where we learn choreography from Merce Cunningham. Then I also have other dance classes such as composition, dance history and laban notation. I also try to take classes in New York City as often as I can. The environment in college is very different from ballet conservatories but it is a great way to get to know people from other disciplines and to combine your passions.

6. How does ballet influence your eating habits? Do you eat meat or do you eat vegetarian or vegan food? What snacks do you buy or cook?

I actually eat everything. There was a time when I was too busy with my diet and I didn´t have enough energy for dancing. As a dancer you have to be in good shape but it is important to have a good and balanced meal. In the morning I usually eat cereal with fruit, salad for lunch and a piece of meat and in the evening – rice and vegetables. In between I eat bananas and muesli bars and chocolate:-). But I do not think it is good to put too much emphasize on a strict diet. In the US, there are many interesting granola bars. My favorite bar is macadamia nuts and white chocolate mixed.

7. What is your favorite food? Or you have a favorite recipe for the training?

My favorite food is spaghetti (preferably as my mom makes it and I haven´t quite figured out how to make just as she does it.

8. Which dance or perhaps fitness do you do besides ballet or as part of the training?

I often go to yoga or Pilates. Yoga helps me to work on both my body, mind and to relax. I prefer restorative yoga to core power yoga. Swimming also helps me a lot, when I have muscle tension. Going to the gym helps me with cardio and building up back strength. My father is a golf teacher and when I’m home, I try to spend some time on the golf course with him. Unfortunately, I’m not very good at golf.

Ballet exercises Severine Reisp

9. Could you please give a few good exercises for the ballet warm-up for our readers?

Intermediate:

Feet: Flex and Pointe sitting and then circling outward in the first position and release again circling inward.
I would also  make a few sit-ups and lunges to open the hips, it is often recommended. At the bar: 2-demi plie in the first, 1 grand plie, the same 2nd in the position. 8 Relevés in the first position.

Advanced: Plies in all positions. Then to the bar: 8 fast Degages in the first right and left, then 4, then 2, then press 1. Then on the bar: Leg Swings Attitude Front and rear. If one is well warmed up: take one   leg with your   hand and stretch it. 🙂

Many thanks Severine! It was very interesting to talk to you and I hope that our readers have taken a few good tips for themselves. I wish you a lot of   success in your studies and in your ballet goals!

Photos: Cejae Photography

Aerial Arts

Rope Workshop by Emiliano Ron in Berlin

July 24, 2016 by Elen Ramírez Leave a Comment

Emiliano is a talented aerial rope artist and teacher with unique technique and style. You can read more about him and his great work in this interview .

Emilaino, known as the Rope Master, travels around the world teaching the beautiful and strong art of aerial rope and performing.

I had an opportunity to visit his 2 days advanced aerial rope workshops when he was in Berlin and it was an awesome experience. There were different artists, also famous artists and amateurs from Germany and from some other countries who came to Berlin just for the workshop. It was a nice, friendly atmosphere with a lot of fun and hard work at the same time.

Emiliano teached us  new movements and tricks always explaining the right technique and making us conscious of how we create the movement often also showing it both on the rope and on the floor.

Emiliano teached Emiliano Ron in Berlin (2)

Emiliano corrected us when necessary and was attentive to everyone so that all of us could take some good knowledge from the workshop.

I just loved the ticks and climbing that we learnt at the workshops. We also combined some of the moves into a nice composition.

Emiliano is teaching aerial workshops
Rope master workshop (4)

I really enjoyed the workshop and great things that I learnt at it. I definitely recommend Emiliano´s workshops to everybody who wants to learn very cool tricks for aerial rope with a correct technique and original style.

Emiliano is teaching aerial workshops in different countries for different levels. Go and try them out or share them with your friends who could be interested.

Emiliano´s workshops berlin

Emiliano´s workshops

The next workshops by Emilano

18th till 31st , July. St. Nazaire, France. Les Rencontres de Danse Aérienne.
4th till 7th, August. Barcelona, Catalunya. 5th Rope Meeting. (Organizer)
9th till 11th, August. Menorca, Islas Baleares. Menorca Rope meeting. (Guest Artist)
20th and 21st, August. Sheffield, UK. Rope Workshop.
1st till 15th, September. Cape Town, South Africa.
19th till 30th, September. Stockholm. Sweden.
7th till 17th, October. Palestine. Palestine Circus Festival.
25th till 29th, October. Berlin, Germany. Aerial Arts Festival Berlin
November. Santa Cruz, California. Radical Movement Factory.
December. Seattle, Washington.

Aerial Arts

Talk About Aerial Training With Aurélie Bernard

May 29, 2016 by Elen Ramírez Leave a Comment

Aurélie Bernard is a circus artist and  performs internationally with different aerial apparatus. She discovered circus when she was 15 and studied    at the   Circus Space in London.

1. Aurélie, could you please tell me about yourself?

How was your story of becoming an aerialist? What was your biggest challenge and how you overcame it?

I started circus when I was a teenager, I loved juggling at the time and so that’s why I went to a circus school. But during my first class, I got to try trapeze and a felt in love with it! I stopped my juggling career and started learning aerial.

2. What and who inspired you when creating your own style?

Inspiration come from so many different places, not only shows or persons, it can as well come from music, books, or life events.
I remember being really inspired by a small French circus company called cirque Gosh, a well as James Thierrée’s show “La symphonie du Hanneton”. I always loved Tsigane culture and music, this had been a big inspiration for me. Some movies director as well, Emir Kusturica and Wes Andersen in particular.

3. With which aerial apparatus do you perform? Which is your favorite and why?

My favorite is static cloud (static cloud swing) this is why I specialized in at circus school and probably the one where I did the most research in. I just love the fact that this apparatus doesn’t really exist so there is no technic coming with it; you just have to find your own way of using it!

Aurélie Bernard static cloud

Photo:  Katherine Leedale

4. How does your usual day look like?

How long and how often do you train and stretch? How long do you warm up and stretch before the performance?

I usually train 5/6 days a week and try to do not less than 2 hours every time (circus training). I take yoga and pilates classes, I go to swim and I run every week as well.

I like to have as much time as possible before going on stage. I would say that I like to have 1h30/2h for warm up but sometimes it’s not so well planned and I end up with only 30 min to warm up, which I really dislike.

5. You performed in many countries. Could you please share some funny or unexpected episodes during your performances?

I had some crazy experiences during my travels, often due to languages difficulties or poor organization… but one thing that touched me a lot was when I was performing Clémentine, at the end of the act, I used to kill myself. But many times, in different countries, people shouted at me not to do it, to stop it. The audience got really involved in this act, so much that I changed the end and finish on a much happy note now, as I get so much support from the audience!

6. How do you create your aerial hoop transitions?

How is your creative process when preparing choreography? How do you choose your music for your performances?

Before I make a new act, I usually spend months on the hoop trying to find new moves; I like the idea of starting everything from scratch. Sometimes I already have music in mind but not always; in that case I adapt the choreography to the music afterwards.
I always listen to music when I am home, working on my computer, when I hear a song that I like, I save it and then try to use it to perform. But I am really specific on what kind of music I want to use so sometimes it takes forever before I am satisfied!

Aurélie Bernard hoopAerial hoop photos and a featured photo: Maja Karen

7. What is the most important in a performance from your point of view?

To trust what you are doing!!! Have a strong presence, perform, share with the audience, be there!

8. What precaution tips can you give for aerial hoop lovers?

Did you ever have injury and how have you cured it?

Aurélie Bernard aerial

Photo:  Tangle Photography

I will say one thing : do some conditioning!!!
When I teach, I often hear form new students: can we do more tricks? Yes of course, but first you need to be strong enough to avoid any injuries. If you learn tricks too fast, you will never improve, you will stay on the same level, doing the same tricks all the time. It is important for students to take the time to get stronger and understand their bodies better. Being in the air is a strange felling and it’s quite hard to control your body when you are upside down, you have to train that!
About myself, I try to do as much yoga and Pilates as possible, as well as basic conditioning to prevent and avoid injuries.

9. I saw that you have a very beautiful shoulder turn in one of your videos on the aerial hoop.

How one can learn that? What tips or exercise can you recommend?

I will not recommend that move to anyone!!
I think it’s a move that you can do or you can’t. Of course there are way of training your shoulder flexibility but I don’t think that it is a great idea to train a shoulder dislocation. And if you are able to do it, then learn how to do it right and make sure that you keep conditioning your shoulder to have a good support.

Aurélie Bernard (2)

Photo: Maja Karen

10. What exercises and tips can you give to the readers for a good middle split in the star trick on the hoop?

Stretching on the floor. Either lying down on your back, with some weights on your legs or with an elastic around your legs. Remember to stay in the position for a long time, not less than 5min.

11. How is the circus scene and circus atmosphere in the countries where you performed?

What are the best places to do aerial circus there?

I now live in Copenhagen and I love training here! The circus community is not so big and really friendly.
I was in London before, where I lived and studied and I had a great time there. But there are a lot of circus performers and therefor much more competition.

Aurélie Bernard aerial hoop artist

Photo:  Tim Draper

12. Where one can book you for a show?

Do you also give classes? 

You can contact me and see all my infos on my Facebook page  as well as my website  or on Instagram @aurelieclementine.  I teach weekly in Copenhagen but I am happy to give private classes while I am traveling.

Aerial Arts

Equilibrist and Contortion Artist Shares Her Story

April 7, 2016 by Elen Ramírez Leave a Comment

1. Rimma, could you please tell me about yourself?

How was your story of becoming a contortion artist?  What was your biggest challenge and how you overcame it?

It started from the very childhood, because I always was a very active child. And my parents could see my energy and I spent it on many things, I always felt passion for arts. I loved to do everything with arts, dancing, some acrobatic things. So I had so much energy and that brought me to the circus school.

Rimma Griadunowva and her trainer

I started going to the circus school in our city. Besides this I also did some other things, I played violin and piano. So I also liked music, because my parents are musicians. And I did everything that has to do with arts.
When I was to decide what I want to do for my life like a job, I was thinking that it will be nice to unite all this things into one – like acrobatic things, with energy and passion for music, and make more art. That is how I went to the Circus Academy and I wanted to do something beautiful not only with power and create something nice on stage.

2. How was your creative process of developing your own style as an artist?

For the moment and for future I never belong to that kind of people who have only one style, because I always love to change, to create, to work with creative people and for me it’s more interesting to work with creative things and do something new, change music, change style, change numbers, because I think it´s a little bit boring to do the same sequence. I have my handstands too and the main things that I have to know about handstands. But I love to try something new and to work with different directions. I´m open to the creative things.
So I don´t have any specific style. I do everything what people want, because we have so many different shows and people who want us to present at the show, they have special ideas and directions for the show. And we must belong to this show and we can’t do only our own thing, we must do it together with the show. They want a new music very often and I’m open to this. So I like to do something new to.

Rimma Griadunova balance
Rimma Griadunova balance

3. How does your usual day look like?  How long and how often do you train and stretch?

How much time do you do strength and balance training and how much stretching? How long do you warm-up and stretch before the performance?

Usually every day I do at least a few hours of handstand for myself. But it also depends on which period of the year it is. Because in summer one hour is enough to keep my body in a very good shape. So for summer it’s at least one hour a day. But for winter it´s a few hours a day that I would train. And before performances I need around 2 hours warm-up because one hour is for stretching and one hour to prepare my body.

We work every day, one or two or sometimes more shows. Sometimes it´s hard when it´s very cold. It´s hard to start and to bring our body to that condition, but we are professional. So we do it and train anyway.

4. Do you have some special eating habits? Are you vegetarian or vegan?

Actually I’m not vegetarian, but I try to eat less meat and not so often, because it´s very heavy for me before the shows. But I eat everything that I need and everything that I feel that my body needs. But my main food is more healthy food. I try to drink much water and eat healthy, but if I feel that I want something bad, I will eat it anyway, but much more less than usual normal food. So I can´t live without coffee and chocolate. But it’s not a special diet, I just eat what my body wants.

Rimma Griadunova equilibrist

5. How do you prepare for the show?

The whole preparation with style, hair, warm-up takes around 3-4 hours before the show. 2 Hours are warm-up and 1 -1:30 hours is hair and makeup. And after the performance I also finish with my body and do some exercises for relaxing, I bring my muscles to good state. And I never go immediately home after the performance. So at least for half an hour I finish with my body. We do many strong and flexible moves and after that I have to do stretching for relaxation. Because I won´t feel comfortable the next few hours or even days if I don´t finish with my body how I usually do it.

6. So you usually don’t have to choose the music. When you can choose your music how is your process of choice?

It´s also depends on which kind of project it is. Because if I want to make my arms number, with my music if I choose a person who will make me a number, we make it together. But now people mostly invite me to work at the projects that they already made. And they have their own music.
Like now we are working with the live music and the live band at the Variety Wintergarten. We have a direction. It´s Schlager show and they put together the most popular songs for this show. All the artists perform on stage with the live band and with the live music to these popular songs. Nobody work with their own music.
So now usually and in the shows we work like this. We do our things with music under different directions. But for some gala we can present our own numbers and with music that we like and it’s our choice with which person we work to make the number. If we want something special we can show it at some festivals or gala.

7. You traveled a lot and worked on the ship. How was that time?

I was travelling a lot because I worked with contracts with cruises companies. I started to work with Aida Company. It´s cruises company. I traveled a lot in Europe and Island. It was the best ever experience for me and for my job.

Yes we lived on the ship all the time and performed. Sometimes is was not very safe, because the ship was moving and for the hand-balancer it´s not the easiest place to perform. But so many artists work there. It was a nice time and a very big experience in my life. I was working with so many creative people and I´m connected with these people till now and some of them are also from Germany. It was a big experience.

At the ship we have few shows for the week, because they have shows for every day and it´s more dancers and singers shows. They had only 2 shows with artists One show was a variety with 3 artists – only circus show. And the second show is the main show for the whole cruise in which all the artists, singers and dancers take part. So we work a few times with this variety show and a few times a week with this main show.

8. You travel a lot performing. Could you please share some funny episode  during your performances?

I don’t think that I had something very special and very funny. I can say that working in every show, in each new artistic group is a lot of fun, because everybody is very different and artful. We always have fun with each other at the backstage.

Rimma Griadunova equilibrist

9. How do you create your contortion transitions? Could you give some tips for interesting transitions?

Of course it’s always good if your body has more possibilities, if you are more flexible, it´s easier to do it. But anyway it’s always hard work. You have to concentrate, you shouldn´t do a lot, but rather be very clear every step. Because contortion and hand balance is always concentration and it´s not more power, it´s more right direction of your soles.
I think everybody can get results. I had experience and I saw how some guys who came to our Circus Academy to train with our teachers got good results for such a short time. They didn’t do so much, but in some years I saw them in Facebook on pictures and they did so many strong things from hand balance, that not so many of our guys from our circus school group did.
I think if you want and if you feel that you want to learn it, you will do it anyway.
You just need to try and see what you really want to do. Only passion for your job will bring you to good results. If you do it without any wish, you will not get it good enough.

10. What precaution tips can you give for contortion students or aerialists who are interested in contortion?

Did you ever have injury and how have you cured it?

I had accident once in my life. It was one of two years ago, I broke my finger on my arm. Of course I was nervous if I could do my job and it was the moment when I was thinking that it’s very important for me to save my body and be very careful with my body, because it´s my job.

It was only once time in my life. And even having broken my finger, I trained and did everything I could do with my body: some exercises for legs, for stomach, for everything. In one and a half months I could continue my work.

I just wish everybody to be very careful with their body who is doing this kind of job.

Do you also use back warmers?

You mean some special things for back. No, I never use them. I never used it, so for the moment also not.

11. What are the best exercises to get strong hands for handstands and for aerialists?

I think that the most important thing is f you want to do handstands, you should start and do handstands. You do handstand on 2 hands, never forget to breath. Breathing is very important. Because otherwise it´s not very healthy and it´s a wrong way to do it.

So breathing is important and you should keep your belly inside. You should hold your belly and do handstand. You can stay close to the wall, but try to keep your points up as high as possible.
It´s a little bit difficult to explain in English, because I don´t teach people in English and it´s a kind or private lessons, and it´s better to show and do it with people in person.

For aerialists it´s very good to do the climbing with silks. You can do it just in an usual way or even better you can held your legs open and go up and down using just the hands. It´s one of the best exercises because you work your arms,, you belly and everything.

Rimma Griadunova contrtion

12. How does circus scene differ in countries where you performed?

During trips on the ship we were working only with our circus group and it was only a few circus people on the ship. We could travel, as our passengers and go outside. We went out only for one day. So it wasn’t really a big possibility to watch another show and be far from the ship. Sometimes we met our people from the Ukraine who were working on different ships as the ships stood in the same play and we could met each other sometimes. It was fun and some of the best performances. We could meet our people in Paris, England or somewhere, because when 2 ships come together in one port we just went out and could see our friends from the circus school. And it was a very big surprise. And it happened so many times.

13. What is the most important in an artist and in a performance in your opinion?

The most important is just feel and love what you do, because if you love what you do on stage, people will love it too. If you do it without any passion, it doesn’t matter which kind of tricks you show, however strong or flexible, people will be bored if you won´t show your the whole beautiful performance. That´s why you should control every step, make beautiful every step. And also sometimes we are tired because we have work every day, several shows and also if we make mistakes, we must try to make every step beautiful. And they even can´t see these mistakes if you try your best. So the most important – do it with a passion.

14. Where one can book you for a show?

You can find me everywhere: on Instagram, Facebook, YouTube, Google +.

Fotos: Liudmyla Bugrym

Contortion

Women’s Lyra Champion in the 2015 U.S. Aerial Championships

April 7, 2016 by Elen Ramírez Leave a Comment

Rebekah Burke studied ballet and contemporary dance at the North Carolina School of the Arts with Ethan Stiefel, Ellison Ballet in New York City, the Gelsey Kirkland Academy of Classical Ballet, and at American Ballet Theatre’s summer intensive in New York City. Rebekah studied Cerceau/Aerial Hoop with Jan Manke in NYC, at Le Studio in LA and on her own in Fredericksburg, VA. She has performed on a freelance basis in NYC and LA and was most recently a member of the cast of Queen of the Night in NYC.

1. Rebekah, could you please tell me about yourself?

How was your story of becoming an aerialist?  What  was your biggest challenge and how you overcame it?

I began as ballet dancer training at the University of North Carolina School of the Arts until I was about 16.
That’s when I moved to NYC for ballet school. About two years later I decided I wanted to quit ballet. At the same time I found a gig working as a dancer with an aerialist; and when I saw the aerialist perform I thought it looked like a lot more fun! I trained under her for a few months and then on my own a bit in NYC and privately with Jan Manke at Circus Warehouse. When I was 19, I moved to LA and trained at Le Studio for a year. I then moved to Virginia (where my hometown is) and trained on my own for a bit before moving back to NYC and joining the cast of Queen of the Night.

A big challenge for me has been that, from the beginning, I wanted to break the rules and do my own thing as an aerialist. I had to learn that I first needed to get strong and learn the rules — and then break them. That was definitely a practice in patience for me and taking that step back was well worth it. It was a lesson learned, and I think it’s a lesson that will continue to be learned throughout my journey as an aerialist and performer.

Interview with Rebekah Burke Photo:  Omar Robles

2. How has your background in ballet and contemporary dance influenced your style in aerial arts?

What  inspired you when creating your own style? What does color, for example, changing your hair color, mean  for you as an artist?

Ballet and dance training influenced my style in a more subconscious way, than in a conscious way. My body always loved spinning so when I’m on the hoop I think it naturally begins to make shapes that it would when turning in ballet. A big part of ballet is that you’re constantly projecting energy through space and there’s awareness in every inch of your body. And a big part of my work is that there is awareness and purpose in every movement that my feet and legs make, which differs from what another aerialist, without the intense training in ballet that I had, may look like in the air.

When creating my own style my extracurricular interests really inspired me — such as Warhol era art, artists and punk music. And more importantly the fact that I always want to do what people tell me not to do. When a teacher told me to grow my hair out, I went and shaved off half of it. Haha! That was like a gateway drug and ripping off the band­aid to being my own person. The crazy colors soon followed. But I realized that what makes you different is actually what makes people want to see you perform, you just have to be crazy and brave enough to go for it.

3. Do you also train with some other aerial apparatus? Why have you chosen aerial hoop?

I don’t train on many other apparatuses, but when I do it has to spin! That’s why I chose hoop, because of my love of spinning 🙂 I’ve dabbled in chains and a little straps, but I think I’d really like to get into dance trapeze next.

4. How does your usual day look like? How long and how often do you train and stretch?

How does your  stretching and warming up routine before the performance differ from you one before the training? 

It really depends on if I’m in a show or not. Usually when I’m not in a show or on a break from a show, I’ll train on a hoop for about two hours, in a gym for about one hour, and then work on my act development (character work, story boarding etc) for about another two hours. And I’ll do this about six days a week. When I’m in a show I’ll warm up for about an hour beforehand, I’ll try to fit in around an hour of training time on my hoop and then a lot of my training comes from the work I do in the show.

Warming up and stretching before a show will usually focus on cardio and getting my heart rate up quickly so I can get ready for my act. Stretching will focus on my body parts that will be used the most during the show and the tricks that I’m performing. When I’m training I like to cover everything and really focus on warming up from core outwards.

5. Do you travel a lot performing? Could you please share some funny or, maybe, unexpected episode during  your performances?

I actually have yet to perform that much while traveling, but I can say that when I do travel, my hoop and luggage don’t usually arrive at my destination with me — they usually show up a couple of days later! I have the worst luck traveling with checked luggage…no matter the weather.

Interview with Rebekah Burke Photo:  Ray Tamarra

6. How do you create your aerial hoop transitions? Could you give some tips for interesting transitions in the aerial hoop flow?

How is your creative process when preparing choreography? How do you choose your  music for your performances?

The best way I’ve found to find transitions is to think of a sequence that I’ve been wanting to try, get on my hoop while it’s static, try the sequence, clean it up to my liking, and then try it with a spin. As soon as I see how the hoop works with the movement and where it wants to go during the spin I can see possibilities for, “Oh! My leg can go here, my arm can go through here, and the spin of the hoop will pull me back over to here.”

Finding and choosing music is still a nemesis of mine. I either can’t find anything or I like everything and can’t decide what song to use. In fact, if any one has any tips for this please let me know!

7. What is the most important in a performance from your point of view?

Telling a story. If you have a literal story that you’re telling it will add a purpose to your movement that the audience will feel. They might not get the exact story that you’re telling, but they will find their own.

8. What precaution tips can you give for aerial hoop lovers?

Did you ever have injury and how have you  cured it?

Don’t try anything that you’re not strong enough to do, and don’t let peers or competition pressure you. I fractured my shoulder a few years ago trying a dislocate move that I absolutely wasn’t strong enough to do — because I didn’t know better.

9. What tips or exercise can you give to master a neck hang on the aerial hoop?

Skin. Gather up all that neck skin and practice squeezing your shoulders to your ears. Eventually, when you’re able to let go, you can practice that feeling of keeping your shoulders squeezing, but releasing your arms downwards.

10. What exercises would you recommend to our readers for one ­hand hangs and one­ hand hang with a  split?

Everyday when you train, practice just hanging for as long as you can, even when you think you can’t hold on anymore keep hanging. Do those with both hands and with one hand on each side. Also, practicing meathooks through straddle and alternating back and forth.

11. You were distinguished as Women’s Lyra Champion in the 2015 U.S. Aerial Championships in New York City in February 2015.

How was that experience?

The U.S. Aerial Championships was a great experience and I feel it came at exactly the right time in my life and career. I had been training my act in Virginia and needed to perform it; but I was nervous that I wouldn’t be able to find the right atmosphere for it because I felt I was doing something a little different. Winning and getting the acknowledgment from the competition really helped my confidence to go out and start performing my own act and with my own artistic vision.

12. Many artists also like to model, what inspires you when modeling?

What message do you want to  transmit through   your photos?

The modeling that I do is usually an artistic collaboration, and I tend to work with photographers who are friends so it has more of a feel of playing around and creating. Sometimes there will be a message that I’m trying to convey, or a feeling, but a lot of time I just want to make something pretty. I am a huge fan right now of creepy poses and poses that are simple with something intricate, such as fingers woven together and positioned a certain way.

13. Where one can book you for a show? Do you also give classes?

You can find my contact information on my website    or through my Facebook Page.

I teach private lessons to intermediate and advanced students. You can contact me directly for information on location and rates.

Featured Photo: Ryan C Jones

Aerial Arts

Story and Tips by the IPDFA “Pole Instructor of the Year 2015”

April 7, 2016 by Elen Ramírez Leave a Comment

Natasha Wang is an L.A.-based performer and instructor who has won the titles of IPC Ultimate Champion 2013, Pole Art 2012 Runner-Up, US Pole Dance Champion 2011, USPDF West Coast Champion 2010, California Pole Dance Champion 2010, and East Meets West Miss Pole-AM 2010.

In 2015, she was named the IPDFA “Instructor of the Year” and in 2014, she won “Female Performance Artist of the Year” and “Inspirational Artist of the Year” at the inaugural PWN (Pole World News) Awards.

1. Natasha, could you please tell me about yourself? How have you come to pole dance?

What was your biggest challenge when you started pole dance and how you overcame it? How was your process of becoming a professional pole dancer and instructor? What and who inspired you when creating your own style?

I started pole dancing in 2006 at an LA studio called Sheila Kelly’s S Factor after a friend dragged me to a teaser class. It was one of the first pole studios in the USA (and in the world I believe) and it gave me a great foundation for freestyle movement. We didn’t have YouTube, Instagram, or Facebook back then so there wasn’t a culture of pole experimentation and sharing over social media, so I spent many of those early years just perfecting fireman spins and inverts. Eventually, other studios opened in Los Angeles, and I began taking classes with Leigh Ann Reilly, Alethea Austin, Amy Guion, Lisa Wilhoit and Estee Zakar at BeSpun, which really opened my eyes to what was physically possible with pole.

The challenge in those early days was simply learning how to move and control my body. I didn’t grow up taking dance, gymnastics or any other type of movement, so I had to completely program movement from the ground up.

The journey from hobbyist pole dancer to professional happened really fast. Prior to pole, I was a publicist working a 9-5 job, with pole really being my only hobby outside of work. Riding on the coattails of a friend who wanted to start competing, I entered my first competitions in 2009 (the California Pole Dance Championships and USPDF West Coast) and didn’t do very well in either. By 2010 however, I won both those competitions and by 2011, won the US Pole Dance Championships as well. That’s when I quit my nine-year career in public relations to pursue teaching and touring full time.

I think the main catalyst for developing my own style was joining the cast of The Girl Next Door Show, the longest-running pole dance show in the US. Before then, I was trying to mold myself into the sexy style that was currently popular, and that I had learned at S Factor and BeSpun. But body rolls and hair flips have never felt natural in my body – I think because of my natural upper body stiffness and inflexible back! But once I joined the GND cast, I started working with Kelly Yvonne. She not only praised my sometimes obscure indie song choices, she made me realize that I could set myself apart by my different music choices, costume and quality of movement. I stopped trying to copy Felix Cane and became truly comfortable in my own skin.

Interview with Natasha WangPhoto: Alloy Images

2.  Why have you chosen pole dance? What is special in pole dance for you in your opinion?

What other aerial arts are you doing? How do you feel the difference between doing aerial hoop and pole dance?

I prefer to think that pole dance chose me! I played a few years of volleyball in High School but was never very good. In fact, I was quite traumatized by some of the experiences on the team, and swore when I quit at age 17 that I would never exercise ever again. So from the age of 17 until 28, I held true to my promise. But when I started nearing 30, I realized I needed to change some lifestyle habits, so reluctantly agreed to go with my friend to an intro class at S Factor. I didn’t love it, but I didn’t hate it either, so I stuck with it and of course, eventually grew to love it.

I’m so focused on pole these days that I rarely have time for other aerial pursuits, although I’ve dabbled a bit in both Chinese Pole and Aerial Silks. But pole is my main love.

3.  How does your usual day look like?

How long and how often do you train and stretch? How long do you warm-up and stretch before the performance?

My ‘usual day’ depends on whether I’m away on a workshop trip or tour, or whether I’m at home during the in-between weeks training.

When I’m at home, I focus all my time on healing my body, as well as training and getting back into shape. Most people assume that teaching keeps you in shape, but in fact teaching tours are when I suffer most of my injuries, mostly from lack of sleep, carrying heavy luggage, and teaching long hours. Tours also don’t typically allow me adequate time to train, so when I’m home from tour, I pack in as many classes and practice jams as I can. I usually take 1-2 contortion classes a week from my flexibility coach Kristina Neykia, 3 HIIT cardio classes, 3-4 pole classes, 1 yoga session with my fiancé (usually restorative), 1 hike, 1 hand-balancing class, and 5 days of private pole training. I always take 1 day of rest every week.

Before a performance, I usually warm up for no more than 20 minutes, which includes lots of movement to get the heart rate up and active stretches.

Interview with Natasha WangPhoto: Diego Castillo Photography

4.  How do you create your pole dance transitions?

Could you give some tips for interesting transitions? How is your creative process when preparing choreography? How do you choose your music for your performances?

I am a huge proponent of freestyling, so I make time during every training session to put on some music that moves me, and just hit the record button and see what comes out. I often return to familiar combos and tricks and experiment with ways to alter them, whether with a grip change, a thread-through of an arm, limb or other body part, or in the orientation of the move (i.e., inverted, upright, sideways, etc.). I make sure to record EVERYTHING because I often have ideas for new transitions and moves after I’ve reviewed my training videos.

My creative process when preparing for choreography – doing all of the above, reviewing my videos, pulling out my favorite combos, and finding ways to sync it up with music. I sometimes work with choreographers also.

The selection of music for performances is never very straightforward, but it’s usually a song I’m in love with at the moment that has either an emotional bent or lots of dynamics (slow, fast, hard, soft parts). I find most of my songs on Spotify during my training sessions. Right now most of my artist radio stations are based around Perfume Genius, Active Child, Robot Koch and Matthew Dear.

5.  What is the most important in a pole dance performance in your opinion?

Being connected and authentic to the movement. That’s #1 always.

6.  What are 2 of your favorite pole tricks and how to do one of them?

I love ‘lower-third’ hand-balancing type movement around the bottom of the pole, and did two online tutorials for Tantra Fitness on my signature moves, the ‘B-Girl’ and ‘Side Valdez Mount.’

B-Girl

Side Valdez

7. How to do Downsplits or Russian splits?

What is important to take into consideration in this move? What exercise can a pole student do to master this move?

I believe the Downsplits is a move where the legs are flush against the pole in a downward split. The Russian Splits only has the hands and one foot in contact with the pole.

Russian Splits require a good deal of hamstring flexibility, but also core strength and balance. Students should practice holding a needle scale with one foot directly in front of the base of the pole, and the other leg extended vertically along the length of the pole, and with both hands cupping the pole around the standing leg. Outside hand should be placed roughly behind the knee; inside hand about mid-thigh, and both hands should be actively pulling and engaged. Students can then practice lifting the top leg off the pole a few inches while keeping the standing foot flat on the floor and both biceps engaged. Once they can do this easily, they can try the Russian Split from standing by placing the heel of the standing foot against the pole, and ball of the standing foot on the floor. They should of course attempt with a spotter.

8.  As 2015 IPDFA Instructor of the Year what tips can you give to pole dancers and to other pole dance instructors?

I meet so many new pole dancers – those in their first or second year of doing pole – who are attempting strength and flexibility moves that I took me years of training to learn, and getting injured in the process. It’s ok to be doing pole for 2 years and not be able to deadlift or do the Russian Split. We are bombarded on social media by videos of former gymnasts and dancers taking to the pole so easily, and it’s easy to think that we are lesser athletes because we can’t do these things. My best advice would be to take the learning process in a safe, slow and measured way, like I did. I started pole at 29, and didn’t do a deadlift until I was 34, a full 5 years after I started learning pole. I partially credit my patience for the fact that I’ve sustained few injuries during my more than 10 years of pole and didn’t rush into moves I wasn’t ready for, whether it’s a basic invert or a back flip.

Interview with Natasha Wang

9.  What are your best tips to those who think that they are too old for pole dance and wish they have started young?

Tip 1: Look up Greta Ponterelli on YouTube

Tip 2: Look up Mary Caryl Serritella on YouTube

Also: Approach the learning process with proper technique. Don’t rush it. Hydrate and fuel your body with adequate sleep and good food. Last but not least, relish in how your confidently sexy movement quality is based on years of wisdom and knowledge that comes with living!

10.  You won a lot of championships. How was your experience during the championships?

What tips can you give to those who want to participate in a championship?

My experiences competing have been largely positive, and any negativity surrounding them is a result of my own disappointment with the outcome of my performance, but that’s totally normal. It’s so easy to get hung up on the idea that we are only as good as our last performance, but that’s simply not true. A performance is only a small extract of who you are as an athlete and artist, and it certainly doesn’t define you as a human being.

11.  You travel around the globe giving pole dance workshops and performing.

Sure during this time you had interesting experiences and impressions. Could you please share some funny or maybe unexpected episode during your performances?

I once spent a month touring Mainland China and performing in massive nightclubs as a featured artist. While my management company did all they could to ensure I had a safe poling environment, sometimes we’d arrive to the venue and find that the pole was a 65 mm unfinished industrial-grade metal pole with no grip, or a flimsy 30 mm wobbly thing. Once my ‘stage’ was a 6×6 inch raised platform about 2 feet off the ground, so when I landed I had to do so on my tippy toes, as the stage was too small for my feet!

12.  Where one can book you for a show? Do you also give classes and workshops?

To book performances, classes and workshops, they can contact my manager Kristy Craig at Poles on Tour: kristy@polesontour.com

And here’s where everyone can find me on social media:  Instagram   @polecricket,  Twitter @polecricket,  Facebook Fan Page:

Featured  photo:  Edward Light,  Atmosphere Light Photography

Pole

Unique and Stunning Circus Art by David Pereira

April 7, 2016 by Elen Ramírez Leave a Comment

David Pereira is a very creative aerial artist, contortionist, gymnast, actor and dancer. Starting successfully with classical ballet David moved to breakdance, gymnastics, aerial dance and contortion. All these disciplines helped him to develop a unique style. He performs internationally and currently you can see his show at the Wintergarten Varieté in Berlin.

It was a very interesting interview, David shares his experience from many artistic disciplines and his point of view about art.

In this interview podcast you will hear David´s story, learn about his experience at Cirque du Soleil and about his original artistic work. You will also get some insights about performing aerial silks under the water and performing with a water bowl. David shares a lot of valuable tips and ideas in this interview. Just listen.

Podcast  Interview

Another  amazing videos of David´s artistic work. 

You can see more on David´s YouTube Channel.

On  David´s Facebook Page    you can find more of his performances and thoughts.

David Pereira artistPhoto: René du Vinage.

Der Helle Wahnsinn David Pereira by Robert Pater
Photo:  Robert Pater. Featured photo: Bertil Nilsson

Please comment, have you ever performed with a water bowl? How was that experience for you?

Aerial Arts, Featured

Meet a Stunning Aerial Straps Contortionist and Champion

April 7, 2016 by Elen Ramírez Leave a Comment

Veronika Teslenko is an amazing  aerial artist and straps contortionist.   She   has been performing  and  touring throughout Europe, Asia and the Americas.

2 Gold Prizes Circus Idol World Competition Moscow, Russia
Gold Prize Contortion Act Paris, France
Gold Prize in Inskadey Circus Holland
Silver in Monaco Monte Carlo
Silver Prize Nikulin Circus Festival Moscow
Silver Prize Bolshoi Circus Moscow

1. Veronika, could you please tell me about yourself?

Did you grow up in a circus family? How was your story of becoming an aerialist and contortion artist? What was your biggest challenge and how you overcame it?

I was born in a small town Korkino in the Urals. In 1992 I began to go to a circus school “Arabesque” named after L. B. Glebecz. During that time I already performed and couldn’t imagine my life without circus.  In the beginning it was not so easy and as  I wasn´t flexible enough and  I had to take  a year out of a circus school. I was called “Buratino girl”. So I spent many years working to develop flexibility.

My parents are not circus artists. My mother is a senior accountant and my father is a construction engineer.  Nevertheless I had no doubts about choosing my career – I knew that I wanted to be a circus artist! In 2000 I started to work in a circus. In 2007 I completed studies of psychology.  During my whole artistic way, I got inspired by the best performances of great circus artists!

Still being in a circus school for children my teacher offered me to start creating my performance on the straps. My parents made all the apparatus for me. Together with the teacher we thought out and invented the movements, transitions and drops.

With this show I was invited by A.A. Osipov, the main director of the Bolshoi Circus on Vernadskogo to perform. Then I continued to work on my mastery, improve tricks and create new more difficult performances. I love my circus genre, aerial arts!!! And aerial straps is my passion!

Veronika Teslenko Aerial Straps
Veronika Teslenko Aerial Straps

Photos: Irina Ushakova (Irene Radvilaitė)

2.  I saw a picture that you performed a duo from the helicopter.  How was that experience?

Wow that´s so dangerous and amazing!!! 

Doing aerial acrobatics under the helicopter is probably the most unforgettable experience! I probably won´t dare to repeat it. Honestly, it’s the beginning it was very scary! It was hard to come under the helicopter. Incredibly strong flow of the air was almost knocking down and the grass stretched out on the ground. First we needed to come under the helicopter and climb on the props and then the helicopter flew up into the sky.

Incredible height, the sensation of flying, it was absolutely fascinating. Fear passed away and we began to perform tricks. The most dangerous trick was when I was sitting in the split on straps and my partner held the straps with me in his teeth, without arms and without any security. Until now, when I look at these photos, the hands sweat: “How could I agree to do this 🙂 “

3. How does your usual day look like?

How long and how often do you train and stretch? How is your warm up and training before the performance?

Me and my husband, we have 3 children. So our day doesn´t belong just to us. In the morning we bring the kids to school, then to their hobbies: one – to the arts school, another – to the gymnastics and the other just needs to have a walk.  In the evening we have rehearsal and work. The number of rehearsals depends on work.

Of course, before each rehearsal and especially before going onstage, I do a warm up. Warm up is the main part of a successful and safe performance.

Veronika Teslenko Contortionist

4. How do you create your aerial straps transitions?

What things one should consider when doing straps?

Straps is a “naughty” apparatus. It can get tangled or knotted. If this happens in public, it is necessary to cope with all sort of difficulties unobtrusively and as quickly as possible. All this comes with experience. Now I can already predict that if in some tricks I stay a little more than a couple of seconds, then the strap will fly away and it means that I will have to catch it from a very awkward position with my feet tangled up and with my hand in the loop 🙂

Veronika Teslenko aerial straps contortion
Veronika Teslenko aerial straps contortion

5.  How is your creative process when preparing choreography?

How do you choose your music for your performances?

Choreography ideas for the performances come from music. The most difficult point is the selection of music. The director of the performance usually involved into this process. We listen to songs and see if they suit or not. Or sometimes the composer writes special music for my show. For me the music is a VERY important aspect!!!!!

6. What precaution tips can you give for aerial straps students?

Did you ever have injury and how have you cured it?

First of all, you should always be absolutely concentrated during the execution of tricks. Control every move, every transition so that you would not miss the strap and hold your arm or leg firmly in the loop.

I fell and as a result of this fall, I broke my pelvis and hands bones. I had to rehabilitate for six months. It was a difficult time.

Veronika Teslenko aerial straps contortion

7. What tips and exercises can you give to master good split balance and contortion back bends?

To develop flexibility and agility you should train regularly. This is probably the main advice. For splits it is good to hold them in the height for some time. For back flexibility it is good to do grand battement jetés bending your back.

8. You won many awards. How were your experience and atmosphere ?

What advice could you give to those who want to participate in  championships or festivals?

I haven´t participate in the championships specialized in aerial arts. At all the festivals in which I participated, they had the best performances and entertainment of different circus genres. The atmosphere was usually good, but emotional and physical stress was usually very high. Tip, try not to succumb to panic anxiety. Take yourself in hand and perform with calm.

9. In which countries have you performed?

Which place did you like most?

I worked in Japan, China, USA, Canada, Germany, France, Mexico, Hungary, Monte Carlo, Spain, Belgium and Switzerland. But my favorite circus remains Nikulin Circus and Circus on Vernadsky Prospekt in Moscow.

Featured Photo:  Irina Ushakova (Irene Radvilaitė), Photos: Lilit Martinez 

Aerial Arts, Featured

Ekaterina Shustova, aerial performer from a circus family shares her experience

April 7, 2016 by Elen Ramírez Leave a Comment

Ekaterina Shustova “Simply Purple” is a great aerial artist. She performs with aerial fabric, straps, lyra and pole.  Ekaterina  comes from a circus family and  began her performing career in 1997 when she was eight years old.    She has also  performed in Cirque du Soleil show’s ZED and MYSTERE.

1. Ekaterina, could you please tell me about yourself?

How is it to grow up in a circus family? How was your process of discovering your favorite circus arts and becoming aerialist?

I think this is the best thing what can happen with a child, to get born and grow up in circus.   My memories starting from 1991 when my parents for the first time went to work season in Europe. First it was Italy, France, Hungary   then Austria, Switzerland, Nederland, Belgium, Spain, Germany, almost all Europe!

I remember me and my older brother always played in the circus and at the site of the circus. We could see with our own eyes, everything that what later we taught in the school on lessons of geography or history.

My father with his twin brother was working «Hand to Hand» ! My mom and dad, uncle and aunt was working really beautiful act  «Jugglers with Big flags». Me and my brother were always there next to the stage, when parents were rehearsing. We were playing around with flags and hula hoops was trying to do some acrobatic tricks on the floor. When I was 3 and half years old I already could twist 3 hula hoops.

Around that time when I turned 6, my parents started to teach me more and more acrobatic and start to do stretching and strength conditioning. First like a game, and then slowly more and more seriously.

All my childhood I were hanging everywhere, where it was allowed. On every single playground I was creating some aerial acts. I was climbing on every single tree. Dresses and skirts wore not for me. Ha-ha-ha.

My first unofficial appearance on the stage was in 1991. My parents decided to let me go on stage in the middle of the act, that I can make a couple of easy acrobatic tricks in the hands of my father. And fill out the break, while my uncle take couple of breaths. At that time I was 2 and half or 3 years old.

My first Official appearance on the stage happened on 1997 in Circus «Dannebrog».  Madame directress was having birthday and all circus artists decide to make a little show for this birthday and also to have fun.

Because I was a child who was loving heights, my parents saw only one way, to make an aerial act for me. They made an aerial cerceau for me, and chose a very symbolic music  «From Russia with Love» – Shirley Bassey. Director of the circus, fell in love with my act and asked my parents that I worked every day, every show. Parents warned him that I was only 8 years old child, and that I can get tired or do not want to work, and they can´t force me. They asked me – can you and do you want to work every day the show with us. I was happy to answer that, yes, I want to. I received my salary, each time in an envelope, and so I worked until the end of the season. So that is how I started to perform on stage.

2. What inspired you when developing   your own style?

I don´t think that I have some special style, but I always want to move forward and develop. My father and my uncle had a very good number and they were considered one of the best partner performers in Russia and Europe. What I can say concerning the style that you begin to feel softness of the movement and flexibility by the quantity of trainings, rehearsals and performances.  The more time you spend with the apparatus, silks, straps or some other the more you will feel it. The same as with the person, you will get more familiar with it.

3. With which aerial apparatus do you train and perform?

Which is your favorite and why?

Like I’ve said above, the first equipment what I started to work with was a Aerial Cerceau, then I moved in to aerial straps in 1998 and then in 2001 I first tried aerial Tissue and I fell in Love with it. Of course between these main disciplines I was doing acrobatics on the floor, Unicycle, Russian Bar with my dad and uncle, hand to hand with my dad, contortion, a bit of solo trapeze, a bit in every discipline.

In aerial tissue, I have everything what I like. I have adrenaline from big falls. I have freedom to move how I want and where I want on these two pieces of fabric. And the most important thing, I can control everything what is going on.

Because with hand to hand or Russian Bar you have to give control and balance to the person who is on the bottom.

4. How does your usual day look like?

How long and how often do you train and stretch? How long do you warm up before the training? How long do you warm up and stretch before the performance? 

The days when I have trainings or shows, it’s always lined up for training or show.

It means I wake up usually at 9, sometimes 8 o’clock. Then I can do some things at home or go shopping, grocery store. I prefer not to eat 3 hours before training and two hours before show begins. (eat I mean big meals, cookies tea and chocolate are allowed. hihihi).

Usually I do one or one and half hour warm up before training or show. Stretching on massage roller, and massage balls and baseballs. Stretching splits on the chairs, it’s all part of warm up. After warm up I’m going up on the Tissue and staying up there doing some tricks and creating some new falls. Usually I stay up there not less than one hour. If I feel that I’m tired I wrap my leg in to node on the tissue, and have a little rest there. It all started with the fact that I was too lazy to get off after every trick or fall, and then again to climb up. And I decided that the best way not to get off the tissue during the training. hahaha.

Strength exercise I usually do on my training days, after all warm up and all training on tissue or straps.

5. You travel a lot performing.  Could you please share some funny or maybe unexpected episode during your performances?

Just last contract, in Switzerland there was a small incident. Before my act there was an act with a boxer dog. The tamer and the dog goes behind the curtain, the light on the stage switch off and I have to run to the position for the start of my act. All good, but…  In the third step of my choreography, I hear that the audience starts laughing. My act  is not comic act. And a moment later, I notice that the dog is standing next to me, and she looks at me and wants to play. What could I do, I began to retreat back to the curtain call her to me. And thank God the tamer did not go away and he would take a dog just behind the curtain, so I can continue my act with a huge smile on my face.

6. How do you create your transitions on silks?

Could you give some tips for interesting transitions and good flow? How is your creative process when preparing choreography? How do you choose your music for your performances?

Transitions on the silks and tips for finding transitions are really slow movements. It´s all about your ??let´s say partner, with the silks or straps. The more you stay on it, the more you train on it, the more you will find. If you don´t like a transition, then better to do something else.

Ekaterina-Shustova-interview

The same with music if you don´t feel the music style or the way how it is written, it´s better not to push yourself against that. It´s better if you go with your heart and with your soul. You have to listen to it many times, and if still after listening to it 10 times, you think ok, it´s not my thing, that´s better if you change it and find something what is really yours.

With the choreography it´s the same kind of thing to choose. For example, I was working with Davy Brown, she is a choreographer in Canada, in France and also in Cirque de Soleil. She is putting some music, how let´s say she was putting Madonna for us, a song for a minute and she asked me and my partner to dance. Of course in a show it was a completely different one, but she wanted to take that energy from us, movement what we good for in that music and then she put it into the show music.

And that was the best way, because you just feel freedom, you move the way how you want. And that´s she finds a good music towards you feel, what comes from your body, so she doesn´t need a choreography that she thinks going to be good. She takes the choreography from you. And then you dance and again you feel this choreography. It´s not that somebody showed you to do the things that you don´t like. You  can do something that you would love to yourself.

7. What do you appreciate the most important in a performance and in an artist?

Of course, it´s good to see the tricks and the strong things in the air. But of course it´s important to see your relationship to your equipment and the way you say something to the audience, what you give to them. Because you could be a robot, who just do the tricks, it´s not so interesting. It will be like – oh, cool, she does tricks, nice. That´s a sport, it´s not artist. We have to give, let´s say, soul, we have to give our emotions to the audience and they´re gonna give back to us.

8. What precaution tips can you give for starting aerialists?

Did you ever have injury and how have you cured it?

Injuries are an important topic, of course. Because when we start our life in the circus we try to do many things at one time. And we don´t think really about it what is going to happen if something goes wrong. The first thing if I give some class it doesn´t matter what you want to do on the equipment, you have to have double strength. If something goes wrong, let say, if you got wrapped in a wrong way and you are up there on the 8 meters and nobody can climb up and bring you down. So you come out by yourself. And what if you don´t have enough strength, it´s really bad. You have to have enough strength to pull yourself up, or hold only on your hands and take all the wraps off that are around you. It´s really important. For each aerial apparatus you are supposed to be strong to come out every single trick.

Ekaterina-Shustova-circus

Bad situations. Of course when I started circus, injuries were coming. I have broken foot twice, I was out for some time. The doctor told me to walk 3 weeks on the crunches and I took them away on the first week, because I really wanted to go back in the show. But again I had to wait one month for everything to heal so that I could start working.

It´s always better to listen to people who know more about these things, because we often think “I know everything, I can do it.” No, it´s better to listen to them and save your body, because it´s what you have and it´s what you use to work. It´s only your body and you never can buy a new hand, a new shoulder, a new knee, you know. It´s all what you have.

I have pain in my shoulder sometimes, on both of them, and that´s the price that I pay for my work, what I can do on stage. I can amaze people and I pay with my pain, you know. And of course I do strength exercises to keep my muscles intense, not to break them, you know.

Pulling down exercises, stretching. It´s always good if you do them all the time, even like  20 minutes after the show. Just do it and then the next day you will feel much better. Protect yourself, let´s say like that.

Of course there are many exercises for the back, they are mostly from Pilates, also with a elastic band and exercises from physiotherapy. Because when you work with your front muscles more in the show or in the training, the shoulder will turn in the front, which can cause pain in the shoulders and in the neck. You have to compensate with the back.

What about the upper back?

Of course you have to stretch it, but not stretching by bending in a back, because you still collapse your spine, it´s more like stretching up. SO before you band in the back, you just pull it all up reaching up to the ceiling. And the same on the floor, you just lay down on your belly and you just try to reach with your arms one side of the room and with your legs another one. The same on your lower back. And of course doing exercise when you lay on your upper side, your legs are still in the air and you pull on the upper side not only with your legs together, but also with your hands open. It´s straddle but also on the shoulders. The same thing in the opposite position when you lay with your legs and your waist hanging, you go up.

If you have injuries, for example in ligaments or muscles, it´s better to listen to the doctor, what he/she says how fast or slow you can train, how many exercises you can do. With bones it´s a little bit different. My injury wasn´t that big, of course I couldn´t jumping on it, but that was much easier than ligament problems.

Did you have overstretching?

Ekaterina-Shustova-skills

Yes and also recently. This winter we had a very hard schedule. My muscles were really tired and the problem was that there was no time to recover. And of course, I wasn´t eating very well, I wasn´t eating these special meals, you know. So I started to feel pain in my legs, especially when I went on split and it was really hard. In the beginning I couldn´t understand what was going on. Because usually I oversplit putting my front leg on the chair with my back leg on the floor.  And at that time, when I started to feel pain, I couldn´t even sit on the floor in the split. It was really painful. So I wrote to my massage therapist in Russia and I asked him what can it be. And he explained to me, you workout really hard and you work too much. You don´t have time to recover, you are supposed to go to the sauna or you are supposed to have a special massage and you have to eat better, more meat, cottage cheese, milk and the things that can help your muscles to recover.

In this case if you workout really hard and have a lot of training, be careful with your meal, what you eat and how you eat. You can´t eat just salads. If you workout hard, the salads are not the best thing.

I was pushing my body to the limits really hard. Maybe it will never come back, maybe I will never sit on a split anymore, because I will have pain all the time. But thanks God it´s not like this. I had a break of let´s say ten days without doing anything, no strength exercises, no stretching, just relaxing my muscles. I now it came back, I don´t feel so much pain now.

Important tip!

When you do tissue, you can´t do all the tricks equal to the right side and to the left. On the straps it´s easy, you can do straps on the left and on the right. On the tissue it´s a little different. So in this case, let´s say, you are always pulling your right leg and your hip ac go a little bit twisting, then you will start to feel pain in your lower back or in your hip, so you have to go the the physiotherapist, so that he/she will see if you are ok and it will crack here and there, they crack your back, shoulders, etc., make you do some exercises to keep your bones in place. The muscles which are holding our bones, they are supposed to be strong.

9. What tips and exercises can you give to master one hand hangs?

And how many times and repetitions one should do in the beginning? What one should consider not to get injured when doing one hand hangs? 

Ekaterina-Shustova-tips and exercises

Every time when you start new tricks, you don´t have to kill yourself. You are supposed to go slowly. Let´s say if you can push yourself and you can do 10 times, then do 10 times for the first week. And slowly you can do more.

Or if you want to try to do that, you can start with 5, the next day you can do 6 times. And then you will be able to do 7, 8 and so gradually you will go higher and do more.

All these exercises, you know, when you hang on two hands and pull your shoulders down, you pull your body up by the shoulders but not by the elbows. All these kind of exercises will make your shoulders stronger. The same is when you sink down and push yourself, you sink and you push.

Some girls want to do tricks on the tissue and on the straps, but they don´t want to look like a man, to have muscles. Here is the thing, if you are not strong enough, you can´t do these tricks. Here is the thing, for example, I want to drive a car, but I don´t want to learn for the driver license. There is no other way, you have to create some muscles. Of course, every single body has different body shape, have different muscles structure. For example, there are girls who are really skinny, and they can´t get these real muscles shape Some girls will be able to do hundred of pull ups, but they won´t have this shape.

Here is the thing, you want to drive a car, do a driver´s license, if you want ot make strong tricks, make yourself stronger.

In tricks, you have to control and in some parts relax your muscles, you have to control where your body goes. In some parts, where you know, you can relax your muscles, and in others you have to keep them strong. For example in flag, you have to keep your shoulders strong. Sometimes people start to relax and they come out. This moment you can injure your muscles.

10. What exercises would you recommend to our readers to get a good balance in a silk split without holding hands?

Here is the same kind of things, you have to make a mix between relaxing your muscles in your legs and at the same time keep it in control, not too relaxed and never ever make tight your upper body. Upper body is supposed to be really relaxed. Because if you will do it intense, you won´t have a nice balance. And don´t do it quickly, but slowly let one hand go and held with another hand. And the most important thing when you are afraid you bow front, so your whole body is in front and that´s wrong. You are more comfortable and easier to balance if your shoulders in the back. And of course if you have someone, you can give your hand and see if you can sit and keep yourself in the back. That´s gonna be much easier. Your weight goes into the middle and if it goes more in the back, it´s even better. But not from a back, just your lower back, but from the hip.

11. You had a very interesting drop, going forward with your body, could you please describe how to do it?

 Can one do it with 6 meters height?

It´s all about how many drops you´re gonna do, because it´s like a loop drop, you have your loop on the shoulder. Usually in my act I do 3 loops, and of course 6 meters is not enough for that. I have like 11 meters of tissue and that´s enough and I´m stays 2 meters above the stage. That means I need a least 13 meters of height.

If you do it with one loop, 6 meters it´s enough. I see many girls who do it with one loop or two loops and there are many different ways to wrap into it. I have one video, it´s called tissue mix and there it´s shown and the way how you can do it, how you can wrap into it. But more than that I use motor which brings me down and up and on my way I climb and do a second loop you know.  In this trick the most important thing is of course, everybody wants to make big drops, but again you are supposed to have strength to do it, to wrap into it, because it´s not just the drop when you climb up and make a loop and slide, it´s a bit different. It´s new climb to do the drop. And many girls, don´t realize that they can get tired and put this drop in the end, not thinking about that they maybe won´t have enough strength to make it.

And of course the most important fact is to have a nice trajectory of falling. If you fall, but you  can´t understand how you fall, if you fall in front, or on the side. It will look for the audience as you don´t have confidence. And it´s not gonna be really nice. It will be like you drop a little bag with sand, a little doll, you put it on the tissue and you drop it and then it will fall how it falls you know.

You have to understand trajectory, it´s kind like learning the right way of fall. And you don´t have to be afraid, because I know there are many girls who just close their eyes when they drop. You are supposed to see and understand how it goes. It´s like small kids when they start to walk.

12. How was that experience at Circus Festivals and Cirque du Soleil?

In Cirque Du Soleil it was a really good experience about what you can take out from yourself. Of course, not everybody form us can really dance and sing in front of people. And in Cirque du Soleil they really try to open you, to make you more creative and to make you a real artist. They give classes, if you want to take ballet classes, you can take, if you want to take acting classes, you can take. If they need you to sing, they will ask the teacher and the teacher will come and teach you how to sing.  It´s a really good experience. The only one thing that I really want to say. Many people want to go to Cirque du Soleil, because they want to perform there. It´s good. But the most important part is not to stop improving after you came there. Sometimes, you know you reach your dream, and you think that you have already reached the dream of your life. Never stop moving forward, improving your acts, improving your tricks, improving yourself, you know. And if you feel that is not enough for you because sometimes it happens, you work in Cirque du Soleil, and you want to create something more and they tell you, no, but we don´t need this in this show or we don´t have the place and then you understand, it was a good time to work there and you learned a lot of things. But I have to move on. And then you are away from Cirque du Soleil and you continue working and you continue your stuff. And that´s not bad, that´s good. The experience of Cirque du Soleil was really good, if you have a chance to go there, go. That´s what I would say.

13. How is the circus scene in the countries where you lived and performed?

Do artists know each other or rather work on their own projects? What training place can you recommend there? Are all the artists in Russia from circus families or   there are also people who learned circus because they wanted it, are they accepted?

In America there are a lot of place where gymnasts and kids go, like Sport halls, they also rent place for aerials or pole, there are many places. In Europe there are also many places, I went to Europe to work, but I never went there to do training. And of course there are Circus schools in Berlin, France and Spain. I heard a lot about that, but I´ve never been at those places.

In Russia we have many training places, even a small city has a place like 6 meter of height. In pole schools girls also learn tissue, but it´s not as for circus performance, it´s more like for fun. In Moscow we have a special place for circus artists with 18 meters height.

In circus there are circus families and there are also guys and girls who fall in love with circus and want to be professional artists. There is a circus school in Moscow where you can study to become a circus artist. And there are directors, they can create an act for you. There are many things like this. And I have many friends who are not from circus families and they were let´s say gymnasts, and they was that in the circus were looking for some guys to do acrobatics on the horses and they decided to try, and then they started to travel and they love it. They continue, you know, and then they find a wife, a husband in the circus you know and that´s how they create circus families. There are many circus families, and not circus families and it´s really nice to have this kind of mix.

14. Where one can book you for a show?

You can find me on Facebook and YouTube.

Photos:  Dmitry Chobanu

Aerial Arts, Featured

Physical Theater up in the Air. Absolutely Unique Style of Paper Doll Militia

April 7, 2016 by Elen Ramírez Leave a Comment

Sarah Bebe Holmes is a talented aerialist and artist. She has her own aerial theater company  Paper Doll Militia together with other aerialists.  She has a very unique style and has done almost all kinds of aerial arts. In her performances she combines different aerial apparatus: trapeze, corde lisse, aerial chain,  silks,  aerial stairs, multi corde and much more.  Sarah is amazingly creative and knows how to surprise the public with new unpredictable tricks.  She is travelling all over the world performing and giving workshops.
This interview happened very spontaneously.  Sarah was packing  for the next  trip, she was going to perform with  Rain Anya and decided to do the interview at once. So we skyped.  It was the first video interview for  Activonga,  organized very spontaneously, so to say “unprepared” though with the questions ready and printed out.  The interview was exciting and a great fun.In this interview Sarah shares her story and her experience. You can get very valuable tips about performance and  learn about some  funny episodes during Sarah´s travel. Enjoy!
Podcast Interview

Here are some of  Sarah´s and Paper Doll Militia performances.

You can also check Sarah´s showreel. She has a lot of great videos. And here is  another amazing video by Paper Doll Militia. Love it!

To participate in Sarah´s workshops and don´t miss the date when she is teaching in your country, subscribe to Sarah´s newsletter on the Paper Doll Militia Website.

Featured Photo:  Marilyn Chen

Aerial Arts

The Aerial Rope Master. “A freak on the rope. Raw, wild, brutal and different”

April 7, 2016 by Elen Ramírez Leave a Comment

Emiliano Ron has devoted many years to various aerial techniques, choosing to specialize on rope. With an academic background in Cinematography Arts (Editor and Director of Photography) and spending his adolescence mixing his passion for martial arts, punk rock, books and skateboarding, he decided to leave everything and become a circus artist. Learning with great teachers and training alongside others he has become a living legend on the rope. Currently he divides his profession as an artist and teacher; creating new movements and developing a particular eccentric and unique style. A freak on the rope. Raw, wild, brutal and different.

I´m very happy to interview a great talented aerial rope artist, the rope Master, Emiliano Ron, who is travelling the world performing and giving workshops.

The Rope Master Emiliano Ron

1. Emiliano, could you tell me about yourself.

How did you start circus? How was your artistic way to circus?

I´m Emiliano Ron. I´m a rope artist. I’m from Buenos Aires. Argentina. I’m based in Barcelona. But I’m not to often there. I like to live close to the sea and at the place that sun shines every day.
I start practicing martial arts when I was a kid. I was “problematic” kid so my psychologist recommend my mother to send me there. There I learn about self control and how to train hard.
When I was an adolescent I discovered  skateboarding. It was a perfect mix. The discipline of the martial arts and the wildness and freedom of the skate. This is something that I still keep when I’m performing.
I started with the circus when I was at the university studying cinema. I was dating with a girl that was doing rope. She was my first teacher and she even show me how to make my own rope.
Suddenly I started to get bored of working on cinema. Too many hours on a studio, too many hours in front of a computer. I love cinema, but I needed to move my body!
I quit everything and I decided to run away with the circus …

2. In which countries do you perform and give workshops?

Almost everywhere. I try to go to all the places I can. If someone organizes it, I’ll go. I work with schools, but I also like the punk spirit DIY, do it yourself. I keep contact with students from different countries and they organize their own workshops.
The same with performances. I perform in different places and I enjoy them all, from traditional circus, to punk circus cabarets.
I’m really open on that.
I’m not so good working on group creations and shows. I have a rope solo act and I like to perform  it.

3. How does your usual training look like?

Do you train daily? How long do you train? How do you prepare your performance and how do you choose the place?

I train everyday. I love what I’m doing and it’s my job. I work around 8 hours per day. Office work, emails, social media and papers and training.
I’m not all day on the rope. I also stretch and do some acrobatic training too for the most difficult tricks.
My act is based on technic. It’s just me and the rope. I need a good rigging for it and a nice crash mat.
I’m also a rigger so I check every detail. Sometimes if the rigging is too bouncy it’s more annoying and the beats are not so good, but you just need more time for rehearsal. I always ask extra time for this. Also lights are really important on my act.

The Rope Master Emiliano Ron

4. How long does it take you to prepare an aerial performance?

What is the most important for you in a performance? What do you appreciate the most in an artist?

I´ve been preparing my act all my life. I put everything there. I’m here, right now, for all the things I’ve done before. My act   is also  evolution of my previously acts.
I like artists to be honest when they perform, and I like to see when they give it all. When you go back stage, you can really see this, tears, sweats and blood.
If you also honest, you gonna be unique, you don’t need to copy anyone. Only you, can be you. And I enjoy that. Knowing honest and unique people.

5.  Emiliano where are your next workshops and where one can find when you give the workshops?

During 2016 I’ll be touring different places. It gonna be an endless rope tour.
I’ll start in Lanzarote, I go there for a festival and making some photoshoot with my rope at a vulcan!! After I go to Sheffield, U.K. And at the end of January I go to Paris.
This year also I’ll start with a new personal project that I called : “Rope without borders”. As a rope teacher I’ll like to teach at social circus schools. Go for one month to this places and work there every day. Give the chance to became a high technical level rope artist to students that can’t pay. Education should be free for everyone. And I wanna work on that. I’m still working on it, it’s a big project but I’m happy to do it.

7. What are your favorite circus shops or rope providers?

I use Barry ropes. It’s a brand from Canada. They are my favorite ones. Covered ropes make more easy your training, also your fingers and your hand will look better.
My others sponsors are Pole Junkies, which provides me my training clothes, I love colorful clothes for training.
And I also work with BlackRoll, whom make amazing foam rolls and recovery products. After performing I run into my Black roll and my back is grateful to that. I also use them for warming up before a performance. I take my BlackRoll everywhere, even on holidays.

8. I know that a travelling artist has a lot of adventures.

Please share with our readers one funny or surprising adventure during your travels.

Budapest was one of the hilarious contract that I have done. I was working with my friend Noe Robert, an amazing artist on the swinging trapeze. The first thing that we noticed, there is that none of the workers at the circus spoke English at National Circus… Rigging was insane, it took   us for ever to rig on a wood ceiling that it was almost 100 years old. We were always sick at that season, from the bed till the circus. We were  changing rooms there. The food was amazing and really cheap. But too many shows. When  we were almost finishing the contract, happy to have survived it, we had  a little accident…
Noe left a candle on at his room, never do that please. I was at the stage at the end of the show and he came running and screaming. I couldn’t understand anything. I told him to calm down. And he screamed: “Fire in   the room, fire!”
I ran to the rooms and it was all on fire. I took the fire extinguisher and I kicked the door like in the movies, in real life is not so easy. There was almost nothing there, and the extinguisher decided not to work. I opened the shower and tried to turn the fire off with water. We lost almost everything. 1 hour after when the fire was off and I was covered in dust and ashes, the police and the firemen came. They took me to the ambulance of course I was feeling dizzy. On my way to the ambulance I met   the director of the circus, he just look at me and said: “problems, you always problems” finally he spoke English at least.
30 minutes after we were performing again. Show must go on!
After that we had to pay for the rooms that we have burnt and the firemen. It was a long day, and I didn’t even had time for a shower. #circuslife …

Thank you very much Emiliano! It was awesome speaking to you. I hope that our readers feel inspired to learn great rope tricks with you or to start learning the rope.

Emiliano´s training video

Photos:  Sandra Garza

Aerial Arts

Learn From the Master Trainer for XPERT Pole and Aerial Fitness

April 7, 2016 by Elen Ramírez Leave a Comment

Sarah Scott has been competing, performing and instructing for the last 7 years at a national and international level.  She is a Master Trainer for XPERT Pole & Aerial Fitness and currently travels the world teaching workshops and hosts training packages in South West England.  Being a brand ambassador for XPOLE has led to representing them at events such as BeFit, FIBO, Rimini Wellness and has presented at the International Fitness Showcase for the past 4 years.  Sarah loves her strength moves and her biggest passion is to pass on her knowledge in both pole and physical training.

1.    Sarah, could you please tell me about yourself?

How have you come to pole dance? What was your biggest challenge when you started? How was your process of becoming a professional pole dancer and instructor? What and who inspired you when creating your own style?

I came to pole by accident really! I went with a friend to a class for support but ended up falling love with it! I was at a bit of a crossroads in my life and decided to re-train as a fitness instructor and pole instructor and opened my studio. There were a few different styles emerging – the graceful and bendy style seen with Felix Cane and then the more strong and powerful style like from Zoraya Judd. I didn’t come from a dance or gymnastic background and found my flexibility was a little limited at the beginning so was more drawn to the strength side.

2.    Why have you chosen pole?

What is special in it for you? What other aerial arts are you doing?

For me it’s the varied training. It’s constantly challenging and massively rewarding. You can dance in different styles, different techniques – and the community is so inspiring.

I’ve trained aerial hoop a little and tried aerial silks but found I don’t have the time to dedicate to them with everything I have going on. I fully respect all the aerial arts, as it is incredibly hard to make look effortless. It’s that respect that keeps me from taking them further as at the moment – I look far from effortless!

Sarah Scott pole

3. How does your usual day look like?

How long and how often do you train and stretch? How long do you warm-up and stretch before the performance?

My usual day starts around 8-9 am depending on where I am. I play with my dogs and have some breakfast – usually something with eggs and avocado. Then I catch up on emails before I head to my gym which I share with my fiancé. I have 2 poles, a weights area, rowing machines and some gymnastic equipment and we’ll pretty much spend the rest of the day there!

I usually do 1 – 2 sessions if I’m at the gym and that can include pole training, weights, circuits, or stretching or a mixture of them!

If I have a performance, a lot of the time we don’t have long to warm up at all! Sometimes 10 min, but if I’m competing, I will usually start around 45 min to 1 hour before I have to go on, and a few hours before getting my face on 😉

4. Do you travel a lot giving workshops and performing?

Could you please share some funny or maybe unexpected episode during your performances?

I travel every weekend at the moment teach workshops and teacher training for XPERT – every other month or so I will judge a competition where I usually do a guest performance also.

I once was performing at a show in LA and there were 4 poles on stage with audience seated all around. I hadn’t practiced with this set up so when it came to perform I ended up getting disorientated and went to the wrong pole. In the moment I made a bad decision and rather than moving over to the correct pole I started climbing the wrong pole and just remember thinking “Where are you going! Now you have to find a way to dance down!” The internal dialogue onstage can be amusing!

5.  How do you create your pole dance transitions?

Could you give some tips for interesting transitions?

For transitions I like to put together a great playlist of music – some new, some old and then film free styling. After watching it back, I try to find sections I want to develop and then I do the process again, but this time work with the idea to make it smoother.

Transitions come from the ‘basics’ and being able to move in a controlled way in and out of tricks – so I take my time, when learning new things to try as many ways in and out as I can and re-visit it until I’m happy I can use it

6. How is your creative process when preparing choreography?

How do you choose your music for your performances?

My creative process can vary, but in general I start with the song. I research and search for music and then freestyle to a few until I find one that I can start to see a performance with.

7. What is the most important in a pole dance performance in your opinion?

When it looks like the music is following the dancer rather than the other way around. I love to see highs and lows during the performance and for it to look fresh – not like they have run it 100 times (even if they have!)

8. What are your 2 favorite pole tricks and how to do one of them?

It´s so hard to pick favorite pole tricks! But I love invert rolls because you feel like you flying and look like your flipping! And power spins on static. You need to really pull down through the lats and keep lifted, start with enough distance from the pole to create opposition as you fly around the pole. So many variations, but always looks great.

9. What advice can you give to those who want become pole dance instructors?

You have to give up a lot of your own training time and it’s a different skill to develop. Make sure you know how to break moves down in a variety of ways to suit different learners. Everyone needs to succeed in at least some thing during class and learn how to spot safely and effectively.

10. What tips can you give for good pole drops and flips?

Go see an instructor who has lots of experience in this area and use safety mats. They just aren’t worth learning on your own.  There are some simpler moves (like the invert roll) that look like a flip but aren’t nearly as difficult or dangerous to achieve. Start small and don’t rush.

Sarah Scott pole

11. What is the best supplement for a pole dancer to add to the daily meals?

This will vary hugely on the current diet, goals and training etc. But one I like to add in is a BCAA drink – Branched Chain Amino Acids. These are like the building blocks of muscle and can aid with muscle repair. They are usually fruit flavoured and light and are very easily absorbed so can be used as a great energy source during training too.

12. What are the common mistakes that pole students do, in general or in 1-3 tricks as examples?

So a few mistakes I think we all can make is getting frustrated when we don’t get something right away. We have to give our central nervous system time to adjust to what we’re doing, as our bodies don’t recognize these new movement patterns. Try to think of it as a weak signal at the beginning and more you do it, the stronger the signal and the easier the move gets.

Another is not focus on alignment of the shoulders during pretty much everything! Just because something doesn’t hurt, doesn’t mean its not causing issues further down the road.

And a trick example I would say the Iron-X as its so popular: People tend to focus on the legs but if you focus on bringing the shoulders in line and lowering the hips slowly it allows the oblique’s to fire and then the legs will follow. It’s not quite as simple as that – but if a student is close this can be a good fix.

13. Where one can book you for a show?  Do you also give classes and workshops?

I can be contacted at info@sarahscott.co.uk

My website has all of my workshop info and upcoming schedule.

And my training packages are run in Somerset UK, where you can stay from 1-3 days and train at my facility in a variety of ways from pole, gym and mobility.

Facebook,  Youtube,  Instagram: @sarahscottpole,  Twitter: @sarahscottpole

14. Are there some giveaways to share?

I have a free tutorial for a fun floorsweeper move on my Youtube Channel:

And I’m currently giving away free drinks bottles with any Protein order on my website.

Photos:  The Image Cella

Pole

Useful Tips for Correct Contortion

April 7, 2016 by Elen Ramírez Leave a Comment

Jasmine Straga (Formally Jasmine George) was trained in both artistic and rhythmic gymnastics at high level for 14 years, she then went into performing as a contortionist, aerialist in some of the worlds leading circuses.

Jasmine has trained over 200 contortionists globally and her two most well known  students are international contortionists Jordan McKnight (USA), Rich Metiku (Ethiopia) and her two juniors; Alissa Eckersley and Jessica Peters (Australia).

Jasmine ran Gala Entertainment agency for over ten years and currently runs a circus act creative and professional direction production company by the name of J S Creations and teaches on the side.

Jasmine Straga

1. What is the difference between the normal handstand and contortion handstand?

How does it change the hand position taking into consideration that everybody has a different physiology (body)? What should one consider not to get injured?

Contortion handstands arms and fingers vary between positions. For triple fold press ups and Mexican handstands, it is easier if the contortionist has the arms wider than shoulder width. This is not, however recommended for normal contortion handstands where the artist will exchange into a one armed balance (handstand on one arm). For a normal handbalance and any exchanges into a single arm, it’s important to have hands and elbows directly underneath the shoulders. Because contortionists leave the chest down and legs over head for the majority of the positions, the legs over the head causes a lot more weight pushing forward, so it’s important that the fingers are pressing firmly into the ground to push back on. The palms can be flat or raised (2 different techniques for this), but knuckles in center of the fingers are usually slightly raised (how raised, will depend on the position and weight at the front).

2. What could one do in case of injury?  What medicine and lotions do contortionists use? Where one can buy them online?

Any injuries should be reported to a doctor or specialist, if there is an injury to the spine, I would suggest not going to a physio until a specialist has cleared you or given you an MRI.

Before taking supplements, it’s important to first take a blood test and ID exactly which supplements your low on, as taking supplements you are already receiving sufficiently, can also create some serious health problems. Some of my favourites to take is Calcium and Magnesium for healthy bones and muscles, taking vitamin C with these will help your body to absorb them better. A diet that has a lot protein will aid in repairing your body after your training session. Drink a lot of water. Water hydrates your entire body and aids keeping your spine healthy. Fish oil is wonderful for bone health! Highly recommend, especially for adult contortionists.

3. What tips can you give starting contortionists to prevent injuries?

jasmine straga (3)

A long warm up of 1 hour is beneficial. Most injuries occur from contortionists not spending enough time getting their bodies ready for training. This includes cardio to warm your body up and get your blood flowing to all those joints.

Then followed by passive stretching, then active stretching and some strength exercises to get your muscles ready to fire, when you ask them. Cooling down is just as important as your warm up, during training, spend approx. 20 minutes cooling down, if you can. Absolute minimum would be 10 minutes after a long training session.

4. How to do a chest stand or pancake chest stand correctly? What is the right hand position in a chest stand?

What preparation exercises can you recommend?

Hand position in chest stand also varies based in the position being performed. For spider, where you run around your head, you want your arms to be folded behind you around your tummy to keep them out of the way. For a roll into the chest stand, you lay your arms straight behind you, but once you are in the position, you put your fingers slightly behind your shoulders and push your elbows in towards your body. Some positions will require different arm positions.

5. Is there a typical error in leg shouldering (Reaching the shoulder with the leg in the standing split)?

What is the correct way of doing it?

Ideally you want to work towards lifting it gently all the way up, when you are first learning it will be impossible to do this, so you can lift it with your hand, or do what we call a “back catch,” where you whip your leg up. It’s important when first learning to keep eyes forward, so you don’t give yourself a black eye, it also looks a lot nicer and lengthens the position. This is actually one of the most problematic tricks for contortionists. If you have not warmed up properly, not stretched to front, sides, back and warmed up twists, chances are that this position will eventually give you a sprained muscle, which in your back, can be excruciating, even worse, it can cause a hernia or two in your spine, which is not only painful, but can give you per many spinal damage. Always work left as much as right leg.

6. How to master an oversplit in a straddle split? When one can start working on an oversplit in the middle split?

I mean you if you need to get first into a perfect middle split or you can start working on an oversplit earlier and improve your middle split at the same time.  Some exercises and tips.

Actually, I rarely work over split much in straddle. It’s not a position that we really need much as a contortionist and tends to cause problems with hips later on in life, if correct turn out position is not practiced. It’s also not the best thing to do for aerialists that hand from hand loops in the air, as the hip can dislocate if it is  is too lax. I prefer to work on over split on left and right.

7. What is to take into consideration in a head sit position?

Head sit is a tricky pose. I would suggest mastering both breathing and all the shapes in a normal chest stand before trying to master the head sit. A head sit requires the artist to lift upwards and forwards. Many cannot do it, as they do not understand how to lift using both the pelvic floor muscles and outer core muscles correctly. Having a teacher will help you to get into the position  the first few times.

8. How to get a deeper bend and head-to-butt in the front split?

I woke through grabbing back leg with opposite arm (important to have parallel hips with NO back leg turned out. You will know if you back knee is facing to the side, instead of to the ground. You can work this position through lunge, through regular split and in over split. It’s many of the same muscles being used as the Needle or back catch that we spoke about above, so again. Good warm up is important  not to  have an injury. Using the opposite, instead of same arm, helps to prevent from twisting out.

9. What tips can you give for a correct backward roll to handstand?

Do it with a teacher that understands the position first.  There are many lead up skills to learn first before tying it, to help your brain understand each phase of the trick.

10. Some things to keep in mind in a triple fold position.

Breath, breath and breath some more. You need to not only have a comfortable bottom on your head for this position, but more so, you need very flexible shoulders and also hip flexors. Keeping hips open and opening legs wide enough to get your body through will make this easier.

11. Could you please give some advice and exercise tips for getting deeper back bends and strength for the upper, middle and lower back areas?

Firstly, patience, back bending when pushing yourself past your limits will more than often end in injury or you taking steps backwards. Spending time and breathing well in each pose, trying to relax is the best way. Strength exercises: there are many listed on my group. It’s a little too hard to explain all of this as written text. It’s better to use the images and videos on my site, as there are a lot of technical aspects to each exercise that is important to do things safely and correctly. I wouldn’t like somebody to be injured by not understanding what I write.

12. Where do you teach? Where one can book you and your company for a performance?

I teach from my home studio and also at Performance Art Western Sydney and Avion Aerial Arts in Sydney, Australia. I am also available for national and international workshops. My website is jasminestraga.com and I´m  Director  of Australian Circus Festival  australiancircusfestival.org

Contortion

Laura Dasi: Incredibly Creative and Talented Aerialist. How to Bring Dance Into the Air.

April 7, 2016 by Elen Ramírez Leave a Comment

Laura Dasi is a talented aerialist, classical ballet dancer and yoga teacher. She knows how to bring dance into the air. Each of her performances   transmits beauty and elegance from classical ballet. Laura creates characters full of grace and emotion. Laura performs with aerial silks, lyra and hammock.

In this video interview you will learn about how to create a choreography for aerial silks, what is important about transitions , how to choose music for your performance, how to take care of your body, how to work on your points and much more.

Interview Podcast

Laura-Dasi-interview

You can find Laura on her website  and her Facebook page.

Photos:  Mario Covic

Aerial Arts

What You Can Learn From a “Sexy Style” Pole Dancer

April 7, 2016 by Elen Ramírez Leave a Comment

Jordan Kensley is a performing and competing pole dancer and instructor from Los Angeles with a unique strong and sexy style. She combines  quick and strong tricks  with exotic dance.

Jordan Kensley poleJordan´s awards

2015
Arnold Pole Classic: 1st Professional Alternate
Pole Theatre USA: 1st Place Pro Comedy Division, 3rd Place Overall Champion
PSO National Championship: Pro Artistic – 3rd Place

2014
PSO Pacific Pole Championship: Championship Lv4 – 3rd Place
National Aerial Pole Art: NEO – 2nd Place
North American Pole Dance Championship: Professional – 2nd Place
PSO Pacific Aerial Art Championship: Dramatic Professional – 3rd Place
Paragon Championship: International Amateur – 2nd Place

2013-
PSO Pacific Pole Championship: Championship Lv2 – 2nd Place
PSO Pacific Pole Championship: Entertainment Lv2 – 3rd Place
PSO Nationals: Championship Lv2 – 2nd Place

I´m happy to present here Jordan Kensley. We had a great interview and in the podcast below you can listen to it from you computer, laptop or on the way.

Podcast Interview

In this interview you can learn about Jordan´s usual day, how she discovered pole dance for herself and a lot of valuable tips. Here are some things that you will find in this podcast:

How to find out your own style in pole dance. Jordan´s experience from avoiding exotic pole  to a becoming sexy style pole dancer. It´s a very interesting story.

Jordan also gives very good tips how to choose the music for a performance and how she creates her transitions. By the way Jordan does a lot of strong moves and fast tricks.

Jordan Kensley

Jordan also gives tips for competing pole dancers and those who would like to compete. The same tips can serve for aerialists or any competing artists as well.

Jordan also shares a lot of tips about skincare and what to do against the bruises and nickel pole allergy, as well some good tips for those who would like to try pole.

Jordan Kensley pole

At the end of the interview you can learn about pole scene and different places where you can take pole dance and Chinese pole, as well as contemporary dance classes in Los Angeles.

You can contact Jordan at  JordanKensleyPole@gmail.com

Please comment and share your experience about skincare. How do you create your transitions and choose the music? Did you ever thought that exotic pole is not for you and finished dancing it? Share your story with other readers and pole community.

Photos:  Alloy Images

Pole

Anastasia Skukhtorova: The Most Photogenic Pole Dancer Of the World 2014

April 7, 2016 by Elen Ramírez Leave a Comment

Anastasia Skukhtorova – one of the best pole dancers in the world, pole dance/pole fitness instructor, performer, competitor.

  • The most photogenic pole dancer of the world 2014
  • World pole cup champion 2012/2013
  • 2nd runner up in Pole World Cup 2011/2012
  • 2nd runner up in Pole Art 2011
  • International pole dancing judge
  • The Finalist of the World Pole Dance Championship 2010/2011
  • The Best Russian Pole dancer 09/10
  • UPA’s Pro Pole Dancer of the June 2010

1. Anastasia, could you please tell me about yourself? How have you come to pole dance?

What was your biggest challenge when you started pole dance and how you overcame it? How was your process of becoming a professional pole dancer and instructor? What and who inspired you when creating your own style?

I’ve been practicing pole dancing for 7 years now. Wow, time flies!  I always wanted to be a dancer. I dreamed about ballet when I was little.

When I became 18 years old I realized I want to be more feminine, I want to learn how to move. So I decided to try pole dancing. It was in Moscow. December 2008.

I took my first class and instantly fell in love with pole.  It was very difficult, but it didn’t stop me cause I liked the challenge.

I liked to overcome myself everyday. I wanted to become flexible and strong, fit and elegant.
After 2 month of training the owner of that studio invited me to teach beginner classes. Because I was learning all basic spins and transitions quite fast and if I could not do something I could explain it very well.

So that’s how I started to train everyday and slowly teaching 🙂  At the same time I saw a video of Felix Cane. It was stunning. I thought everything she is doing is impossible, it is something from the sky.  But I was so motivated to work hard. I wanted to do everything she is doing.

And I don’t know why I believed i will.  I have so many people who inspired me that time – Felix , Jenyne, Zoraya, and Vardanush, Elena Shtalinskaya, Dima Shine.

2. Why have you chosen pole dance?

What is special in pole dance for you in your opinion? What other aerial arts are you doing?

I think in pole dancing you have it all.  Exercise, dancing, stretching, fitness.  It makes you fly. It makes you happy and confident, opens up your mind.  For me this also opened the world.  I’ve been practicing aerial silks, hoops.

3. How does your usual day look like?

How long and how often do you train and stretch? How long do you warm-up and stretch before the performance?

It is always different because of traveling. A little bit difficult to keep the same schedule when you are moving so much. But when I come home I wake up at 10am, drink water with lemon, have breakfast and then it can be dance classes, or private lessons, pole dancing, flexibility training or reading. Meeting with friends, doing some work on my computer or phone.

Usually my training is about 2/3 hours. I start with stretching, handstands, then go on the pole.  Warm up before performance depends on how hot is in the room.  But usually 15/20 min.

4. How do you create your pole dance transitions? Could you give some tips for interesting transitions?

How is your creative process when preparing choreography?How do you choose your music for your performances?

Well, I think you need to really feel the song.  Maybe you can rely on something when you listen to it. To any situation in your life. That helps to do performance more artistic.

And I always create my acts with professional choreographers. Because they can give a good advice , correct you. And they see better.

5. What is the most important in a pole dance performance from your point of view?

I like when people go with music. When They feel it. Have expression. I like when act touches you. Leaves emotions after watching.

6. What are your favorite pole tricks and how to do one of them?

I like the Rainbow, Russian split, different drops , iron X. There are so many!!  Oh it is impossible to explain by words.  But we have all the instructional videos  on poleandaerial.com  Check it out 🙂

7. You have amazing pictures and such beautiful clothes!

Where one can buy pole dance dresses with long flying skirts? Could you give some modeling tips for pole dancers?

Thank you so much! It was made for me in Moscow. Valeria Malinovskaia is amazing artist. She was dancing herself so she knows what we need, what material and how to make it fly 😉

8. What exercises would you recommend to get a good back bend for Extended Flexi Embrace?

What should one consider when doing this move? What tips or exercise can you give to master deep back bends?

I like to train now with stretch band, it helps me a lot. You can use it in any way you want. There are a lot of videos and pictures in Instagram or YouTube. And for any level.

9. You won a lot of championships. How was your experience during the championships?

I liked performing on the stage but I never thought of it as a competition. It was more to meet new people, to see new country, to have fun and to show how you see pole dancing.

Anastasia-Skukhtorova Pole

10. Where one can book you for a show? Do you also give classes and workshops?

Usually it all goes through my Facebook and Instagram @anastasiaskukhtorova  🙂

I also have YouTube and VK.

Featured Photo: Vadim Stein

Pole

Interview with Marion Crampe

April 7, 2016 by Elen Ramírez Leave a Comment

I had an absolutely amazing interview with Marion. She is a very lovely person and very talented artist. In this interview Marion shares her story and experiences, gives interesting tips and reveals some things about pole tricks and contortion.

You will learn about Marion, how to create choreography and transitions, where to look for inspiration, how to train flexibility, how to prepare and warm-up before the performance and competition and much more. This video has also a few funny episodes.  I won’t write more, just watch the interview, it´s amazing.

Podcast Interview

 

Interview with Marion CrampePhoto:  Millie Robson Photography

Interview with Marion CrampePhoto:  Anthony Nollet Photographe

One more dance video from Marion

Thank you very much dear Marion for a great interview and for sharing your experience.

Featured Photo: Forêt Vierge, Photographer: Jeanson Laurence

Featured, Pole

1st Place Winner in Aerial All Stars 2015, Distinguished Pole Champion and Brand Ambassador

April 7, 2016 by Elen Ramírez Leave a Comment

Amy Hazel is known for her flexibility, interesting pole transitions and her instagram @amyhazel92. Amy started pole dancing in 2010 and quickly built her reputation to becoming one of Australia’s top pole dancers. Without professional background training, Amy has always had a passion for dancing and choreographing attending dance classes from the age of 6. Her love for fashion can also be seen in her costume designs and decorations.

Amy´s Accomplishments:
  • 1st place Aerial All Stars 2015
  • 1st place Miss Pole Dance Victoria 2015/16
  • 1st place Pole Theater Classique HK 2015
  • 2nd place Victorian Pole Championships 2014
  • 2nd place Miss Pole Dance Victoria 2014/15
  • 3rd place Miss Pole Dance Australia 2014/15
  • 3rd place Beijing International Pole Championship
  • 1st Place – PPS Aerial Performance Tournament – Professional Pole Champion 2013
  • 2nd Place – Ms. Bikini Australia – Musclemania Australia 2013
  • 3rd Place – Model Australia – Musclemania Australia 2013
  • Official Bad Kitty® Brand Ambassador
  • Official Pole Ugg Brand Ambassador
  • Official Bling It Heels Brand Ambassador

1. Amy could you please tell me your story.

How did you come to pole dance? Has jazz / funk influenced your pole dance style? 

I started pole dancing in 2010 after hearing a radio advertisement for Pole Divas Melbourne (Australia). I attended my first class with the lovely Lou Landers and fell in love with the sport straight away! As I had always loved dancing, my jazz funk definitely helped me with coordination and fluidity but i definitely struggled with my flexibility to begin with – especially my active flexibility.

2. Does training influence your meals habits?

I have always been a health conscious person having struggled through years of an eating disorder. I try to be more relaxed about my diet throughout the year but definitely make sure that the majority of my diet is healthy. My diet usually consists of organic, vegetarian, raw foods however I am not vegan or vegetarian and do allow myself meats or treats every now and then. I also try to avoid all sorts of refined sugar.

3. Do you have a special training routine that you are doing daily?

How does your usual day look like?

I usually wake up, run for 30 mins at the gym, stretch, drive to the studio, train in pole or hoop for however long I last (sometimes i just lay at the studio, sometimes i train for 6 hours), teach classes then drive home to sleep.

4. You won a lot of pole dance competitions.

What do you think is the most important in a pole dance performance? What is your biggest inspiration in pole dance?

I love feeling the music, engaging the audience and hearing the crowd. It depends which competition you are doing but I definitely like fluff time (unchoreographed sections of the song used to get the audience attention). I pick songs that mean a lot to me and it helps me to want to do my best with the piece. I come from a very musical background (my brother is a great drummer and my mum was a DJ in the 80’s)

5. What tips can you give for good and fluent transitions in pole dance choreography?

How do you invent your transitions?

I train them in slow motion. If you can do it in slow motion then you can control it smoothly and it will look fluid. I create them by getting into positions and wondering ‘what if i move my arm here… what if i move my leg here’

6. What are your favorite strength exercises to get strong arms, shoulders and back for pole dance?

Interview with Amy Hazel

I mainly just train pole and hoop for my upper body. Lots of pull ups, slow transitions, stretch band exercises and long pole combinations.

7. Could you please share 1 or 2 flexibility exercises using a pole.

Interview with Amy Hazel
Interview with Amy Hazel

8. How long does it take you to prepare a pole dance choreography and to choose the right music?

Do you have a special training process for this?

Choosing the music takes FOREVER and it drives me crazy! The choreography is about 2-4 weeks. I train combos I like, then place them in the music then make the dance in between.

9. What are your favorite music bands and singers for pole dance?

Anything! There is so much inspiration in all genres of music but it definitely needs to have a build, a peak and a finish.

10. I know that you also perform adagio. How long are you doing adagio?

Has aerial adagio influenced your style and in which way? Could you please give some tips for a good adagio?

I only trained with Blue Phoenix for a couple of months when we competed together at Pole Candy as Tinkerbell and Peter Pan. Trust is the biggest tip and being very comfortable with your partner. We would research tricks on youtube or instagram and try them out.

11. Which workshops do you offer with as a duo with Blue Phoenix? When and where?

Blue Phoenix moved to Sydney last year and so we no longer train together and have not been able to do Adagio for over a year. I do miss it dearly and hope to firstly train with him again and then teach some in the future.

Photos:  Kimberly Russell

Pole

Original Pole Dance Artist With the Wall-Climbing Background.

April 7, 2016 by Elen Ramírez Leave a Comment

Yvonne is a total poledance-addict. Since she started in 2011 not a single day has gone by without her training (or thinking about training) on the pole! Originating from the wallclimbing scene, she immediately fell in love with the physical challenge poledancing gives her. Now, 4 years later, she teaches and performs her passion across the globe. We asked her a few questions:

1. Yvonne how have you discovered pole dance?

How was your learning process to become a professional pole dancer and Dutch Pole Champion 2014? How was your pole dance experience in the Dutch TV Show?

I discovered it through a friend who took a pole course and showed me some moves. Because I was already strong from my climbing background, I could immediately go upsidedown. I love that feeling!
After that, my life changed, but I didn’t realise it yet. The road after that first moment upside down all the way to a professional dancer (eek! Can I call myself professional now? Sounds strange XD) doesn’t happen overnight. Basically, a lot of training happened. And with a lot I mean: A. Lot. Because in my sport there are no coached or trainers to be found yet, everythings takes longer to figure out. But at the same time, it allowed me to develop my “own” thing, my “own” style, my “own” way of moving. Training by myself made “me” more “me” in a way. Crazy! 😀

In both my national championships and TV show I really had a positive experience and grew a lot. Maybe not directly physically, but more mentally in the way I approach pole, dance and the way I look at things. Meeting other dancers (also from other disciplines) is always inspiring. They move so beautifully!

2. You have your own pole school Vertical Balance.

What is the difference in teaching women, men and kids pole classes? What have you learned about yourself when you started teaching pole dance?

Every human being learns in a different way. For example: some learn my looking at a pole move, some need a long explanation, some just need to simply let their body try it. During many years of teaching I try to “sense” for every of my students which way they prefer and cover as many ways as possible when I demonstrate the move in front of the class, often resulting in me trying to talk in some weird upside down position hahaha. Naturally, kids classes are organized differently than adult classes as they have a different learning curve, and also the goals of a kids class are different than adult classes.

I learned that besides teaching (demonstrating), I think I have learned how to be a good spotter. With great spotter I don’t always mean the strongest catch, but also the mental peptalk that goes along with it. I think I am quite capable of  giving that extra little push when necessary (JUUUUUSSST DOOOO ITTT!!!!!)

3. How does your usual day look like?

What else do you like to do besides pole, for example aerials, dance or fitness and why?

I try to take as many aerial and dance classes as possible, but because I run my own business besides my own training it doesn’t happen as often as I want to. In my usual day I get up in the early morning, answer emails and messages, go train in the early afternoon and teach in the evening. When I don’t teach, I like to take tricking classes or dance classes. My body loves other movement!!!

4. What is your favorite pole combination?

How do you develop your transitions, drops and flips?

I looooooooooooooooooove combo’s!!! They are my favorite things. What I love the most are spinning, upside down rotation combo’s on a static pole. Oh and handstands. I am obsessed J

All transitions start the same: in my head. Usually when I am in a quiet place: the train, walking the dog, in the shower, etc. Or often when I listen to music: then I kind of “see” a trick happening. Sometimes, it happens in a freestyle. But then I might not remember it at all: it’s hard to be thinking of pole moves when you are freestyling.

Depending on the transition, it has a different developing stage. For example, in handstands I can train a single transition for hours in a row, and try different exits. Flips, I don’t do that much in a row. I want my mind to be focused, and my body to be awake: this sh*t is dangerous. It takes a lot of more time to do a perfect flip than a perfect handstand combo.

5. What is the most important for you in a pole dance choreography?

How long does it take to you to prepare a performance?

GOOD QUESTION! <3 Nobody ever asked me this.

I think showing something truly me is the most important. I feel like in a pole performance, I take a little piece of my inside; something that’s been on my mind, in my heart, that’s been troubling me, that I love or something that moves me, and I morph it into movement on stage. It always starts with something close to myself, that I want to show. It is the reason I move.

Ideally I would have 4 to 5 months for preparation. I take time to find good music, interesting combo’s and create new movement for my body. And get my stamina up, haha. 4 minute performances are no joke:)

Yvonne Smink by Faceiro 1

6.  Do you travel and perform often? Where?

How is the organizational part of a pole performance in another city or country? Do you have to take a stage pole with you?

I travel quite a lot to teach, usually 4 times a month to other countries. Sometimes a performance goes along with the travel, usually when I judge a competition or showcase. The poles are always provided, taking a pole with me would be impossible to carry around!:)))

7.  Which material of a pole stage do you recommend: chrome, brass or something else?

I think all hands/skin types prefer different stuff. So I always recommend: try it before you buy it. If you have a natural dry skin, you allergic to chrome or your hands sweat a lot, it can all depend on your choice.

8.  Could you please tell our reader about a funny episode during your performances or competition?

It was one of my first performances with a live orchestra of 80 people, and I was super nervous. My name was announced and I was about to step on stage but for some reason I looked down and saw my pole pants had splitted in the middle (!!!) and my underwear was out. Luckily there was a lady at the scene who could sew my pants together very quickly, but I was extra carefull with my splits that day J))

9. Could you share a pole drop and a pole flop to our readers?

Pole Drop: one of my favorite ones is a classical Chinese Pole drop, where you go from a true grip handspring to a simple sit in the pole. I love that you can easily combine it with other tricks or dance movement on the beat. And it’s an easey one to learn but really looks impressive!

Pole Flip: One I really like is a simple cartwheel to bicep/funny grip. It’s a little hard to describe in words, but what I love about is that you start the motion on one side of the pole and continue on the other side with the same energy. And again, this one is easy to combine with other moves!

10.  What tips can you give for those who are on the way to become professional pole dancers?

I know this will most likely sound as a cliché, but: enjoy the road. Enjoy the hard work. Realise things will not always be easy. Remember why you love your art, your passion show it every damn time you are on stage. Let the audience feel why this passion defines you. Dance the way you want to and don’t worry about the rest. Things will come to you when you do “your” thing. Find you <3

11.  Where one can visit your classes and workshops or contact you for a performance?

Most recent info about workshops and performance I post on my Facebook Page: Yvonne Smink – Poledance Artist

For getting in touch, you can visit my website www.yvonnesmink.com or email me at info@yvonnesmink.com

Photos: Faceiro

Pole

Flexibility Coach Who Studied with Otgo Waller, the Mongolian Top Contortionist

April 7, 2016 by Elen Ramírez Leave a Comment

Sofia Venanzetti is a certified personal trainer, certified pole dance instructor, flexibility coach and contortionist from Milan, Italy. She moved to Miami, FL in 2006 to expand her knowledge in fitness and bodybuilding, her biggest passion at that time. She competed in several Fitness and Figure competitions in California, Florida and Italy. She also worked for fitness magazines like Oxygen (2011). In 2012 she started teaching pole dance, floorwork and flexibility at Pole Fitness Studio in Las Vegas. The same year, she also started contortion training under the guidance of Mongolian top contortionist Otgo Waller. Sofia currently lives in Las Vegas, NV.

1. Sofia could you please tell me your story.

How did you come to contortion? How long are you doing contortion?

I started contortion to improve my tricks on the pole. At first I didn’t even consider becoming a contortionist, I just wanted to add more flexibilityto my moves, but shortly after I fell in love with contortion and its challenges. I’ve been doing contortion for 3 years and a half.

2. How has contortion changed your lifestyle?

Contortion has changed me a lot. Being into fitness and competing in my past years, I’ve always put a lot of importance on aesthetics and appearance, I was dieting all the times to look my best and I was very strict. With contortion I learned to love not just how I look, but what I can actually do with my body. I’ve gained a lot of freedom, especially with my approach to food. I became flexible also in my mentality 🙂 I’m way healthier now that I’ve ever been, and contortion is a big part of it.

3. Does training influence your meals habits? What do you usually eat?

I try to eat mostly vegetables, healthy grains like oats, quinoa, brown rice, fish, avocado and nuts. These food I know keeps me light and sharp with my training. But I’m human, and I like bread and pizza a lot (plus I’m Italian!), but I try to eat the less healthy and more starchy food sporadically. I don’t eat a lot of meat or cheese. I find those food heavy to digest and not the best for training. I drink plenty of water, tea and coffee! That keeps my energy always going. I take a strong joint supplement, which is very important for people who stretch often.  The one I take has the best ingredient and highest quality on the market, I’ve taken it for years.

Sofia Venanzetti contortionPhoto:  Richard Faverty

4.  How long do you stretch every day? What time of the day do you like to stretch most?

I like to stretch midday. Never too early in the morning, because the body takes a few hours to wake up and loosen up from sleep’ stiffness. I train about 2- 3 h, 5 times a week.

5.  I know that many people are impatient when stretching and want to get the results right away.

What tips against injuries can you give to the readers? Were you once overstretched or injured? How did you cure it? Did you have to stop training or could you train with injury? Do you know some good muscle lotion that one could buy online?

Warming up is the best way to avoid injuries. Actually most of my training involves warming up! I warm up from 30min to an hour before I try more difficult exercises.

I got injured few times: my right shoulder, my left hip and right low back. Unfortunately injuries happen to anyone … Especially to those who train often. When it’s just a strain (a muscle tear) rest and ice/heat makes it heal. But when it’s an injury to tendon or ligament or even disc, it’s another story… Those areas don’t get any blood circulation so they heal slowly and sometimes never fully. So after a first time of total rest, training has to be done with a lot of attention and care to not make things worse, so less intensity, less range of motion, and avoid what in first place caused the injury (wrong exercises or moves).

I don’t know muscles lotions beside menthol, it either warms up or cools down wherever it’s applied, it’s great before sleep 🙂

6.  Do you use a back warmer?

When one should use a back warmer, is it the whole day or just before and during the stretching? Will one get the same results with a good warm up and without the back warmer?

I use a back warmer because it provides warmth and support to the low back, which is at greatest risk of injury when back bending ( low back has two functions, bending and supporting the torso, so it works a lot!). I can’t tell you if I would be the same flexible without it… It just gives me more security and comfort 🙂 I wear a back warmer only when I train, then I take it off. Here‘s more info about back warmers!

7. Could you please share some exercises with our readers:

 1) Some   exercises to unblock hips for middle split for intermediate-advanced level 2) the most effective stretch for front hips 3) tips for pigeon pose backbend

One of my favorite intermediate/advanced stretches for middle split is from frog pose, open one leg straight to the side, placing the foot on top of a block.

The most effective stretch for front hips is … The lunge! Really there is nothing better, and offers many variations of difficulty.

A tip for pigeon pose backbend is: warm up very well low back and hip flexor of the leg extended, warm up gluteus of the front leg bent. This way the starting position will feel more solid and comfortable so when you start bending back you won’t fall sideways.

Sofia Venanzetti contortion

Photo: Don Curry Photography

8.  How often do you do pole dance and how often contortion?

What is your favorite pole dance move and what is your favorite contortion position? On what projects are working now? (pole dance, contortion)

The most pole dance I do is actually when I perform (at venues or events here in Las Vegas) so in theory I don’t train pole anymore beside sometimes if I want to review a trick or a transition. I train contortion 5 times a week and that includes all flexibility, strength and balancing training. My favorite pole dance move is jade: it’s simple but a real crowd pleaser. My favorite contortion move is probably crocodile and zigzag cheststand 🙂 right now I’m working to improve my handstands, being so tall (5 11, 179cm) makes balancing my biggest challenge!

9. How long time does it take you to prepare a performance?

What is the most important for a contortion performance from your point of view?

Once you know what moves you want to do and in which order, it’s all about finding beautiful transitions and PRACTICE. Training to perform is very different from training just to be more flexible. You need to build endurance (do all the tricks non stop for 5-10 min!) and train to look smooth, relaxed and effortless ! That’s very hard. The most important part to make a performance beautiful is look graceful, light and don’t forget to smile 🙂

10. What or who is your biggest motivation in contortion?

My coach is my biggest motivator : I train for myself, but also to make her proud of me. My motivation is becoming better, see how far I can go and then go even more ! I have a strong inner motivation naturally I guess 🙂

11. I know that you give classes via Skype. How does it work and where one can book classes with you?

I use Powhow  platform to track classes and payments, but for the actual lesson I meet my students on Skype. So once the student is registered on Powhow and logged in their class, we train on Skype. Skype seems to have the best connection worldwide. My classes are all privates because I feel students need a lot of individual help to progress, that’s also how I improved faster: with individual attention. I also offer video tutorials on my Powhow page, you’re welcome to check them out!

Featured Photo:  Richard Faverty

Contortion

Talk with aerial and equestrian circus artist

April 7, 2016 by Elen Ramírez Leave a Comment

Originary from Quebec City area, Caroline is a aerial and equestrian circus artist, as well as a dancer and a Pilates instructor. She got her training with Masters in Montreal, France, Argentina and New York in aerial and equestrian acrobatics. She performed as a dancer and circus performer in events in Quebec, Ontario, USA and Europe. Her pluridisciplinary approach gave Caroline the opportunity to get involved into dance and circus projects and it’s in these fields where she is interested on continuing to evolve.

It was an  interesting interview with many   tips and  different topics about aerial arts, horse acrobatics and performing.

Caroline Rochefort Photo:  Anne-Marie Poirier

Here is a small list of things we talked about in the interview.

  • Tips about acrobatics on the horses. Where to study horse acrobatics. What to consider when performing on horses and what is a difference between aerial performance and that one on horse.
  • Tips for partner acrobatics in aerials.
  • New  ideas of creating a choreography.
  • Great tips for choosing the music.
  • How does it works for an aerialist to have a baby.
  • Recovering from injury. Precautions and tips.
  • Tips for training in a healthy way.
  • Pilates for balance in aerial arts.
  • Aerial silks and aerial hoop, or in combination.

Podcast  Interview

Here are  the places  Caroline talked about in the interview:
École de cirque de Québec
Caserne comunautary Center
Cirqus ( training space in Montreal)
Luna Caballera (where people can train horse acrobatics in Quebec)

Caroline RochefortPhoto:  Dave Vézina

Aerial Arts

Learn to Do and to Jump into Handstands With Artistic Gymnast and Contemporary Dancer

April 7, 2016 by Elen Ramírez Leave a Comment

Today I will share with you a great interview with a talented dancer, gymnast and aerialist  Josefine Stenström.

1. Josy, could you please tell me about your experience in gymnastics and dance?

I started with artistic gymnastic when I was 5 years old. I trained 5 days/week and went to competitions and gymnastic camps in different places in Sweden. I was an elite gymnast until I was 13 years old, then I hurt my back really bad and I couldn’t continue with the bigger competitions. A year later I started with ”teamgymnastics” and did that for a few years. I started with dancing when I was 15 and when I was 19 I moved to Munich, Germany for a professional dance education – ”Iwanson professional school of contemporary dance”.
There I trained balett, modern, jazz, hiphop, floorbar etc. monday to friday from 09.00-16.00.
After 3 years I graduated and started to work directly as a freelance dancer. I went to an audition in Salzburg, Austria and got the honor to be a part of 2 months tour in England with ”Nobulus crew” a breakdance company from Salzburg. You can read about the crew here.

After that I went back to Germany and worked for Armani, RedBull, Siemens, Hyundai, Volkswagen, Schwarzkopf, Corona, Campari, Thomas Sabo and some other projects.

2. How does your usual day look like?

How many hours do you train daily? How long do  you stretch?

It depends where I am at the moment, what possibilities I have for training and If I have work or not. But I train almost everyday, sometimes 2 or 3 times/day. Some days can look like this: I start at the gym around 10.00 with some cardio (running, biking or cross trainer that´s better for my knees) then I make some different exercises for legs, stomach and arms (free training. Not a big fan of the machines). Then I finish with stretch. So I’m finish around 12.00 and then eat lunch. Around 14.00 I have 2 hours dance class. Then back home and eat again and off to aerial training (silk) that I actually started with for some months ago only. And now I’m stuck and want to keep training this every week! And I practice the silk for about 2-3 hours (with warm up and stretch). So my best training days is mixed with the gym, dance and aerial silk. Around 6 hours training.
The stretch is always different, If I have a class after the other I make a fast stretch just because it feels good for the body and then I try to make a longer stretch after the last ”workout”. Around 30 min, sometimes longer and sometimes shorter.

3. What training tips from gymnastics can you give to an aerialist?

For me the strength in arms and stomach is really important, also flexibility. Hands and wrists as well. Arial training is a lot about technique, so if you always keep your strength and flexibility, the aerial training will be easier, I think. But to be a good aerialist you need to practice this a lot.

4. Which dance style do you like most?

In which countries have you performed? How is the  cultural scene there?

Modern dance. Floor work and dynamic choreos. I like to mix the modern dance with acrobatic and floor work, lots of inspiration from breakdance.
I have performed in Sweden, Germany, Austria and England. For me the cultural scene is best in Germany. Lots of great artists there and more possibilities for training and work. Especially if I compare Germany to Sweden. Thats why I moved also because its not so many jobs for dancers in Sweden.

5. Is it difficult to find jobs abroad for a dancer?

Which website can you recommend for  dancers and artists who are looking for gigs?

Yes It’s not that easy in the beginning. It’s a lot about contacts and to get to know people. You have to show yourself, in classes, videos or auditions for example. I don’t have a special website or so but sometimes I just google for auditions or I get tips from people.

6. How long does it take you to prepare a show or a dance performance?

How long is your  warm-up before dancing?

It depends, sometimes its just one show day so then the rehearsal is one day before (about 7 hours) or rehearsal 2-3 days. Before the England tour we had rehearsal one month because the show was longer. It always depends on what show it is and how long it is. I warm up for maybe 20 minutes, some strength to get warm and then easy stretch.

Josy Stenström

7. What are your favorite music bands or singers for dancing?

I like many different kind of music but when I improvise alone I like to move to Ludovico Einaudi.

8. What are you doing at the moment and what are your future plans?

Right now I focus more on the training, next job is in some weeks when I start the rehearsal in Germany for a cruise job. I will perform at the sea for 7 months and travel to many different places in the world. Lets see what happen after that…

Josy Stenström

9. Could you please show some tricks, for example, how to jump into a Handstand for our readers.

How to jump into Handstand 

Handstand Exercises 1, 2, 3

Handstand Exercise 2

Handstand Exercise 3

Thank you very much Josefine!

Please  share your experience  how was learning handstand for you ? If you just  started  working on your handstands what is the most difficult for you?

Photos: Nicholas Crepea

Contortion

Interview with Arlene Caffrey, the Owner of 2 Pole Schools in Ireland

April 7, 2016 by Elen Ramírez Leave a Comment

Arlene Caffrey is one of Ireland’s best known and loved pole dance artists. She became addicted to pole dance when it was first introduced to Ireland as a fitness concept and has since progressed, to travel all over the world to perform, compete, teach and develop her artistry. She hopes to bring a theatrical and expressive edge to pole dance and to create something beautiful, unique, expressive, free and daring, to rise above the ordinary and defy convention.

With almost 10 years of pole dance experience, Arlene has 7 Irish titles under her belt, including All Ireland Pole Dancing Champion 2014 and Pole Theatre Ireland Classique Winner 2014. She is also United Pole Artists ‘Bringing Sexy Back’ Poster girl for 2015. She is also a successful business woman and runs a world-famous pole dancing studio called the Irish Pole Dance Academy, with studios in Dublin and Galway.

When Arlene isn’t pole dancing to rock ‘n’ roll music, she loves Burlesque, cats and drinking tea.

1. Arlene, could you please tell me your story and how your first discovered pole dance?

How was your process to make pole dance to your career?

I started pole dancing 10 years in my hometown of Drogheda, as a fitness hobby. Back then it was more ‘pole sport’ and ‘pole fitness’, there were no sexy elements, no heels, no pointed toes! At that time I was studying graphic design in college. When I graduated in 2009, it was difficult to find a job as a graphic designer, due to the appalling state of the Irish economy, and I decided to try my luck turning my hobby into a business. I started out as a fitness and pole dance trainer and grew my business from there. It was never meant to become a full-time career, it just sort of happened that way! But I am much happier and very fulfilled doing my work in the pole dance world.

Don’t be fooled… My life doesn’t look like what people think! Unfortunately I don’t spend the whole day pole dancing in the studio to my favourite music, in my sparkly hotpants and heels and rolling around in money. A lot of hard work has gone into building this business; I spend a lot of time in front of the computer doing marketing activities, taxes and strategic planning. I have 2 studios, in Dublin and Galway, with 10 people who work with my. So it takes a lot of time to do the all of the administration and management that a growing business requires.

Interview with Arlene Caffrey

Photo: Chris Donald

2. Do you have one style or do you combine different styles?

What inspires you most in pole dance? How do you create your characters?

My biggest inspirations ‘growing up’ are Alethea Austin, Karol Helms and Amber Ray. Training and working with these ladies helped me to develop and refine my own style of pole dance, which is centred around the sexy or exotic side. I also am now greatly inspired by the Russian exotic dancers, such as Olga Koda and Eva Bembo, as well as Aussie pole dancer Fontaine Bradbury.

For inspiration I also like to watch what other pole dancers are doing; I like to explore elements that I like and put my own ‘spin’ on them, creating my own transitions so that it develops into something different.

When I’m working on a performance piece, usually the music is what helps me to create the characters. I like to visualize a story that the music is telling, and create a character based on these cues and emotions. I also use Pinterest to collect photos that inspire the feelings / imagery that I want to convey and use this to guide the creation of my character.

–       That´s interesting, as a graphic designer you have your own original visual creative process.

–       Arlene: Absolutely, I use a similar creative process and I would have done as a visual artist…

3. What in your opinion special about pole dance? Do you also train with some other aerial apparatus?

I´ve done pole dance for 10 years, so I guess it that´s why I feel very comfortable with the pole. What I love most about pole dance is the connection between the floor and the pole. There are endless possibilities for movement and dance here. In the past I´ve done aerial hoop, aerial silks, trapeze and some corde lisse. I even spent a brief time working with a contemporary aerial circus group as was part of an aerial dance production. I feel that pole dance is the most complete and most difficult ‘aerial’ art. It requires a lot of strength and flexibility as well as refined movement. Also because I love floor work, I miss this in other aerial training. I love the flow from floor to apparatus (and to the air) that pole dance allows.

4. How does your usual day look like? How long and how often do you train and stretch?

Do you have special training rituals or is each of your trainings different?

Unfortunately running a business means that I don’t have as much time to train as I would like. I train my active flexibility 5 days a week. I focus on a specific area in each flexibility session. For example, one day for front splits, one day for middle splits, one day for back bending and shoulders, one Hot Yoga session, and then another for middle splits. Because I am naturally very stiff I need to work on my flexibility a lot to reach the specific goals that I set out for myself. I am naturally quite strong, so I will spend some time conditioning (usually first thing in the morning, most days) for about 20 mins. I train on the pole for specific elements and dancing 2 sessions per week.

5. You travel giving workshops and performing. Could you please share a   funny  episode during your trips with the readers?

In 2011 I was at ‘Miss Pole Dance Germany’ competition, I came to Hamburg together with my boyfriend Padraig. So as I arrived, the organizer said to me “Arlene, you came with your boyfriend, great! The one who was supposed to clean the poles has canceled and we urgently need somebody who could do that. Could your boyfriend do that?” Padraig hadn´t done pole before. So I had to teach him how to climb and to clean the pole before the competition was due to begin, to ensure he did a good job! And he did!

– Has your boyfriend continue doing pole dance afterwards?

-Not really, but he knows some tricks. But he prefers swimming and cycling more.

6. How do you create your pole dance transitions and floor work? What are your best tips for the readers?

I’m always inspired by watching what other pole dancers are doing. I like to watch their transitions and floorwork and think “What can I do with that” or how can I do it a different way. When I’m training I will explore the transitions in a different way. I really love transitions and I consider myself a ‘transition’ dancer. I prefer doing things that are easy for me and my body. When I‘m performing I like to do tricks and elements and that I know I can well, rather than trying to do really difficult things. I prefer to show my strengths rather than my weaknesses. I take my time working on new elements so that I don’t injure myself, and I never put them in a performance until they feel ‘easy’. So I like doing tricks and transitions that I am good at, and focus more on telling a story through my performance. I love telling stories, maybe it’s because I´m Irish and we love stories! Also, I believe the audience loves stories more than tricks.

Interview with Arlene CaffreyPhoto:  Jass Foley

7. What do you appreciate most in a pole dance performance?

How is your creative process when preparing your choreography? How do you choose your music for your performances?

I like when the legs are fully (and properly) extended, from the hip, through the knee, to the ankle. And the feet are PROPERLY pointed, not just the toes, but the ankles! Especially when the dancers are wearing heels. I am very strict on these elements when I’m judging pole dance competitions. I like people to tell a story and to show their emotions rather than trying to do difficult moves that they haven’t yet mastered. When some people perform, I can see that they are preoccupied with their technique and they choose the most difficult movements, the result is that they look like robots instead of creating a dance. The audience wants to feel emotionally moved by a performance; they will forget the tricks you did but they’ll remember you if you brought some sort of emotion, story or beauty to your performance.

Yes, that´s true when you know the movements well, they look light and fluent, like a dance, and you can express yourself freely without struggling with your body and boring the audience.

Yes, audience wants to see your performance. A simple move is more worth than an impressive that has ugly or difficult transitions; details like that takes the audience attention away from what you are doing.

When I’m choosing music, I like rock music so that´s why most of my performance music is rock.

In which languages are the songs you perform to?

I like to understand the song in order to express it. That´s how I feel about it. So I choose rock songs in English. Because that´s what I´m listening to.

Have you seen people suffer during the performance?

Yes, I´ve seen this before and sadly many pole dancers and aerialists are still doing that. Recently I was judging a pole dance and aerial hoop competition, one of the competitors fell very badly from the trying to do a move that she was not yet ready to do. So she fell on her face and there was blood everywhere… It was a very scary thing to witness, but thankfully she was not seriously injured. This is why I believe that simple moves executed well with flawless transitions and good lines are more beautiful and worth more than the ‘hard’ ones.

8.  What are your secret body care tips?

What tips can you give to those who just start pole dance and need to adopt their body to the pole?

I recommend not to use crèmes with oil, as it affect your grip and make it difficult to hold onto the pole. The Body Shop has a really great body sorbet that is not greasy, so I recommend that one. For new beginners, Arnica is really good to help the bruises that you will acquire when learning pole dance. It’s very normal to get a lot of bruises when you’re starting out!

9. What tips can you give to make a good closed inside leg hang?

What are your 2 favorite pole dance tricks? Could you please describe how to do them to those who maybe want to learn them?

For a good closed inside leg hang you need to have a good split, good backbend and even better shoulder flexibility. I find this trick is safer with the inside shoulder around the pole as an extra point of contact, and also to make the line prettier. I also recommend to ‘kick’ the leg into your hands rather than trying to pull that leg over your head using only the strength of your arms. It’s also a lot easier in heels!

Another trick that I like is Jamila. It´s a simple move that´s always looks beautiful. I have a tutorial about it here:

10. You have your own pole dance academy. What things should one consider when opening one´s won pole dance academy or school?

How does it work with pole dance equipment? Are there possibilities to partner with pole shops?

I in my ‘spare’ time, I give business coaching to fitness professionals who want to start their on business or improve the business that they already have. To anyone considering opening their own pole school, there are a lot of things to consider and it takes a lot of time. It is a business like any other, so you need to spend the time writing your business plan and taking necessary steps, such as registering for paying tax, getting insurance, knowing your target audience, building strategic alliances, developing a marketing plan, setting long-term goals and also taking time to ensure you will have a good margin.

As for the equipment, I work a lot with X-Pole and they have a lot of different types of poles, including those that you can fix permanently and those that you can put up/take down. The equipment is very important, so it’s better to buy expensive poles than cheap ones. They last longer and are better and safer for your students. Remember, your poles are your business. Without proper poles, you don´t have a pole business.

11. You won many championships. How was that experience for you?

How were your preparations and feelings? How is the atmosphere at a pole dance championship?

I like competing in pole dance championships and I have won a lot of them. I use the same creative processes as I’ve already talked about to prepare myself for my performances. I always enjoy being on stage and I love performing, so I think that’s a huge part of the reason why I’ve won so many! In every competition I’ve won, I’ve not always been the competitor with the most strength, most flexibility or ‘coolest’ tricks (I stick to what I’m good at, as I’ve already talked about), but I always have a story/character/theme and I always put a lot of energy and emotion into my dancing.

I love the atmosphere at competitions and I love the backstage camaraderie, I love how everyone supports each other. I think it’s very unique to the pole dance scene and I hope we never lose this.

As it´s quite often cold in the backstage rooms, I take a hot water bottle with me. I also bring lots of healthy snacks and water, as sometimes the competitions are very long!!! About 30 mins before my performance, I like to do a short warm-up with similar movements that are in my routine, so as not to use all my energy.

12. How is pole dance scene in Ireland?

I think it´s a really good moment in time for the Irish pole dance scene. There are now a lot of pole dance studios in Ireland, more than ever before. When I first started there weren´t very many and it was very difficult to find a teacher and a good studio, because they were all so far away from each other. Now there are more studios and more teachers. They have good skills and good qualifications. It´s a nice community and everyone is friendly and supportive to each other. Yes I´m very happy to be the part of it!

13. Do you prefer pole X stage standard or lite? Why?

I prefer the X-Stage Lite because I drive a small car and this pole is not as heavy. Also I feel that because the base is closer to the floor it´s easier to do floor work and to make nice transitions. The other one is very big, so transitions are difficult and floorwork is very, very difficult.

14. Where one can book you for a show? Do you also give classes?

Yes, I have two websites. My personal website is arlenecaffrey.com, and my studio’s website is irishpoledanceacademy.com. The Irish Pole Dance Academy website is the best way to contact me, if you are interested to visit my studios and take classes with my team and I. I also give private lessons through Skype, so it´s possible that I can train with you anywhere in the world! If you are interested just contact me through either of my websites!

I’m also on Facebook  and Instagram @arlenecaffrey.

Thank you very much Arlene!

Featured Photo:  Deirdre Ní Fhinn

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