Tuesday, June 3, 2014
Wednesday, April 30, 2014
Sunday, February 9, 2014
Recently I have enrolled in an aerial variations class which has lead me to think about exploring the known and what benefits it might hold for your practice.
|Jennifer Cody's students showing 6 variations on a single move|
I have found it takes a lot of guts to spend time developing around moves or skills your might have learned in the first few months of practice. For me there is fear of not including enough fancy moves in my own routines. Conversely, many people who I look up to in the hoop and aerial community have an emphasis on mastering and expanding on what are often thought of as basics. Some of my favorite performances don't involve lots of tricks but about the quality of core skills and inventiveness around known moves. It is legitimately more exiting for me to not know what will happen next rather than just see a difficult trick.
I have decide to try and be more mindful of whether I am filling my work with flash or innovation. To that end I have been working on a standing challenge we have in the variants class to develop a whole routine around a single base move. It's significantly slower for me than just stringing together tricks but I think the final product will have a more organic feeling in the movements.
A Simple Manta To Remember
When first joining a skilled community there is a desire to be included. Like any good student you practice the basics to become accepted by your peers.
You spend time building a vocabulary.
|Photo By Nikki Arnold|
You discuss technique
|Hoop Path Point Technique|
Photo by Hannah Havok
But don't forget your first words.
Remember simple can be beautiful
|Photo by Hannah Havok|
Simple is complex
|HoopPath style Balance|
Photo by Hannah Havok
This is what I have been thinking about for the last couple of weeks. What has been your inner mantra during practice?
Saturday, December 28, 2013
Much of my first foray into circus was spent primarily with what is considered flow arts. Hooping, poi, juggling, fans and devil sticks all fall into this category. They are called flow because innovation through free manipulation of the tools is encouraged. I enjoy this area of practice because you are encourage to try new things even if you are not sure of the outcome because the penalty for failure is low. I find the surprises that were unplanned to be some of the most rewarding during any flow session.
|Deep Ellum play time|
Photo by Hannah Havok
When I decided to take up aerial arts there was a completely different mind set because you must carefully consider each move before execution to ensure your own safety. Even if you are not sure if you can accomplish a trick you still need an exit strategy. In order to perform publicly you need to be able to plan at least some rudimentary choreography you can call on in the air.
At first I was completely overwhelmed at the idea of needing routines and structuring them from scratch. Here are some steps I have found that help me organize my thoughts when planning choreography.
Photo by Don Curry
This is probably one of the first things I consider when planning any routine. You want to consider how much stamina you have to perform the routine. Do not plan a routine that is so long your exhaust yourself and then leave your audience with an overwhelming feeling of “meh” because you can not finish strong.
Once you have determined the duration of your performance you can now select some accompaniment. This is probably the most fun part of the process but also tricky. Remember to consider each song as a whole. It might have a catchy hook that’s fun to sing along with in the car but will be repetitive to the audience after the first refrain. What I usually look for in a song for performance is one that has several distinct moods within the song. Changes in instrumentation or tempo are usually good candidates that give you options for striking poses or switching between actions and styles.
Consider where you want to put your tricks. If you have some really tough inversions you might want to put them earlier in the performance when you have the most amount of stamina. Alternatively if you have a really large drop or something where you are going to lose height it might make sense to do those later in the routine. My suggestion is to pick a few key moves you think will compliment each other during the routine fill in the rest of the performance around them
Photo By Don Curry
Less is more
When you start to design your routine don’t get caught up in trying to add too many tricks. Often tricks take longer to execute than you would anticipate and adding content to a routine is far easier than trying to take out material later. Your movements from one pose to the next are as much a part of the routine as the tricks. You never want to look like you are rushing to make it to your next position in time so give yourself some breathing room. Do not be afraid to hold poses or move slowly so the audience can see what you are doing and enjoy your actions.
It is not only important to be flexible body but also in mind so be open to changes in your choreography. All of my routines have experienced a major change at some point during the rehearsal process and have been better for it. Once you have your first round of choreography take a look at the routine for anything that does not work. If something look awkward or wrong try experimenting with different tricks or order to your routine. Don’t ever get so attached to a trick that you are afraid to move it or lose it.
|Rehearsal at Lone Star Circus|
Choreography is not something I previously had a lot of experience with but when you are going to perform it quickly become a necessity. There are probably more formal ways to approach this process but I thought I would share some techniques that have worked for me thus far. What techniques do you use when planning to put on a show?
Thursday, November 21, 2013
In the last several months I spent a significant amount of time preparing for my first aerial performance. While I faced the normal challenges you might expect like picking choreography and music I found it was some seemingly simple tasks that I struggled with the most. Most notable of those simple tasks was moving with what I would consider performance worthy poise.
What do I mean exactly?
Well, what makes people want to watch you?
I would see my instructor glide up the silk and be completely enthralled with how elegant they looked. When it was finally my turn to try I would scrabbling on the fabric for a bit and then eventually accomplish the thing. Not having any background in professional performance it seemed that getting ready for the stage should be as simple as acquiring the knowledge and strength to do tricks. However, I gamely attend class every week and ran through the same poses and exercises as my teachers and continued to notice something distinctly different between how they looked and how I looked.
Luckily, with the help of some mentors during my preparations I started learning other equally important skills to making a polished aerial performer that are not necessarily taught in the classroom. Most of these things were fairly basic and not directly linked to overall ability or skill but make a huge difference to how you practice and most importantly how you appear to an observer.
If I only had to remember 3 words to make a routine performance worthy it would be
Intention, Extension & Tension.
One week our aerial hoop class was observed by a retired ballerina who now contracts with dance troupes to refine their routines. She had volunteered to give our class some pointers on performance. She sat quietly for the hour as we gave the lesson our best efforts. At the end of class we nervously clustered around to hear what she thought at which time she told us something that changed my practice from that day forward.
While she thought the discipline was amazing she found our efforts ultimately boring. It didn’t really have anything to do with our ability or skill but about our intention. We only worked with the end goal in mind when we should be considering every move we made. We should approach the apparatus like a partner with whom we coordinate all our actions. We should never rush through a mount or re-position just to get to a trick in practice. The audience is seeing everything leading up to your trick so just as much effort and concentration should be spent on getting there as perfecting your final position.
Treat each moment like a performance in your mind.
This goes hand in hand with intention. If you are thinking through all of your movements you should be thinking of what you are doing with your whole body from the tips of your fingers to the ends of your toes. So often we fail to celebrate movement and instead concentrate on points of strength or articulation and let the rest of our body be dragged along in its wake. We have learned to be prey amongst predators with eyes averted and limiting nonessential motion in our hands and feet. While this is a great strategy for avoiding predation by a T-rex it’s not very engaging for the audience. By allowing every movement to flow from the starting point out to your extremities you bring fluidity and grace to your performance.
One visualization that a lot of my instructors use time and again is imagining an extension of some sort that continuous beyond where you end. There are different examples like strings or lights…you can even think of laser beams if it makes you happy. What is important is that you imagine traveling out along those lines as you preform because it brings animation to every part of your body from the top of your head to the bottoms of your feet and out through your hands. You should even extend your laser like focus to your eyes and use it to bring your awareness to the audience and let them know you are watching them. BECOME THE PREDATOR! (okay that got weird but hopefully it helped)
Where your gaze falls or the angle of your fingers can change the audience's preception
If you have done the first two steps you should be well on your way to achieving and maintaining tension but it is something worthy of its own consideration. One of my aerial trainers paid me the compliment that I was progressing well in my knowledge of aerials but I needed to remember to engage my whole body while on the silk if I ever wanted to perform. At first I was confused about what she meant because I felt like I was working my butt off every class.
Fortunately for me she had an exercise that immediately connects you with the feeling of engaging your entire body. If you lay on the floor and bring yourself into a boat position where you are balanced on your bottom and someone poked your shoulders you should rock back and forth like a ship on the water. You are connecting your body so now you can move as a single unit.
If you ever feel like you are not working part of your body to stay in the air it is probably noticeable to the audience. When you are supporting yourself with your feet and you release tension from your arms it looks like you are just dangling instead of dramatically climbing.
Engaging your body has a huge immediately visible change but requires constant focus.
If you imagine the three words during every practice something as simple as raising your leg can go from a utilitarian action to a captivating performance. I am still working on this myself so I cannot claim to be an expert but I do know they have made a difference in preparing to share what I have learned with an audience.
These are just my suggestions so feel free to share your tips on getting ready for the stage.
What makes the biggest difference in your training?
Tuesday, November 5, 2013
I know I have been remiss in my blogging duties over the last several months and I hope to remedy that soon. While this does not excuse my absence I can offer you an explanation for my disappearance. In May I was approached about an aerial competition being held in Texas and encouraged to apply. Since I am the type of person who is driven by tangible goals I decided to enter the amateur silks division and general lyra division (since there is no amateur division for lyra). With 5 months of silks and 3 months of lyra under my belt I knew I was going to have to buckle down to create an application. I dedicated most of my energies to choreographing and refining a routines on both apparatus for submission in July.
Tuesday, May 28, 2013
One thing I hear over and over about the lyra is that people feel like it is easier than silks. This is true to the extent that if you have the basic core strength to support yourself learning the pathways to tricks is much easier on lyra. Fundamentally it is just a large steal ring and as long as you can hang on all the tricks are just different orientations of the body in relation to the hoop. Silks tricks are often a long series of precise wraps that can be difficult to remember when you are beginning. Forgetting something as simple as putting the silk under an arm can leave you a tangled aerial marionette.
Where I disagree with the opinion of the lyra being easier is if you have not built up your core strength yet. I am not talking about being able to do a billion reps of pull ups but if you cannot support your body weight in a hanging position then it is going to be difficult to even get into the hoop. In the beginning aerial silks will give you a slight advantaged because you can essentially tie into the silks from ground level and start working on trick pathways. In my opinion you will probably feel like you have accomplished showier tricks in the first few weeks of silks as you are working on your core strength. I started aerial hoop after several months of silks so I spent most of my time developing pathways to tricks but I see many beginners struggle to get into a seated position. There are some things you can do to squirm your way into hoop but your progress on lyra is going to be mostly conditioning until you have the ability to maintain your body weight in the air.
Since there is not much to the lyra aside from you and the hoop it is usually considered more dangerous than silks. Let me very clear here when I say “more dangerous”. Both disciplines are inherently dangerous and should be treated with respect and caution but lyra does not have any supporting fabric that can be used to create locks. Now locks can fail and you can perform a wrap improperly with silks but the support provided is far more than in a lyra where you either have some kind of grip on the hoop or you do not and pure balance is the key for a number of tricks. There is definitely instruction that goes into learning where the sweet spot of a trick is but if you screw up then there are a lot fewer opportunities to stop yourself from taking a tumble.
That brings us to probably the biggest difference between the two disciplines and that is the pain factor. Both silks and lyra will tweak, pinch and squeeze you in uncomfortable places but I never bruised myself on silks as frequently as I do on lyra. The first weeks on lyra left the backs of my knees a mess of unattractive colors ranging from yellow to deep purple. As my skills have progressed and I found that the bruising can be less but it never seems to completely go away. It is safe to assume that while you may acclimate and find better ways to approach the hoop it will not change the fact that you are resting all of weight on a 1 inch diameter steal hoop. Any place where you are supporting yourself is going to be subject to bruising and is going to be a bit uncomfortable. You will just have to keep in mind the old adage…
Please keep in mind both lyra and aerial silks require vast amounts of skill, flexibility and strength at the higher levels of performance. This comparison is meant for those interested in what these disciplines might be like for someone starting at a beginner level. Hopefully, this will encourage you to expand your own horizons. If you have any additional questions about either apparatus I would be happy to answer them or feel free to leave your own opinion on why you chose lyra, silks or both.