Thursday, October 24, 2013

Project Flying Siren


Ah, the siren. She's human, but wild in the most wonderful way, a mysterious creature of the wind and waves, a predator but the sweetest kind. I've loved this concept for years and always wanted to put it in play in an aerial or pole piece. While I'm nowhere near as experienced in the air as I am on the pole, and I didn't think there was a conceptually logical way to make a pole-dancing mermaid work, the concept was just too good to put away for good. But after about two years of (very sporadic) lyra classes, and a lot of playing around on my own, this summer I felt comfortable enough to attempt a piece where my legs wouldn't be available for emergency gripping, spin assistance, invert help or audience distraction, haha!

A friend of mine is a professional mermaid - what a brilliant job title, right!? She's incredibly talented in the water and recently got into circus herself, performing acro yoga as part of her shows for parties and corporate events - in her swimmable silicone tail! (Check out her fantastical adventures as Catalina Mermaid at Sheroes Entertainment!) That was the final push I needed - if she could mermaid it up in the circus world, I could too, and I needed to stop dreaming and make it happen. 

The original inspiration.
Once I decided I really, absolutely, must find a way to do this, I started doing research. Pinterest is of course a godsend for conceptual development these days. It's a great way to find a huge amount of visual touchstones that help you shape a nebulous concept into a good story. This photo of a mermaid on the rocks was the first image I saw that really struck me.

The tail would be the biggest challenge. Sticky silicone wouldn't work, since it would grip the lyra and prevent me from doing anything. It's also enormously expensive and not very sparkly, bad for stage performances under bright lights. What is smooth, sparkly and looks like scales? SEQUINS. Every pole dancer's favorite fabric. So I began searching far and wide for a sequin fabric that would hold up to repeated aerial scuffing, pulling and compressing under body weight. I wanted hanging sequins, not the kind sewn or glued side by side to the fabric, so that they would actually look like scales when made into a tail. And I knew I wanted gold or white - both bright, beautiful shades that would look great in performance. Fortunately, they were also colors that worked with Catalina's tails in case we wanted to join forces for performances in the future.

Monday, August 12, 2013

Inspired vs. Discouraged

This weekend I went to the Pole Sport Organization national championships in Vegas to shoot the performances as one half of Alloy Images. Over two days, I watched every minute as nearly 100 dancers presented their pieces onstage - and I have a confession. I came away inspired, but a little discouraged too. Watching competitions can be such an emotional roller coaster.

When does a dance become just a gymnastics showcase? When does inspiration become discouragement? I can't pinpoint the moment. But at some point in the day, I turned off the camera after one piece and I let out a big sigh. I'm never going to be that good, I thought. I don't care about fonjis. I can't do those insane power moves. Why am I even dancing? Why do I bother performing? What's the point? I don't even compare to that girl.

I know that I'm not alone. After every competition, big or small, someone posts a video on facebook of an uber-intense power pole routine with a caption that's a variation of "what am I doing with my life? why do I even try?"

Well, after feeling sorry for myself for a good 30 seconds I remembered why I try. This weekend I also saw some visceral, brave, soul-shaking pieces that didn't have anything to do with power pole. Don't get me wrong, a great iron X can make me cheer, but it doesn't necessarily SAY anything to me. The performances that stuck with me this weekend were deeper. They required a kind of rawness, something I've written about many times on this blog. Crystal Belcher performed to "Strange Fruit," and left the audience in shocked silence, absolutely torn open with her hauntingly beautiful piece about the lynching of African Americans - before they burst into wild applause. Danielle Romano honored a relative with her heart-wrenching performance about going slowly out of your mind through torture and captivity. These dancers were the definition of epic - in the literary sense.
They didn't just tell us a simple story. Their characters had nuance and depth. They clawed their way to triumph, felt the torture of heartbreak or came crashing to earth in despair. These were not pole ROUTINES. They were STORIES. They were artwork in motion.

And that's what yanked me out of feeling like I don't belong in this world. So maybe I'm not going to win any competitions unless I learn to fonji. But the bottom line is - I'm the only one who can tell my stories. I just have to reach deep enough, give enough of myself to the audience that they feel what I feel. And anyone can do that. I saw little glimpses of it even in the Level 1 performances - women who are just learning basic spins and still struggle with their bodies - nevertheless, they gave me moments of delight. It's not about being "good." It's about what you have to say.

There were too many dancers this weekend who opened themselves up onstage, didn't place or forgot a trick and ended up crying in the wings. It just kills me when I see that happen, because I have walked offstage feeling like a failure too. Although - it's always from trying to be impressive, comparing myself to other dancers, and feeling like I come up short.

Of course in a competition, it feels like it's all about that comparison - but in my experience, the pieces that felt as if they were crawling out of me were what impressed the audience, not the routines I put together because I was TRYING to be impressive. It takes time, and it's so hard, but it's worth it. As an artist you will always be hungry and you will never be satisfied. But when you can give voice to a story that comes from your soul, it's as close as you will ever get. Find those stories. Pay attention to them. Your inner artist is saying something important. Listen.

I leave you with this quote from Martha Graham, that hangs on the wall in my home studio. It keeps me sane, on those long nights when I am choreographing all alone and feeling frustrated.
There is a vitality, a life force, a quickening that is translated through you into action, and there is only one of you in all time, this expression is unique, and if you block it, it will never exist through any other medium; and be lost. The world will not have it. It is not your business to determine how good it is, not how it compares with other expression. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open. No artist is pleased. There is no satisfaction whatever at any time. There is only a queer, divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others. 
Martha Graham

Wednesday, July 24, 2013

Dance deeper.


From left, Dru Bramlett, Anna Grundstrom, Danielle Romano, Tracee Kafer. So much amazing.


I keep coming back to these words, dance deeper. I taught a freedance workshop in June, and I was going to teach another in July but the time slot I could teach didn't work out for anyone, which was a real bummer - but anyway. Late in June, I was putting together the flier for July and trying to come up with a phrase that would really stand alone as the core of what I was trying to coax out of my students. Something that would emphasize the kind of dancer I was trying to help them become. And it sort of suddenly fell in my lap. Dance deeper.

Tuesday, July 16, 2013

I shared this on my Facebook page last fall, but I just came across it again today and I think it is as relevant now as it was then. Sharing again, because it's such brilliant advice from the gorgeous aerialist Alysia Michelle James.
Today a friend asked me what to do about getting into performing. What I thought was going to be a short and sweet answer turned into this manifesto. I wanted to share it for all the aspiring performers of any artform out there that had the same question.

Thursday, July 11, 2013

Bringing sexy back.

Sexy. It's easy to breeze right past the word, and the whole idea, when we see half-naked women plastered on every empty space, physical and digital, every day. It's too simple to think that there's no value to emphasizing the sexy in pole dancing - after all, hasn't it made us too easily mocked already? We're dismissed as strippers, sluts, whores, desperate for attention.

But deep into the first week, on the second year of UPA's Bringing Sexy Back, I've been thinking about why sexy is important in pole. Why it feels so satisfying to watch a class of Level 1 students, wide-eyed, laughing nervously with each other as they discover body rolls for the first time. What is it about that breathless, heart-thumping high I get from a no-holds-barred freedance in heels that makes me feel not just sexier, but more alive?

Friday, July 5, 2013

Why I can never be rich.

Because Etsy takes all of my money. Really. It's true! There is just too much wonderful dance stuff on Etsy, and I love that I can spend my money with small businesses - people who care about what they make, can often customize for you, are usually involved in the dance/circus/yoga community, and are conscious consumers themselves. Here's my top 10 of places to get rad dance stuff.

 OmBeautiful Leggings are wonderful. They come in multiple lengths (including extra long!!), lovely custom colors and any size. Foldover waistband, thick fabric perfect for aerial or stretching, and the color holds through the wash. Yes please.

Tuesday, July 2, 2013

Excerpts from my pole journal

I love my pole journal. Ah...journals. I can never finish one, so I have about four that I've tried to combine many times. One is lined, with notes on what I taught in each class and the date. One is a hardcover art book with blank pages, perfect for costume sketches and stick figures of new moves. But I honestly don't know how dancers get along without at least one. Recently, I taught a freedance workshop - which is probably the class where you need a journal the least - but still, I gave all the participating students little journals so they could make notes on the exercises. Every time I open mine up, I find a combo or trick that I had forgotten about. Or a half-choreographed routine that I should really finish. They are the solution to my awful memory, and a repository of works in progress. Also a good place to doodle while you think up new performance pieces.

Saturday, June 15, 2013

How It Ends

Poetry and dance are, for me, the most raw, intimate and intense kinds of creative expression. The kind that can rumble up from the earth and shake the foundation of your soul. Finally, I was able to breathe out this idea that I've been dreaming of for ages, and it's something completely different, and it felt wonderful. Poem by Andrea Gibson - "How it Ends."

Saturday, June 1, 2013

What's in your bag?

Pole goodies. Here's what's in my bag. This photo is so nice because it makes me look organized. In reality I am constantly pulling out single legwarmers, granola bar wrappers, random fliers, hair ties and other junk that gets in the way of my finding what I really need. But these are the basics - what's always in there... somewhere.

Friday, February 8, 2013

A tutorial for my "signature" move... The Sparrowhawk!

So the Platinum Stages blog asked me to be an occasional guest blogger, doing tutorials, and here is my first attempt. In which I sound like a total and complete dork, but I think I successfully accomplish a decent explanation of the move. Have a watch and let me know what you think!

Saturday, December 22, 2012

Finding Your Freestyle - Clothing & Contact



One of my great loves is freedance. When I first started pole, like many fledglings, I hated it when the instructor would make us just dance. I felt awkward and kept forgetting what I knew. Thinking on my feet and coming up with interesting choreography just wouldn't come easily. But now a good freedance is like exhaling. It's a personal moment with the apparatus. A chance to say something, or nothing at all, and just enjoy the movement. To break out of your own head. Sometimes I just roll around on the floor. Sometimes I try to stay in the air the entire time - but no matter what, I try to keep in mind that freedances are for me. They aren't a performance, they're 'me time', they're exploratory.

 Tracee Kafer, a phenomenal dancer and instructor clear across the country at the legendary Body & Pole studio, came up with the idea of Finding Your Freestyle classes. After great success teaching her improvisation and movement exercises in person, she took the idea onto the web and has been spreading the love around the world since then. I adore this concept, and I adore her ideas.

So tonight I worked with one of her recent "challenges". Playing with CLOTHING and CONTACT with the pole. Perfect for a chilly winter night, haha! It really did bring out something new in my dance and was an excellent mental exercise. Thank you for inspiring me, Tracee! More about this whole FYF thing: facebook.com/findingyourfreestyle

I filmed this at The Vertitude in Canoga Park, CA. Music is Jakwob - Turn to Stone. Can I just say I freaking love Jakwob and you should check him out and download his music, much of which is completely free. You won't be sorry!

Thursday, December 13, 2012

Freedance - one pass.



Freedance, slow and simple. Sometimes, one pass is enough.

Wednesday, April 11, 2012

Fear.

I do something terrifying at least once a week, sometimes two or three times.
Do you?

If you're a pole dancer like I am, which doesn't mean an aerialist or a crazy Chinese pole trickster or a national champ or an instructor or the class daredevil - just... a dancer... you probably do something that scares you too.

Pole pushes me, in directions I never pushed myself before.
Day One scared me. My very first class was absolutely earth-shattering. "Move your hands along your body," my instructor said. "Lift your hips and take them in a big circle." I didn't do that kind of sexy shit even in the bedroom, let alone a class with a dozen other women. I didn't know how to move my hips. I didn't own lingerie. I didn't wear lipstick. I didn't wear crazy stripper heels. I was terrified. What if I looked like an idiot? What if I wasn't sexy? What if I flat out couldn't make my body do that?
Six months in I was still freaking out. I still didn't feel as sexy as my classmates looked, but I could fake it well enough to shut up my inner pessimist, at least during class. But some of those spins felt like I would fly right off the pole. I still felt uneasy inverting and I couldn't complete a butterfly without butterflies in my stomach. The floor always seemed too far away.
At a year, I caught myself eyeing the ground in aerial transitions, worrying if the next thing I might see would be stars. My skin never felt sticky enough. "Can you spot me?" I asked classmates and instructors anytime I tried something new. "Where's the crash mat?" More than once I told an instructor flat-out NO. I was sure half of what they tried to teach me was physically impossible.

Two and a half years later, I scare myself as often I can. Now that feeling is an old friend. I remember that fear tells me I'm doing something on the edge of my emotional, mental or physical abilities. It's time to really pay attention. I'm about to master something new. I can almost always count on fear to be followed by triumph. And even when it's followed by failure, a new bruise or even tears, I can be sure that I just learned something. Even if it's just to try again.
Recently I had a discussion with a fellow instructor in one of her classes, as we watched her students work through an entirely new combo. "We scare ourselves all the time," she said, looking around. "Who else does this?"

Sure, there are tons of jobs and hobbies that bring out the thrill-seekers, but a lot of us at the pole studio are 9-to-5-ers, "regular people." We're students, parents, retail employees, consultants, artists, business owners. For a lot of us, fear outside of pole is a negative influence. We're afraid of losing our jobs, afraid we can't pay the bills, afraid our kids won't get into the right school, afraid of crashing the car or not getting that client. Outside the studio, fear weighs us down.

Pole is the best kind of terrifying.
We're afraid to push ourselves to be emotionally open with other people, especially other women. But the pole studio is a safe place full of friends, who will forgive you for coming in a little bit bitchy, because they need a good slow stretch to de-stress too. They will pull your shirt back over your nipple when it pops out without judging you or freaking out. They'll laugh with you about hairstyles gone wrong and cellulite and bikini waxes. We are a community.
We're afraid our bodies won't hold up when we ask them for a little more than usual. But there's always an instructor or even a friend willing to spot you. There's always someone with the same bruise, someone who can tell you how they overcame the excruciating pain of that new move. We deal with pain every single class! How much of your life have you spent being afraid of pain? That military saying, "pain is weakness leaving your body" - polers can certainly share a laugh about the truth in that! Pain is getting used to a new grip in a strange (and sensitive!) place. We laugh... and we move on.
We're afraid of falling off the pole. Here's a fear that never goes away. From day one going forward, there's never a class I'm not afraid of falling on my face. But as I advanced, I was better at using the pole. I was more comfortable with it as a dance partner. I know where and how to grip. Now when I'm afraid of falling, I take stock of my situation. Are my hands sweating too much? Do I need to ask for a spot? Can I really hold myself up in this position? Should I try this another time when my body is less exhausted?
Fear tells me to stop and check myself. If everything is in order, I know that I'm simply afraid of failure. And damn it, that won't stop me anymore.


Friday, February 3, 2012

Audition stress

Stress twists my creative process. When I have too much to do I can't concentrate and I lose the ability to focus on my dance. With deadlines to meet, pole can feel like just more work, especially when I have to put together routines and end up practicing on my own, with no one to give me input or just make me laugh. My body hurts and I get lonely.
Today I told myself that I would carve out some time just for me, to buckle down and work through this routine. It's extra-stressful because it is a dual-role performance. In the morning I will be auditioning for a monthly pole showcase, hoping to join a well-known and prestigious cast. In the evening I will be performing with my students and fellow instructors for our Valentine's Day party.
This is my first audition and I'm a little freaked out. Normally, I use the first pass of a routine to put in all the moves I'm not super solid with yet - a result of my sweaty hands. I don't want to slip off the pole trying a precarious move at the end of a routine, so I put it in the beginning when I'm confident, still full of energy and hands prepared with Tite Grip, to minimize the danger. But I need this routine to be very dramatic at the beginning and tell the whole story right up front. I only have two minutes for the audition. Two minutes is almost nothing on spinning pole.
Hence my long, cold day at the studio alone. But I'm trying to stay inspired. I've been watching massive amounts of contemporary dance videos on youtube, looking for good lines, interesting ways to move onto and off the floor. I want to push myself a little bit with this performance, not with strength or fancy aerial tricks but with the dance itself.
I performed this routine before for a very small event. It was what I think of now as a rough sketch. It felt finished when I performed it, but now I don't feel that it is rich enough. Needs more drama, more character.
In the end, my lonely day at the studio was pretty productive. I pushed through a half hour of deep stretching. Never skip stretching. On the days I feel the least inspired, the most exhausted, I make my stretches deeper and longer. It works, at the end I'm loose and warm and feeling a bit better.
I pulled out my laptop and used Natasha Wang's awesome trick - Photobooth! It's nice to use my phone for the HD, but really, when I'm working through the awkwardness of a routine in the early stages, all I need is to film 10-second clips at a time to review and adjust the moves. Thank you, webcam and Photobooth for making that simple.
I tried all kinds of craziness today. For three hours I slipped and grunted, I used about half a bottle of Tite Grip, I'm brusied and battered but I have a routine fleshed out. So I will reward myself with the usual treat, ice cream. After an intense poling session I always finish with ice cream. I work hard, dammit. I deserve something delicious.


Wednesday, February 1, 2012

Miracles!

Miracles! Look! They happen! Here is 2011 goal, accomplished. On to 2012, bitches!

 

Thursday, December 29, 2011

Open yourself up.

This is a good a place to fall as any / we'll build our altar here. Make me your Maria / I'm already on my knees. You had Jesus on your breath / and I caught Him in mine. Sweating our confessions / The undone and the divine. 

"Connect with your music"- what dancer hasn't heard that. A cliche, yes, but good advice nonetheless. When I heard the song "Bedroom Hymns" by Florence and the Machine, memories of my falling out with Christianity and its tangle in my personal life with sexuality came flooding back. The lyrics give a sacrilegious twist to the usual story about passion and love, and that brings up very intense memories for me.

I'm an atheist now, or maybe an agnostic. I could spend an entire post discussing my current views on spirituality, but it's a vague sort of rocks-and-trees type thing. Shinto without the shrines? I'm still working it out, honestly. 

Regardless, I grew up Christian. I was very involved with youth groups, leading worship on Sundays, and small groups. Not because I had some deeply held belief in Presbyterian Christianity, Jesus or religion at all, but because I found friends there. I felt a connection and mutual respect with the adults in that system. My parents were very strict about which friends I made and where I went, but church events were one of the few times they gave me some freedom.

In high school, I had brief but intense relationships with a few of the boys in the youth group. It was such a small group, formed of people who theoretically shared a faith but not much else in common. Obviously we all felt some tension and struggled to be the Christian "brothers and sisters" that our religion called us to be. 

One of my relationships with a member of the youth group became physical and subsequently that person betrayed my trust, shared my personal secrets with the other people in the group, and I felt cast out as a "slut". Hurt, I tried to form emotional bonds through liaisons with new boyfriends, which only made things worse. The friends I reached out to, whom Christianity had told me were upstanding, honest, compassionate people turned against me and I felt betrayed by my closest friends, my spiritual "brothers and sisters". The boys' small group made t-shirts around that time that said "Got Integrity?" on the backs. I couldn't make sense of the hypocrisy and lack of empathy. My religious beliefs started to crumble. 

That was the seed for this performance, a deep wound that opened over a decade ago. I'm still working out my own spirituality and my sexuality has obviously taken a circuitous path since that time. Now I am an open (and happy) bisexual, sex-positive and proud kink. Religion and sex share a strong emotional link in my past, so when I heard Bedroom Hymns, I knew I had to dance to it. At first I thought it would only be a freedance, but I felt such a strong connection to the music that I realized it would be an incredible performance piece. 

I'm no experienced performer, so obviously I couldn't lose myself in the music completely. I still worried about making the tricks dramatic, looking good, hitting the right beats, but that personal link did indeed help me forget about the audience a bit, work through those memories and just dance for me. 


This is a good a place to fall as any / we'll build our altar here. Make me your Maria / I'm already on my knees. You had Jesus on your breath / and I caught Him in mine. Sweating our confessions / The undone and the divine. 

This is his body, this is his love / Such selfish prayers and I can't get enough, oh / I can't get enough

Spilt bitter tears, I did this for you / Spilling over the aisle, the black and the blue 
The sweetest submission, drinking you in / The wine and the women and the bedroom hymns 

This is his body, this is his love / Such selfish prayers and I can't get enough, oh / I can't get enough