Author Archives: Lewitwer

Blech! Heartburn and GERD in Aerial Training

Hello Dear Danglers! In aerial class, have you ever been in an upside-down position (with straight legs and pointed toes and boobies to the sky, of course), fabric perhaps wrapped around your waist, when all of a sudden…. UGH. No bueno. Must come down – ugh. Burning. Feels like I’m gonna puke. Uuuuuuugh. You’ve just become rather intimately acquainted with Our Friend Stomach Acid! It’s going to be a long-term relationship, so you’ll want to buddy up. 🙂

Stomach Acid, Heartburn, and Aerial Arts

What goes down can, I’m afraid, come back up. When you eat, food travels down the esophagus, and snuggles into your tummy. Ideally, a sphincter muscle at the top of the stomach (heh heh – I said sphincter) called the esophageal sphincter keeps food squarely where it belongs – in your belly; but when you’re upside down, all bets are off. That sexy burning/barfy feeling is the contents of your stomach (acid, food) making their way back into your esophagus, and making you feel miserable.


 

“But isn’t there some kind of exercise – like a throat Kegel – to strengthen the muscles?” – Miss Brigid (said with a wink)


 

Why Me?

Why not you? Every aerialist will have moments or “seasons” of reflux. Sometimes, it’s as simple as pinpointing a meal you ate too close to class; but for some, it reoccurs almost daily, and stretches out for several weeks. Repeated bouts of reflux can create inflammation, creating more reflux, creating more inflammation, in a really unfortunate cycle. Blech on every level.

What Can I Do?

Eating to close to class is an easy culprit (as is drinking a lot of water during class). If you find you’re “feeling the burn” rather too often, here are a few things you can try:

  • Give yourself a two hour no food window prior to class or training.
  • Step awaaaaaaaay from that deep fried pickle! Certain foods – fried, chocolatey, caffeinated, cheesy, basically all the good stuff – can trigger heartburn. Also? No drinky-poos.
  • If you’re in a recurrent “season” of heartburn, stay away from moves that wrap around the stomach (craptastic rolldowns, I’m lookin’ at you). There are plenty of other things to focus on – fear not!
  • Have you recently gained pounds? Thanks, holidays! Well, here’s another reason to get back to your fightin’ weight.
  • Quit making like a chimney. If the contents of your stomach returning on a regular basis to your esophagus don’t encourage you to quit, you’re a stubborn bastard.
  • Keep a record. If you can figure out what’s causing your reflux, you can avoid it!
  • If it happens during class, ask your instructor for variations of a particular move to keep you upright. Stop immediately when you feel burny or barfy! Trust me – we would rather you didn’t tough this one out.

 

Good luck, Dear Danglers, and may the contents of your stomach remain firmly where they ought to be! Love and pull-ups, Laura

 
 

 

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Why Competing on Price Will Kill Your Teaching Business

This is kind of a serious blog. Womp womp. So. You’ve decided to start teaching – FABULOUS!!! It’s awesome. You’ve got your equipment, your insurance, your mad skilz (naturally), and now, you just have to figure out how much to charge. But, how do you DO that? If you’re like many, it goes something like this:

“Swingin’ Sisters aerial studio charges $35 per hour for classes. Mergatroyd Metz charges $30 per class. So, to pretty much guarantee I’ve got full classes, I’ll charge $20!”

 

Hold up, partner. You’re making one of the biggest mistakes small business owners make: you are competing on price. You are positioning yourself to be the Bargain Basement of the aerial teaching world. Slow clap. So, what’s the problem? And what should you be competing on?

The Problem With Competing on Price

If you’re starting out smart (and I know you are!!!), you’ve made a list of the costs to run your business. In the aerial teaching world, we generally fall (fly?) into two categories: 1) teaching for a studio or 2) teaching for ourselves.

  1. Teaching for a studio! Big benefits: the studio carries most of the hard costs – you generally just show up, teach classes, and collect your paycheck. The studio usually takes care of studio/venue rental, website and promotional expenses, insurance, equipment, taxes, and sign ups. Big drawback: loss of control. The studio usually sets costs and pay rate, and is in charge of who you teach, when, how, etc. Your paycheck is smaller than if you taught on your own, but you also aren’t carrying the expenses of running a business.
  2. Teaching for ourselves! Big benefits: you teach what you want, when you want, for however much you want. Big drawback: you’re footing the bill for everything (and I do mean everything).

For me, there’s no question: I love autonomy, and I love running my own business. But it does mean that I have to treat it like a business, not like a hobby, or the bill collectors will start camping in my hallway. Step one in determining how much to charge? Add up your hard expenses for a month, determine what you personally would like to make as a salary/need to live, and divide it by the number of students/classes you teach. This will give you an excellent idea of whether or not you’re working in a sustainable way. Numbers coming out a bit wonky? Consider:

  • what the market will bear. There is generally a range of pricing that will bring in students. Here in NYC, for example, it’s around $25-$35 per student for a one hour aerial class; but if you live in an area where everything costs $1, your range will be smaller. You may need to keep your day job until you have a committed student base.
  • if you’re not able to teach enough to make your numbers come out to an I-won’t-have-to-eat-ramen-for-a-year wage, consider ways to decrease your costs (sharing space rentals with another instructor, for example), or look at teaching for a studio.

Aside from simply covering your costs and making a living, competing on price will have you visiting the Bitter Business Bureau in no time. People have deep-rooted attitudes about money and value, aerial classes included. Consider:

  • People generally do not value what they don’t pay for. Be honest – you care a LOT less about sitting on that crap pair of sunglasses you got for $3 at Target then you do about your Kate Spades (or whatever you crazy kids are wearing these days). We esteem what we invest in.
  • You will attract “price hoppers”. These students are always hopping from studio to studio, or activity to activity – whatever they can get a Groupon for. If you’re looking to build a long-term community of committed students, good luck with that.
  • You’re missing the big picture (see below). Price is only PART of the reason people choose a class. In fact, if someone feels like it’s worth it, they will find that money come hell or high water.

 

But Miss Laura! If I Don’t Compete on Price, What SHOULD I Compete On?

Compete on reputation. Compete on skill and training. Compete on your offerings, with your marketing, or within your niche market. Methodology. Community. People consider ALL SORTS of things when deciding to take a class, not just the cost. And here’s the Deep Dark Truth about working cheap (oh yes – I’m gonna say it): your clients will believe that you are worth what you charge.

So, the question is really: what is a fair price for my offering? What will support both my career and this industry? If you want to work for $1, all I can do is shrug, and wish you luck. But I think you’re being foolish and short-sighted, and a house built on sand spontaneously combusts in a strong wind. Or something like that. Love and pull-ups, Laura

 

 

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Be Progressive! Why Progressions are Essential in Aerial and Circus Training

Marcee Corner PocketWith political campaigns heating up (if I was clever, I would figure out how to put a GIANT EYE ROLL HERE; you’ll just have to imagine it), I figured now is as good a time as any to bring up one of my very favorite topics: progressions! Turns out, you can be progressive AND conservative in your aerial work, which just might make you a superhero.

What is a Progression in CircusLand?

Simply put, a movement progression is building off of foundational skills to achieve or pursue an advanced state. For example, Lulu comes to my aerial silks group class here in New York City. She has never taken a silks class in her life. I do not allow or encourage her to start with a triple star (duh) – we work on simply standing on the fabric.

This seems pretty common sense, right? Well, I started with an easy one for you. How many of you are trying to execute a hip key in the air before mastering in-air inversions? Oooooh – I see a lot of hands. Dear Danglers, inversions in the air come before hip keys in the air – I’ll bet you’re in bad habit city right now. Good luck with that.

Every single move in circus is built on foundations of proper body positioning, strength, and mental readiness (it’s a thing). Every. single. one. Ultimately, a progression map looks a lot like a tree: there’s a solid trunk (inversion in the air), then branches start forming (hip key in the air), and so on, all the way to the fancy leaves at the end (drops from a hip key). Trying to bypass those progressions is NOT PRETTY, people!

  • An uphill battle. Without the supportive skills, moves higher up the progression tree are f*$king hard.
  • Higher risk of injuries. Not only are you more likely to fall on your head, you’re practically guaranteed repetitive stress injuries (tendinitis, bursitis, etc.), popped hammies, or soft tissue injuries like a torn labrum.
  • No understanding of the theory behind it. Yes – circus theory is a thing! You should know the why behind what you’re doing. WHY do we cross two times behind the back for this move? Why do we take our heel out of the knot? Why do we “clench for Jesus” as we slide in front of the fabric? The *why* is important.
  • Ya’ll – it’s ugly. Seriously. Know what’s lovely? A beautiful progression that doesn’t result in just heaving yourself into a position, hauling your body over, and flopping around like a deranged mackerel.
  • BONUS: extra panic! And fear! A good progression also prepares you mentally for the experience of advanced moves. Some motions MUST be executed with confidence, some require some mental reconciling with fear, and some just hurt like hell. There’s no skipping the preparation for that (unless you really like falling, injury, extra pain, debilitating fear, peeing in panic, you get the picture).

 

How do I Work With Progressions?

Hopefully, your teacher has given a great deal of thought to their methodology and pedagogy. (Psssst! If you suspect that this is not the case, it may be time to seek out a new coach.) This looks like a consistent and careful progression that is similar for every student. Everyone will progress at wildly different paces, but the stepping stones should remain the same, with small variations for special needs. It does NOT look like allowing students to jump in wherever they’d like.

So, let’s all be progressive AND conservative! It’s the best of all the aerial worlds! Love and pull-ups, Laura

 
 

 

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Learning is ACTIVE! The SassyPants NYC Method

Benton splitsLearning is a two-way street, my lovelies. Gone are the “open head, insert knowledge” days of education (praise be!). The students who learn the most are the ones who engage most fully with the material, whether it’s nekkid mud wrestling or aerial silks. Are you meeting your teacher half way, or expecting them to do all the work?

Circus Is Active

Circus is active (WHAT??!!). Whether you’re a visual, aural, or kinesthetic learner, at the end of the day, the magic of circus actually happens when you get up and flip/flop/balance/splat/twirl/spin/perch/swing/clench/slide/pee a little/heave/fly/fling yourself on your chosen apparatus or a mat. We all process information in wildly different ways, and each of us has a preferred method of encountering new material. Even more fun? We may not even know what that preferred method is! But, one thing is certain: you ain’t gonna learn it without actually doing it.

My “New York Method” of Aerial Learning

New York is fast-paced and decisive – you either do your thing, or get out ‘da way. In SassyPants Aerial group classes, if you just stare at me waiting for Divine Inspiration, you lose your turn!

My students here in NYC are a varied group for sure, and not lacking in the personality department (yeah, I’m looking at you, Tuesday 6:45). Some like to talk through everything before they approach the silks, some have to see it, and some just have to get up there and slog through it.

When encountering something new, try this:

  • Watch demos carefully, and try to identify which base skill the move is built on.
  • Listen to verbal cues, and do exactly and only what your coach asks you to do.
  • Do what you know, and ask for clarification. Ask for a spot if you feel unsafe doing a move on your own.
  • Completely mystified? Ask what the first tiny step is. Then do that step until you’re comfortable.

 
Please don’t:

  • Be on your phone, daydreaming, or chatting while your coach is demoing or speaking. Pay attention.
  • Just stand there and stare. I cannot do it for you, so you’re going to have to meet me at least half way. If you’re super confused, ask what the first step is, ask for a demo if you need it, and begin. You don’t need to analyze “A Portrait of the Artist as a Young Man” before you attempt a climb on silks. You DO need to touch the fabrics.
  • Insist that the teacher focus solely on you. If you feel paralyzed unless the coach is right next to you, it might be time to book a private, or switch to a lower level class.
  • Sulk and get an attitude (this will make your teacher stabby).

 

New stuff can be scary, confusing, and intimidating as an adult. The more active you are in the process of your learning (literally ACTIVE), the easier it gets. Have fun and stay safe! Love and pull-ups, Laura
 

 

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Help! The Fabrics Ate My Shirt!

Goodbye, shirt! Thank goodness this was a one-time thing, and that Yechiel is a super-safe student.

Goodbye, shirt! Thank goodness this was a one-time thing, and that Yechiel is a super-safe student.

One of the most frustrating moments in a class is when, after executing a lovely Plummeting Whore or Crap-tastic rolldown, the fabric eats your shirt.

“Wretched fabric!” you shriek. “Why why WHY???!!!!”

Well, because you fed it.

Please Don’t Feed the Fabric

It’s a toughie, right? You want to put on a T-shirt with sleeves for armpit-catching drops, but you don’t want to wind up dangling by a knot on your back. What to do, what to do? Fear not, friend – you’ve got options.

  • Choose a sleeved unitard or leotard with leggings. This is the best way to avoid getting caught, but not necessarily the most fashionable. That said, you won’t be performing in a t-shirt – get used to it!
  • Go up, not down. Instead of trying to slide below the knot, straddle back to an invert, arch through to a straight-legged bird’s nest, or do a nice pull-up and draw your knees to your chest. Any of these should get the fabric to release.
  • Lean out. If your forearms are toast, try this: wrap your feet securely, grab one pole, and bring your opposite arm forward between the silks. Now, reeeeeeach forward (no “forward” = caught in the knot, so don’t be half-assed here).
  • Tie up your boobies. If you’re doing crap-tastic rolldowns (aka “windmills” or “cartwheels”), and you insist on wearing a shirt, pull it up and tie it under your charms.

 

Getting Caught is Up to You

While I have oodles of sympathy for the unexpected ruined shirt, I have to tell you – a bad “binding” can be super stressful for teachers. Depending on the rigging situation in your studio, getting you down can be an ordeal if you can’t get yourself free, putting you in a crummy (read: potentially dangerous) situation and eating up class time. If you find yourself trussed up like a turkey on a regular basis, you are giving your poor teacher premature gray hairs. Quit it. Put on your sassiest leggings, grab a snazzy leotard, and get going! Love and pull-ups, Laura
 
 

 

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Impostor Syndrome – Do YOU Belong Here?

Laura & Chris Team USADear Danglers! I’ve missed you! In case you hadn’t heard, I had the ridiculously amazing experience of competing in German Wheel World Competition in Italy a couple of weeks ago. I just got back, having spent the remaining two weeks eating my way through Venice, Florence, and Rome (climbing is going to be hilarious this week – even my most forgiving spandex is tight). Friends, this was a PEAK LIFE EXPERIENCE. Know what else it was? Terrifying, humbling, exhilarating, and inspirational. And I had a big old run in with an old pal: impostor syndrome.

What is Impostor Syndrome?

Impostor syndrome is the sneaking suspicion that one of these things (YOU!!!) is not like the others, and doesn’t belong in the illustrious company you find yourself in. If you haven’t encountered it, one of three things is probably happening: either you are extraordinarily well-adjusted (in which case you can stop reading now), you are enjoying a moment of being a big fish in a small pond and have no idea what else is out there, or you are Isabelle Chasse, and are in fact a superhero. Thing is, almost everyone who’s reaching high and far has a moment where they find themselves among extraordinarily talented people they’ve been YouTube stalking for years… and then it hits. The feeling that maybe there has been a horrible mistake.

For me, it came out of nowhere. I was fine! I was excited and a little bit nervous, but I was totally good. I stepped out on the gym floor to start my warm-up, got a good look at my competition, and stopped in my tracks. I went icy cold, even though the gym was easily over 90 degrees. I have never known anything more clearly in my life: I did not belong here. I knew I was a fraud, and, pretty soon everyone else would know it too.

My coach Chris took one look at my stricken face, and nudged me towards my wheel. I started my opening moves, but something felt wrong. The floor felt too slick, but the wheel’s rubber, softening in the hot gym, felt too slow. Nothing was going over – nothing was working. Now, not only was I a baby beginner in a room full of the best wheelers in the world, the routine I had practiced for over a year was falling apart. Panic crept up behind my eyes, and they welled up with tears. All I could hear in my head was that I did not belong here.

Wolfgang saw the tears, and threatened to make me do vault if I cried. I hate vault. Chris leaned over and said, “Try everything three times. If it’s not going over by the third time, then we worry. Trust it.” So I did. Sure enough, by time number three, everything was going over just fine. By competition time three days later, everything felt just right; weirdly, my feeling of being an imposter had vanished. What had changed in those three days? Sh*t got real.

Just the Facts, Ma’am

  • In a competition where most artists were doing C & D level tricks, I was doing mostly A’s with the occasional B. I was not at their level. I couldn’t meaningfully compete with them, but I could be amazed, inspired, and caught on fire with the excitement of what was going on around me.
  • I earned my spot on the team fair and square. I worked my ass off on that routine, and I’m really, really proud of it. It wasn’t just the physical work I did, but the mental and emotional challenges I trained through.
  • I had a good run. All that rehearsing paid off, and I had a clean routine. It wasn’t perfect, but it went really, really well. I didn’t fall down, fart audibly, miss a trick, or freak out. WIN.

 

Moment of Truth

We all have moments of Impostor Syndrome. We want to be good, we want to succeed, we want to be worthy of the opportunities that come our way; we want to be equal to them, to have earned them somehow. I don’t really know what to say about this, except that it’s complicated. At some point, we hopefully get handed something that is just a little out of our league. And, if we are brave, we jump at the opportunity (because – what? We’re going to let it slide through our fingers? I don’t think so.). So, when we are in this place where we are so clearly the lowest rung on the totem pole, what can we do but leave our crap at the door? Everything from posturing to insecurity. If you didn’t misrepresent yourself, if you’ve been honest with yourself and others about the scope of your abilities, then drink it all in. Be a crazy sponge of learning, and soak up every ounce of the awesomeness you’re surrounded with. That kind of humility is good medicine in our business, and I look forward to more of it. Love and pull-ups, Laura
 

 
 

 

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Hey Girl – Your Bits are Sweaty and Gross

Hello Dear Danglers! The fabulous and sassy Ms Shelly Richards tossed this article my way the other day, and I just had to share.

We do a lot of sweating, crotch and otherwise, because, you know, we work hard. Light colored cotton leggings absolutely have the tendency to highlight the moisture-based aspects of our toils, and I know that makes some folks self-conscious. The guy in the video below says it all! By all means – use dark leggings or panty liners if they make you more comfortable (I can understand not wanting your crotch highlighted by sweat – I prefer rhinestones!). But when it happens, think of it as a badge of honor! Tangible proof that you are a hard-working bad-ass.

Do remember though that working for long periods of time in damp clothing can invite a whole host of delightful feminine fun (yeast party!!!!!). So, this is where panty liners can actually be really helpful, or just bring another set of training clothes for the second part of your day.

Same things goes for sweat smells – pit and otherwise! Hey – those silks don’t smell fresh as a daisy either. Beyond basic hygiene, everyone’s gonna rock some stinky bits sometimes. This is another post in itself, but seriously – don’t sweat it. 😉

Love and pull-ups, Laura

 

 

 

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Stop Kicking the Fabric. No – Really – Stop!

Hello Dear Danglers! Let’s chat about something that has made many an aerial instructor completely insane. Unless your fabric has done something truly unspeakable to you, don’t -I repeat don’t – kick it out of the way before completing an inversion. Is that kind of violence really necessary? I think not.

To invert with fabrics together, simply sweep the legs to one side and straddle back cleanly. When inverting with one fabric in each hand, stop – wait a minute. Hold your hands directly in front of your shoulders, and give the fabric just a second (or three) to part. If the fabric becomes tangled, and inverting with straight legs is not possible, bend the knees into a froggy-style invert.

It’s a simple fix, lovelies! Go forth, and invert like the powerful danglers you are!!! Love and pull-ups, Laura
 

 

 

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There’s More to Life Than Turning Tricks, Mathilda!

Tory Hip BalanceHello, Dear Danglers! I’m off to Washington to teach some workshops for C2Air and the lovely Rebecca Phillips! But before I go, let’s have a chat.

Students come to classes for a bazillion reasons – to frolic in the air, run away and join the circus, get buffity-buff arms, you name it. Part of learning a performance art (as opposed to going to a group fitness class) is the attention paid to technique, and the pursuit of excellence – you’re not just heaving your limbs around so you can cross exercise off your list for today, you’re aiming to hone a set of skills. So, my question for you today is: are you in it for the long haul, or are you just about turning a few tricks?

It’s a Process, Mathilda.

Remember last summer when you bought that super cute top? The one with the neon green fringe and the tropical flowers that you wore every day for two months (hey – I’m not judging you…..)? Now, remember the day you bypassed it in favor of your NEW neon orange top with the rhinestones and tulle? I’m sure this phenomenon has a fancy psychological term, but I’m gonna call it The Law of Diminishing Bling – when the new and shiny wears off, and the thing we loved beyond anything doesn’t beckon to us with the siren song it used to croon. When this happens with a skill we’re trying to master, we’re faced with the uncomfortable realization that the long walks on the beach and champagne at breakfast days are over, and have been replaced with beer on the couch in comfy clothes. Is your first impulse to start sniffing around for something to press your New and Shiny buttons? Oh, Mathilda.

It Takes a Damned Long Time to Get Good

When the slog of the long haul stretches out in front of us, it’s so tempting to hanker for MORE MORE MORE NEW MOVES MORE NEW MOVES TEACH ME SOMETHING NEW RIGHT NOW!!! While variety is the spice of life and all that, and it’s important to sprinkle some NEW into your work on a regular basis, I’m sad to tell you that the vast majority of training boils down to (some very un-sexy) repetition repetition repetition. I regularly see students chomping at the bit for NEW! MORE! SHINY!, but if I’m still having to give you basic technique notes on your inversions, then you need to change your focus, friend. New may be fun, but it’s not going to fix what’s broken – it just gives you new broken. But take heart, you’re not doomed to a purgatory of the same movement forever.

Keeping the Romance Alive

If you can’t have as much NEW! MORE! SHINY! as you want (and none of us can), here are a few ways to spice things up.

  1. Video. Please believe me when I say you have plenty to work on! Video your work, and/or ask your coach what one thing would make the biggest difference in your training. Set a hard and fast goal (straight legs on your inversions, for instance), and attach a reward to it’s completion (a neon yellow top, perhaps?).
  2. Explore yourself. Not that way, Mathilda! Geez. There’s nothing more exciting than watching your students become more themselves in the air – discovering their own personal style, and mining all the quirks that will make for fabulous and interesting performance. In addition to perfecting your technique, begin playing with small variations, an arm here, a leg here, opening the fabric, etc. How do YOU move? Start discovering, because the world doesn’t need any more cookie-cutter aerialists.
  3. Set a performance goal. Sign yourself up for a showcase, competition, or anything else that gets your engines revved. Not only is it invigorating for your practice, but it will strengthen performance skills, build stamina, and increase your personal levels of badassery!
  4. Keep a training journal. Anything goes! Make notes on moves, corrections, ideas, etc. This one thing will juice up your training in ways you can’t imagine.
  5. Hit the YouTubes. There’s a dizzying array of performance to inspire and excite you! Many of these artists have put in their 10,000 hours, and it shows.

What puts the spice back in your training? Comment below! Love and pull-ups, Laura
 
 

 

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RUDE! The Three Essential Rules of Open Workout

With the SassyPants/Das Push Showcase coming up TOMORROW (yaaaaaaaay!), I know many of my Dear Danglers have been hoofin’ it to rehearsal a few times a week. That work shows, friends! BUT, are you the person people want to stab at open workout? No? Not so fast…
 

The Three Unspoken Rules of Open Workout

  1. Don’t use open workout as a substitute for class. Open workout is a time for you to work on what you have learned in class, and feel comfortable working on by yourself. This is NOT a time for you to ask your fellow students to teach you things. They’re there to work on their own stuff! I’m not sure where to begin on how inappropriate that is – it’s like asking to borrow their underwear – you just don’t do it. If someone offers to show you something, that’s a different story (just be careful you don’t pick up all their bad habits).
  2. Show up. Did you agree to be there – either through the space or through the organizer? Your butt had better be there! It’s frustrating when people RSVP, then ghost – don’t be that person.
  3. Respect other people’s work. This is a BIG one, friends! Just because someone is working on something where you can see it doesn’t mean it’s yours to use. Not many of us have the luxury of a private studio every time we need to work on our act, and I can’t count the number of times Angela and I were mid-creation on a new piece, only to turn around and see several people piggybacking on what we JUST DID!! Spare me the argument that there’s nothing new under the sun – that’s not the point. It’s about respecting the boundaries of your peers, and treating their work with appreciation, not appropriation. When you see someone working on something awesome, and you’re not sure if it’s “public domain” or not, ask! Most circus folks are incredibly generous, and will graciously let you know if they want to hold on to the move for a little while, or if it’s been around for ages and it’s all yours.

 

Just One More Thing

Your peers are just that – your peers. They are not your teachers. They may or may not have good technique, they may or may not have an inkling of how to spot you, they may or may not know the contra-indications of a particular move, they may or may not have a clue…. you get the idea.

In closing, DO go to open workout! DON’T be a douche when you get there. 😉 Love and pull-ups, Laura
 

 

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Have you signed up for a class yet? What are you waiting for?

Seriously - these classes are not going to take themselves! Jump right in. Whether you "have zero upper body strength" or have been around the aerial block a few times, I'd love to see you in sessions!