Author Archives: Lewitwer

Stop Looking Down – People Are Gonna Think You Dropped Money

By 1 commentUncategorized

Look out! Point at someone!

Stop it. Stop it right now. You’re doing it again. Quit it! AAAAAAAAAAAAAAAAAAARGH!

You’re looking down. At your feet, at the floor, at your bits, at I-don’t-even-know-what. Friend, people are gonna think you dropped some money! Pay attention to where you’re looking, because the audience will look where you do.

This is an issue of technique, so it may take some practice if you’re used to doing the following:

  • Nodding your head when you climb. Look where you’re going! You don’t want to crunch your neck looking straight up at the ceiling, but your gaze should be directed up (try aiming for just beyond your hands). If you’re nodding like a bobble head doll as you climb, remember – your feet don’t need you to watch them in order to climb.
  • Dropping your head in splits. This is PRIME looking down time! What are you looking at? Lift your gaze to the horizon! This lengthens the neck, and we don’t just get a view of the top of your head.
  • Looking at your bits. Why are you looking at your bits? Stop looking at your bits.

Don’t Look Down, a Truly Brilliant Poem by Laura Witwer

I am not quite sure where to look,

I did not learn this from a book.

I do not need to see my feet

To know that they’re attached to me.

I will not look down when I climb,

I will not look down all the time!

I will not look down in a splits,

I will not look down at my bits.

I will not look down at the floor,

I will not look down anymore!

Seriously, I missed my calling. Love and pull-ups, Laura

As always, if you like this post, share it on your blog, the F-books, Twitter, and wherever else you crazy kids are sharing things these days.

The Circus Revolution: Make Resolutions That Will Actually Stick!

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happy-new-yearThose of you who have known and trained with me for years know that, after a series of small but annoying injuries, I pretty much stopped training. Everything. No silks, no wheel, no workouts, nothing. Cue inertia. The longer I went without training, the harder everything became. The harder everything became, the less I wanted to train…. Cue depression. Cue muscle loss. Cue Ben & Jerry’s (shut up, feelings!). Oh, there was lots of Ben & Jerry’s.

My wake-up call came when, at a recent gig, I audibly grunted when inverting at the end of my act. Thank God the music was loud, ya’ll, because it was NOT ladylike or glamorous. For the first time, my “easy version” of my act was hard. Not just hard – hard. Now, I have two choices: roll over and say die, or fight the good fight (guess which one I’m choosing?). The road is long and Game of Thrones-y, and I see tears and wailing in my near future, but I’m not ready to retire, so there we are!

Getting Back in the Game, or Starting a New Thing

It’s easy to set a goal or make a resolution, right? We go in with the bright shiny intensity of a thousand suns, and YES! I’m going to do it this time! This is so great! Until it starts to suck. And then you miss a day. Then two. Then it’s February and you’re no longer pursuing that resolution because BEN & JERRY’S. Shut UP, feelings!

The good news is that we can sidestep the February Fall-Out, but it means being more realistic than we might want to be (le sigh). So, consider:

  • Set real goals, not fantasy ones. I sometimes have a vision of myself in my head as some yogic goddess, all glistening muscles and beatific zen glow. Then, I look in the mirror while I’m heaving and sweating through my yoga torture session and want to cry when I see how far I am from that picture in my head. So, I’ve started focusing on the REAL goal – to feel strong, sexy, and flexible again. Yeeeeeeeees. See the difference? One lights my fire, the other douses it with tears. Bring on the fuego, por favor.
  • Focus on process too, not just the end result. It’s great to have a mental picture of what you want to use as a yardstick (unless you’re beating yourself with it), but that end point isn’t as fixed as you might imagine. Think of training as a spectrum or continuum – you’ll ALWAYS be somewhere between the two poles. While it’s great to know where you’re going, you also have to be where you are. Deep like an ocean, people.
  • Comparison is a 4 Letter Word. OK, it’s a 10 letter word, but you know what I mean. I compete with the performance athlete I was 20 years ago; you might compete with a past self, or your best friend, or that girl with the pointy toes that would make Baryshnikov’s heart go pitty-pat. Bring it back to you, bring it back to now. You have the opportunity to manifest something that is utterly unique to you – and only you – right now. If comparing and competing gets you revved up in a positive way, use it! Otherwise, ain’t nobody got time for that.
  • Manage Your Expectations. You are not going to have a straight legged inversion by Friday. Unless you are, in which case I’m not talking to you. Make sure you’re not setting yourself up for major frustration by setting goals that no normal human could reach. This is super tied up with….
  • Don’t set a training timeline. If you were in charge of how fast you learn, how quickly you put on muscle, how fast you can make those muscles stretch, well, wouldn’t YOU be perfect! But, you’re not. It’s going to take the time it’s going to take, and you’ll be a hot mess if you set a timeline for something you only have so much control over. Instead of focusing on result here, bring it back to process: “I’m going to silks class twice a week, and stretching for 15 minutes 5 nights a week.” This is something you can actually control!
  • Trust the Process. The speed of progress may not be something you can directly control, but you CAN trust the process. If you show up, if you put in the work, progress will happen. This is how training works. If you are having trouble seeing or believing that you’re moving forward, keep a training journal – it’s very enlightening.
  • Healthy Discipline vs Letting Yourself Off the Hook or Beating Yourself to a Pulp. Being awesome, dynamic, interesting people, it’s not surprising that we also will spend a great deal of time either letting ourselves completely off the hook or senselessly beating our heads against the wall because we’re “not working hard enough”. It can be hard to find that middle ground, and it takes constant curating to make sure you stay there. Your coach can be a huge help here! Aim for a healthy discipline – you don’t get points for crying after every class.

Revolutionary Resolution Worksheet

I am working on (ex: straight legged inversions):

I will do (ex: three inversions at the end of class when I’m really tired):

My first small milestone is (ex: keeping my legs straight on the way down):

Record your results each time you train. Celebrate every small milestone, and throw a freaking party when you reach your big goal. DO NOT sweep your success under the rug.

Love and pullups (and HAPPY NEW YEAR!!!!), Laura

An Easy Fix for an Ugly Transition – “The Slice”

By Training, Uncategorized

As a teacher, I see a lot of (ahem) “creative” transitions. Like angry-badger-in-a-whirlpool level creative. The vast majority are a natural part of the learning process which we ALL go through (and let’s face it – they’re HILARIOUS on Instagram). But, what if I told you that you could take one move from unseemly to unbelievable right this minute? Friends, I give you…… The Slice.

What is “The Slice”?

The Slice is an easy and glamorous way of bringing your torso between the fabrics. Instead of recreating the extra-terrestrial birth scene from the movie “Aliens”, two small adjustments can make that no-no say yes-yes. It creates better lines, and is much safer than that weird grabby thing you do. Try it!

  1. Both arms up, then “slice” one arm through the fabrics and press it back.
  2. Shift the other arm through, press back.
  3. It’s important to apply pressure to the poles of the fabric with the back of the upper arm – do NOT let your arms sweep forward, or your shoulders round.

When Should I Use It?

Use The Slice any time you need to get your chest forward and your hips back (going into crucifix, for example). And the best part? You need zero skill to do it – it’s something you can rock on day one. Go forth and Slice, friends! Love and pull-ups, Laura

As always, if you like this post, share it on your blog, the F-books, Twitter, and wherever else you crazy kids are sharing things these days.

Flex for Jesus! Don’t Get Slingshot-ed Off Your Apparatus

By Training, Uncategorized

If you’re a dancer, or if your feet go into spasms when you have to point one and flex the other, you’ve likely struggled with the dilemma – to point, or not to point? Friends, that IS the question.

During some moves, my students regularly hear me holler, “FLEX FOR JESUS” while they’re whizzing around in the ceiling. It’s a reminder to commit to a strong, well-placed, deliberately flexed foot, which goes a long way towards keeping your butt safely in the air.

Hold the Phone – Shouldn’t I ALWAYS Point Everything in Circus?

Well, no. There are a few reasons you might not want to point your foot!

  • When your flexed foot is keeping you alive (example: single ankle hang).
  • When you’re being “contemporary”, and using ALL the flexed feet.
  • When you’re having a leg spasm in the air because you haven’t been to class in a month. Ahem.

20150224_201325_Hagrid_GrungeWhen to Rock a Flexed Foot

To every thing there is a season, and that goes double for feet (HA! Folks, I’ll be here all week). There are times when a flex is not only appropriate, but essential.

  • When…it…just is! Some moves just work best with a strong flex. Now, while rules are meant to be broken, and many “flex only” moves can be modified to look pointy, leave it to the super advanced students.
  • When you need a larger margin of error. When you’re first learning a traditionally flex-y-foot-y move (kidney squisher, for example), commit to the flex! You want to increase your margin of error, not decrease it by using a sickle-point, which can pop off unexpectedly. If a move is working really well (pssst – ask your coach – your definitions of “working really well” may differ), it might be time to play with….

The Sneaky Sickle-Point!

Some moves (think “crochet up the pole”) should start with a flex; once you and this move are besties, you can safely sneak your foot in a sickle-point. It really is a matter of personal preference – a strong flex is a clean, often aesthetically pleasing choice, so commit to one or the other and do it loud and proud.

What does a Good Flex Look Like?

In a strong flexed position, the heel should be pushing away from the body. The knee should be pressing straight (again, push like you’re trying to leave a heel print on the ceiling, floor, or wall), and the foot should NOT be sickled (curved in) – it should be nice & straight. Make sure you’re not doing YOGA TOES, where you press through the ball of your foot (also called demi-point).

What does a Good Sickle-Point Look Like?

You want a nice strong foot (VIAGRAVATE IT), with a sickle that corresponds to the level of “OH CRAP” you will experience if your foot comes off. For example, if it just means your foot pops off & the fabric slides up your hoo hoo, well, it’s not the best, but it’s not catastrophic – a light sickle is fine. On the other hand, if the oh-crap level is high, as in you get slingshot-ed 20 feet off the fabric, you might want to play that one a little safer.

All in all, don’t be afraid of the flex, make it your friend! Trying to sneak into a sickle-point before you’re ready, or forgetting to flex enough, can have unexpected consequences (chiefly, you = splatted on the floor). Go slow and steady, and check with your coach before leveling up to the sickle-point; or, just enjoy the flex! Love and pull-ups, Laura

Special thanks to my lovely foot model Megan Harris!

As always, if you like this post, share it on your blog, the F-books, Twitter, and wherever else you crazy kids are sharing things these days.

Aerial Rigging – What You Don’t Know Could Kill You

By 5 commentsRigging
OLYMPUS DIGITAL CAMERA
Laura and Angela with a big old bunch of biners!

Aaaaand we’re back to the aerial teaching thread! (Did you miss the first few posts? Catch up! Click here and here. )

Today friends, we’re chatting about what EVERY aerial instructor (and student, for that matter) should know about aerial rigging. I quite genuinely don’t care if you “only teach for XYZ Studio and they handle all of the rigging” – you have a responsibility to yourself and your students to know the basics. See a hole in your knowledge (or your fabrics)? Fix it pronto!

Rigging Basics

As a coach, you should be able to:

  • Identify equipment & it’s proper use.
    • It’s not enough to know the name of your apparatus (and, for the record, tissu is the curtain you climb, tissue is what you blow your nose with).
    • You should know the industry terms for ALL your equipment (shackles, carabiner, span set, swivel, rescue 8, etc.).
    • You should understand how each piece was designed to be used (including contraindications), and be able to select the “right tool for the job”.
  • Understand common rigging terms such as bridle, basket, choke, etc.
  • Tie common knots such as the bowline, figure 8 loop, and clove hitch.
  • Maintain & inspect equipment, and keep a rigging inspection log.
  • Have written standards in place for retiring equipment.
  • Understand of how shock loads in dynamic movement affect the body & rigging (ex: are you teaching a drop to double ankle hang from a dead hung rig on a low-stretch fabric? It’s back to basics for you, m’dear!)
  • Explain clearly and concisely why we do not rig and teach from trees. 
  • Teach your students about what they’re hanging from. Take every opportunity to educate your behbehs on equipment inspection, hardware, angles, knots, etc.

 

Now – if I walked into your studio and asked you, or the instructors that work for you, any of the above questions, would we have an awkward moment? From some of the conversations I occasionally have, my guess is yes…. But, it doesn’t have to be this way, friends!

Closing the Gaps in Your Aerial Rigging Knowledge

So, you’re not rock solid in a few areas (or more than a few). What do you do?

  • Become a pro-active sponge. Be relentless in your pursuit of rigging knowledge, and take gaps in your understanding seriously. DON’T be an idiot and pretend that you know more than you do – that’s how people get hurt. Not sure what you don’t know? Then….
  • Take a workshop. Jonathan Deull, Delbert Hall, Bill Auld, and many other EXCELLENT aerial riggers have started offering fantastic workshops for aerialists. If they come anywhere near you, run to sign up – they’re worth every penny and more.
  • Get up close and personal with a rigger.
    • If you’re on an event with a professional rigger doing your set-up, ask them to walk you through the rig (they will probably offer anyway). Don’t be afraid to politely ask questions! In ye days of olde, when I was on tour, we had some phenomenal riggers (Tracy Nunnaly and Bill Auld) who not only answered all our questions, but went WAY out of their way to educate us about everything from angles to equipment.
    • Schedule a private lesson. Many riggers will teach a one-on-one or group session in basic rigging for a very reasonable fee.
    • Cultivate a good relationship with several excellent aerial riggers – you should have at least two on speed dial.
  • Scour the interwebs. You can find a number of great resources! One of my favorites is Delbert Hall’s FlyWire newsletter – a must for aerialists!
  • Be more social. The Safety in Aerial Arts FaceBook group is a great place to read up on best practices, ask questions (please search before you ask – you’re probably not the first person to have your question), and connect with top riggers in the industry.
  • Have a regular rigging training/refresher for your instructors. Invite a pro to do a rigging workshop in your space, and/or hire a certified rigger to come in once a year to a) do an inspection of your space and b) make sure all your instructors have a solid understanding of what’s keeping everyone in the air.

 

Rigging is kind of important (!!!), but green instructors often consider it peripheral – preferring to focus on trick-collecting and pointy toes. You can’t see me right now, but I have on my serious “Laura Means Business” face. RIGGING IS NOT PERIPHERAL KNOWLEDGE, IT IS ESSENTIAL KNOWLEDGE. 

Your mission for this week? Pick out one thing above and order it, sign up for it, learn it, do it, schedule it, juggle it, etc. I’m going to brush up my knots and make sure they’re still tight and right. What are YOU going to focus on? Do you have a favorite resource I didn’t mention? Love and pull-ups, Laura

 

  

 

As always, if you like this post, share it on your blog, the F-books, Twitter, and wherever else you crazy kids are sharing things these days.

 

The REAL Reasons You’re Not Progressing in Aerial Class – Why Aren’t I Getting Better?

By 8 commentsUncategorized

Photo by Masaru Watanabe. Me actively avoiding instruction.

Photo by Masaru Watanabe. Me actively avoiding instruction.

Well, why aren’t you getting better? Totally legit question! With some mostly legit answers. Training is hard, pointing your toe is hard, adulting is hard. Not eating the other half of your child’s cupcake that’s in the fridge not ten feet away is hard. Legit. But what is really standing in the way of your training? (hint: it’s not what you think… or maybe it is).

Reason #1 – You’re Slacking

Yes, you, friend. I’ve done it, you’ve done it, we’ve all done it. A little slacking here and there keeps you from becoming a very tense, neurotic mess. Sometimes, you cannot – cannot – muster the energy to give 100%. Know what? That’s OK. It really is, especially if you’re a recreational circus-er. BUT (you knew there was a but coming, or a butt), we are creatures of habit. Is 70% a habit for you? Are you writing things down? Videoing your training? Holding yourself to a standard that will result in progress? Because if you’re not, mystery solved.

Write down corrections, take notes, video if you’re allowed. Repeat.

Reason #2 – Your Teacher is Letting You Coast Because You’re a Pain in the Ass When You Get Corrections

Yup – secret’s out! Sometimes, we let you coast. To be fair, there are a number of reasons we might do this: maybe you’re overwhelmed and very sensitive today, or someone else needs more attention at the moment. This should be the exception, not the rule – and if it’s not, have a chat with your coach and ask for more feedback. But sometimes…

… you get a Laura in class! I am the WORST at taking corrections. I will argue, pitch hissies, and fight for my own limitations – it’s honestly a wonder anyone ever bothers to try to teach me. In fact, one day, in German wheel, my coach had had it up to HERE, and said, “Ok. When you’re ready to be a student, you let me know.”….. (crickets)…… (more crickets)….. (it got awkward)……

I got schooled, and rightly so. If you won’t accept feedback from the person who is trying to teach you, don’t be terribly surprised if they stop throwing good stuff your way. Also? You might want to watch that tone (“duh” your teacher a couple of times and watch the fun dynamic that unfolds).

Repeat after me: “Thank you for the feedback.”

Reason #3 – You’re Never in Class

The number one thing you can do to get better? Show up. Spotty attendance will get you spotty results. Period. Consider too – if fabric class is the only physical exercise you’re getting all week, or the only strength training you slog through, expect a longer road.

Supplement with all sorts of things – Pilates, weight training, yoga videos, hire a trainer, whatever. Just pursue strength! Move that booty.

Reason #4 – The Fire is Out

I get this one, I really do. Our relationship with our apparatus is a lot like relationships with people – you’ve got to keep it romantic. Are you in a rut? Not excited to come to class? Not only have I been there, I’m currently there. But, there’s one thing that never fails to get me going again: A GOAL. Revolutionary, I know. We get bored because we get predictable; our brains are wired to crave stimulation (new stuff) and the thrill of the chase (getting something you’ve been working on). You may not always burn with passion, but remember that you’re an active participant in the “relationship”. Spice it up.

Feed your passion by picking out new moves, putting together a piece, scheduling a meeting with your coach to set some goals, or going to see a circus show (video or YouTube if there’s nothing near you). Whatever gets your heart racing.

Reason #5 – Your Teacher Shouldn’t be Your Teacher

That’s right, I said it. Not all teachers and students have good chemistry together. If you and your teacher don’t have a love connection, or things just always feel tense, try out a new coach if that’s an option.

Additionally, if your inner compass is telling you that you’re not getting very good/safe training, the corrections consistently don’t ring true, or if your teacher seems to be winging it, moooooove along. There are lots of coaches who are fabulous, and lots who have exactly zero idea what they’re doing. Train with the former.

Find a new coach if the two of you lack chemistry, or if they’ve got some work to do in the teaching department.

If you’ve hit a plateau, or just don’t feel like you’re making ANY progress, talk to your coach! They will have suggestions for what you can focus on, and hey – circus is hard. If you think you’re going to be inverting like a pro in 6 weeks, you may need to manage your expectations.

What gets YOU out of a rut or propels you forward? Comment below! Love and pull-ups, Laura

As always, if you like this post, share it on your blog, the F-books, Twitter, and wherever else you crazy kids are sharing things these days.

What the Heck IS Proficiency in Aerial Teaching, Anyway?

By 4 commentsSafety, Training

Photo by Brigid Marz.

Photo by Brigid Marz.

I’m so glad you asked, Dear Dangler! If you missed the first post in this series, click here; otherwise, carry on.

Proficiency – a high degree of competence or skill; expertise.

We live in a pretty DIY time, with resources positively oozing from every nook and cranny of the internet. With a click or two of my keyboard, I can learn to re-caulk my shower, save my dying succulents, get that stain off my new white shirt, and learn advanced moves on aerial silks. All in an afternoon!

Something I find myself coming up against in the USA again and again is our disregard (and sometimes blatant contempt for) expertise (great article here). WHY should I hire someone to re-caulk my shower if I can do it myself? Well, in this case, it depends on how nice I want it to look and how much time and effort I wish to spend. Besides, the worst thing that could happen if this goes terribly, terribly wrong (and, if you know me and home improvement projects, it definitely will) is that I get a really messy, caulk-y shower and my husband gets cranky.

What about things like aerial silks? Does it matter where we learn it or who we learn it from? (I’ll give you a hint: YES. It matters quite a bit.) We expect that the person imparting the knowledge has a firm grasp on what they’re teaching, and isn’t just winging it with a “How To Do Aerial Silks” manual and a YouTube video. And by the by – if you don’t expect that, perhaps you should. Raise your standards.

Realistic Levels of Proficiency in Aerial Coaching

The first question has to be: what are you teaching and to whom? Let’s be very candid – teaching summer camp kids three moves on a static trapeze is a far cry from coaching at Ecole Nationale de Cirque. I generally think of it in the following levels:

  • Three Trick Tallulah – You know a handful of moves inside and out, and are able to teach and spot them with confidence. You do not call yourself an aerial teacher, but you are comfortable putting on this hat for an hour every day at camp.
  • Assistant Teacher Alastair – You are on the teacher track, and actively working as an assistant under the guidance of a teacher training program or a well-established professional instructor. You’re not ready to strike out on your own, but are working to increase your understanding of spotting, methodology, essential technique, communication, and other teaching essentials.
  • Recreational Rainbow – You have hung out your shingle as a Teacher to the Masses. You have a thorough understanding of the foundational moves on your apparatus, and how to teach them in a variety of ways to suit different learning styles. You understand the how AND why of technique, are well-versed in applicable anatomy and injury prevention, and are confident in modifying moves for varying bodies. Your students are primarily recreational.
  • Professional Petunia – You mostly train folks with aerial stars in their eyes, or very serious students. You have an incredibly broad vocabulary, and are an innovator in your field. You are an aerial problem solver – from technique to choreography. You demand excellence, and know how to get the very best out of each and every student. Your resume is extensive.
  • Elite Eloise – You are a badass. You are the teacher we all aspire to be, and will jump at the chance to train with (Master Teacher). You live and breathe this apparatus, and have for years. Your teaching resume is a mile long, and you are very well respected throughout the industry. You are a first-class leader and expert, and I probably stalk you on social media.

Many of us probably fall somewhere between two levels. Where would you be? If a professional watched you teach and evaluated your class, would they agree? Note: if you’re very nervous about being evaluated by experts in the field, you probably know that you have some work to do. Pay attention to that feeling – it’s like an arrow pointing towards what needs improvement.

Staying Within Your Scope of Practice

When I got my personal training certifications, there was a phrase that was frequently bandied about: “scope of practice”. I love – LOVE – this phrase, often used in the medical field. To me, it’s the bedrock of honest teaching. If we co-opt it for aerial instruction, the premise is simple: teach what you know well. It varies for everyone – whether it’s 5 moves or 500. For example, I hated open drops when I was in circus school – hated them. Consequently, I only really worked on a hand full, and I consider many of them to be beyond my scope of practice. I teach the ones I’m supremely confident in, but, beyond that, it’s a no-go, even when my students beg and plead and bring me pie (but keep the pie coming, guys – someday I might cave!). Pretending to know more than you do, not understanding that there are areas beyond your scope of practice and not knowing what they are, or “winging it” puts your students in very real danger.

False Advertising

hell nawM’Kay. Shade warning (for additional shade, please see below). If you know yourself to be a Three-Trick Tallulah, but advertise yourself as a Recreational Rainbow or a Professional Petunia, we’ve got a false advertising problem. If you think it goes unnoticed, newsflash – it doesn’t. Now, most of the time, I think it’s an issue of ignorance – Tallulah just doesn’t know that she’s got a lot more to learn. But if you’re doing it deliberately, that’s not OK, and here is the face I make when I encounter this. Now that you know better, do better.

So yes – proficiency is a Big Topic, and this is a Little Blog. Here’s my action step for the week – please join me if you feel so inclined! I’m going to go through my general progressions and curriculum, give everything the “scope of practice” check, and identify 3 areas that could broaden my practice (open drops for sure, roll-ups, and planches over here). What are your areas? Post them in the comments below!

And now, for no other reason than it came up in my feed as I was searching “shade”, here is your daily dose of Ru Paul, to be watched in 6 inch heels. Werk! Love and pull-ups, Laura

As always, if you like this post, share it on your blog, the F-books, Twitter, and wherever else you crazy kids are sharing things these days.

What Makes Someone Qualified to Teach Aerial Arts?

By 3 commentsSafety, Training

Well, Dear Dangler, I’m so glad you asked! As you can imagine, it’s not a simple answer, but good news – it’s not astrophysics either. So many new instructors think it’s just about turning a lot of tricks, which makes seasoned veterans a little lot grumpy. There’s a bit more to it!

Over the next few weeks, I’ll be addressing each area in a series of blog posts. The main goal is to spark reflection and conversation, and point us all in the direction of resources that can shore up our weak spots (and make no mistake – there’s not a teacher alive that has no weak spots). Today’s list is not meant to be exhaustive, but more of an outline of what we’ll be jumping into. I can’t wait!

Core Areas of Competency in Aerial Instruction

For the purposes of the blog, I’ve narrowed it down to the following areas, listed in no particular order. Imagine a pie chart, in which each piece is essential and delicious. Mmmmm….pie…. This is geared towards individual aerial teachers and those hired by studios, as opposed to the studios themselves (for a great list of standards & guidelines for studios from ACE, click here). Again – this is a general outline, not a curriculum, hold your emails for the moment.

  1. Aerial skills
    1. Proficiency on the apparatus being taught
    2. Understanding of essential technique
  2. Rigging
    1. Basics (can identify equipment & it’s proper use, understands common rigging terms such as bridle, basket, choke, etc., can tie common knots such as the bowline and figure 8, etc.)
    2. Equipment maintenance & inspection, keeps a rigging inspection log
    3. Standards in place for retiring equipment
    4. Understanding of how shockloads in dynamic movements affect the body
  3. Spotting & Safety
    1. Comfortable with a variety of hands-on spotting methods to use as needed
    2. Understands and informs students of contraindications for moves
    3. Solid base in injury prevention for the chosen apparatus
    4. Certified in First Aid/CPR
    5. Utilizes appropriate matting
    6. Has a student rescue plan and an emergency plan in place for each space in which they teach
    7. Upholds a set student/teacher ratio, particularly in regards to situations involving hands-on spotting
    8. Has aerial teaching insurance if not teaching through (and covered by) a studio
    9. Understands and enforces the space needed for the execution of moves (minimum/maximum height, area around apparatus)
    10. Requires students to sign a waiver, and ensures that they are well-informed as to the risks involved in aerial work.
    11. Pursues an environment & culture of safety.
  4. Communication & Environment 
    1. Strong verbal cuing skills
    2. Consistently conveys authority, and enforces risk/behavioral agreements with students
    3. Comfortable advocating for student safety
    4. Nurtures and strives to create an atmosphere conducive to learning
    5. Has and upholds a strong policy on substance use/abuse
    6. Clearly communicates boundaries and expectations when teaching a new skill
  5. Pedagogy & Methodology
    1. Employs a well-thought-out curriculum
    2. Teaches established, commonsense progressions
    3. Has a written mission statement or teaching philosophy
    4. Consistent evaluation of new and continuing students
  6. Anatomy, Physiology, Kinesiology, & Continuing Education
    1. Has a good understanding of basic anatomy, physiology, and kinesiology (what it is, what it does, and how it moves)
    2. Actively pursues continuing education in related areas

Where to Next?

ACTION STEP – check out the ACE Safety Program, and, if you meet the criteria, get the process started! If you don’t meet the criteria, start addressing that. For the record, I am not affiliated with ACE, just a member. But I DO think that the safety program is a phenomenal step in getting the aerial community on the same page, and hey – there’s power (and influence) in numbers. If you do nothing else, read their Circus Arts Program Guidelines; they are incredibly comprehensive, and well worth a read.

If you’re a well-established teacher, let’s also take this opportunity to review our practices & procedures, identify areas that need improvement, and get on that! I will be spending the next few months working on my verbal cuing, and brushing up on my anatomy. What area will you be working on? Comment below! Love and pull-ups, Laura

HUGE thanks to Bev Sobelman and Liz Cooper who are (very patiently) allowing me to bounce ideas off them, and kind enough to offer their wisdom and insight! It takes a village, friends. 

As always, if you like this post, share it on your blog, the F-books, Twitter, and wherever else you crazy kids are sharing things these days.

Anderson Cooper Got on a Lyra and the Internet Lost Its Mind

By 21 commentsSafety, Uncategorized

OK aerial community – raise your hand if you’re still banging your head against your desk? Yep – me too. In case you’ve been under a rock (or are doing one of those “social media cleanses”), here’s what has us all hyperventilating into paper bags.

“This is a disaster waiting to happen.” – Anderson Cooper

If you’re an established aerial instructor watching this (through your fingers), you are dying right now. You are absolutely on fire inside. Ever since I first watched this, I’ve been pacing in my apartment trying to get away from the AAAAAAAAAARGH inside my head and chest, and wrap my brain around the only possible conclusion: we have collectively lost our damned minds.

What’s the Problem?

M’Kay. I’m going to put my professional britches on.

This video does not demonstrate the best practices commonly adhered to in the aerial community in the areas of safety, competency, and responsible instruction.

Let’s look at the facts:

  • Thin panel mats are inadequate in this situation. Generally speaking, thick crash pads are a better choice for use under bar apparatus.
  • There is no hands-on spotting. This is a post all it’s own; there are studios in NYC who prohibit hands-on spotting for reasons I will never fathom – beginners sometimes need hands! Beginners do incredibly stupid things because they’re beginners. My hand on their leg during a knee hang doesn’t just prevent them from straightening their leg – it calls their attention to their body in space, encourages correct positioning, and reduces panic (read: terrible choices) . My hands have caught trapezes swinging towards faces, held students when they lost their grip, given form corrections, squeezed little messages of encouragement and comfort, and, you know, reduced the likelihood of serious injury by using established and effective spotting techniques.
    • Note the un-spotted knee hang in the video around the 2:00 mark. Do you see how high Anderson’s feet are? Do you know how close he was to falling directly on his head? Now, note the “dismount”. This is very, very common for beginners to try, and can result in broken/sprained necks, knocked-out teeth, dislocated shoulders, broken/sprained arms & hands, and more. An instructor with hands placed firmly across his legs could have side-stepped the whole issue. More importantly, a seasoned instructor likely would have seen that coming a mile away.
    • Now – this is the one that had us ready to spit nails. See that un-spotted top bar knee hang at around 3:24? Look at Anderson’s wide, unsupported knee placement, and note how high his feet are. He is not connected with his hands. His mic pack drops off (distraction), and he has already gone for an illegal dismount. And now, we’re going to “take a leg off”. I’m just going to leave that here and let all of that sink in for a minute. Excuse me – I need to go back to banging my head for a moment.
    • But wait – there’s more. From about 4:00 through the end, Andserson Cooper makes aerial coaches across the USA freak the F out. There’s so much here I CAN’T EVEN WRITE ABOUT IT! I just keep hearing words like concussion, broken neck, shoulder dislocation, no more teeth….
  • This sequence is inappropriate for beginners – even strong ones. Foundations and progressions are things – REAL things. Essential things. One movement or skill builds off another. Jumping ahead in aerial coaching is like jumping ahead in your “How to Assemble Your IKEA Dresser” instructions – skip the first steps and it’s going to be a sh*t-show no matter what.
  • The verbal cuing is not specific. Without a visual on the coach, the sentence, “take a hand off” is too vague for the beginner student. They may interpret that same sentence as: take both hands off, take your leg off, sit up, etc. When your student is upside down, confusion can quite literally be deadly.
  • Demonstration is best done PRIOR to the attempted execution of a move. Beginners need to have an idea of where they’re going, and have an opportunity to ask questions BEFORE attempting a move.
  • There is no mention of contra-indications, muscular engagement, or even a “don’t let go or you’ll fall on your head” discussion.
  • Your authority must be clear from the beginning. Many students – especially media personalities, groups that are “doing this crazy aerial thing” for fun for a day, and those who have no idea how much they don’t know, require a firm hand. Add to that a high level of physical fitness, and you have the student that makes you clench your nether-bits. These students have no idea what they’re doing, but they’re strong enough to get themselves into real trouble. Stir in a dash of the “clown factor” (someone doesn’t want to look silly, so they play the clown to stay in control… ANDERSON…), and you have a student you’ll need to be glued to for the entire session.

Yeah, OK – All That. But What’s the Real Problem?

The real problem is that there are people teaching who are not yet ready to teach. They have taken a few years of classes and assume that they are ready because they can turn so many tricks, or they’re a dancer or personal trainer who got “certified” in this cool new workout, or they’re in a small town with no aerial instructor, so…

There is no meaningful certification for aerial teaching readiness in the USA. There are some excellent teacher trainings for experienced aerialists (NECCA, AirCat Aerial Arts, I’m looking at you), and ACE/AYCO are making excellent steps in the right direction with their safety program, but no real certifying body. This leaves us with a big problem. It’s not a new problem, nor is it an easy one. We tried to address it here in NYC by founding NYATA (NY Aerial Teachers Alliance), but were quickly overwhelmed by the scope of the issue. Add to that the fad of fitness spaces trying to tout circus as the next great fitness craze, and dance schools all over the US wanting to add an aerial component to their curriculum (but not hire an actual aerial teacher), and the fact that we do not value expertise in this DIY country, and it’s easy to see why we are so. damned. angry.  The public has no way of knowing whether a teacher is safe or qualified.

What the Hell do We Do Now?

I’m not done writing about this, but – ha ha – I have to run and teach my classes. I’ll pick this up tomorrow. BUT, I’d like to leave you with this.

Before we get too far up on our high horses, and make this poor woman the poster child for all that is wrong in our teaching industry, we may want to pause and remember that many of us have had cringe-y moments while teaching… ours just weren’t nationally televised. We have created this situation, though. I have, and you have. This is a community problem, and we have allowed it to happen. We have seen it coming, watched it unfold, and now it’s here on our doorstep.

My question for you, aerial community, is what shall we tackle first? We have an unprecedented opportunity to turn this from a thing that makes our hair collectively fall out, into a triumph for our community. Every aerial teacher safe, qualified, competent. Love and pull-ups, Laura

The Annoying Hand Injury You Didn’t Even Know Was a Thing – Skier’s Thumb

By Injuries

Do you train on squishy mats? Do you do handstands, push-ups, or other gymnastics on a squishy mat? Do you routinely wrestle finely-muscled athletes in a tub of Jell-O on a squishy mat? Just asking on that last one (send photos). If you do any of these things, you could be unknowingly courting a hand injury that I didn’t even know was a thing until it happened to me – SKIER’S THUMB (cue ominous music).

 

What is Skier’s Thumb? Why Might I Be at Risk?

Skier’s Thumb is a more common injury if you ski. Before you ask, no – I don’t. And if I did, it would probably look something like this.

 

 

It’s a soft tissue injury to the ligaments in your hand, most often occurring when skiers fall, splay their hands, and land on their poles – pushing the thumb back with force. Know how else you can get it? Yep – you guessed it! Training on squishy mats. What’s really unfair? It can develop over time. Merp.

If you’re an aerialist, you’ll notice a lot of tenderness around the base of the thumb, pain while gripping, and perhaps referred pain in the wrist. Your grip between thumb and forefinger will be weaker, thus diminishing your overall grip (so not a good time to do that “trapeze over a shark tank” act you’ve been dreaming of). It can also come with a hefty dose of thumb pain in any direction.

 

How Can I Prevent It?

Well, don’t train splayed-hand moves on squishy mats! Also – don’t ski (or at least don’t fall down).

What constitutes a squishy mat? Any mat where your palm is lower than your thumb when you’re doing a push-up. Sprung gymnastic floors are great, and firm panel mats or hard foam floors are usually OK. Soft mats like crash pads are horrendous, as are most mats that are going to feel nice and soft if you fall down on them. For the hand muscles to properly engage, the thumb and fingers shouldn’t be bent back.

 

Dammit – Too Late! How Do I Treat It?

Get thee to the doctor for a proper diagnosis! They’ll likely recommend the usual (ice, rest, NSAIDS), and if there’s a complete ligament tear, surgery, with PT to follow.

Mine sneaked up on me a few years ago, and EVERY TIME I see someone training gymnastic movement on a squishy mat (handstands, cartwheels, etc), I have to fight the urge to tackle them and ACE bandage their thumbs. But that would be weird, so I wrote about it instead.

Keep those hands healthy – they’re kind of important in the work we do! Also – I wanna see that shark tank act. Love and pull-ups, Laura

As always, if you like this post, share it on your blog, the F-books, Twitter, and wherever else you crazy kids are sharing things these days.

 

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