Ashley

There are a lot of great benefits to competing, but there are also a lot of barriers that prevent people from having that experience or having a good experience. Let’s explore just a few of the common barriers that exist in the world of competitive pole and aerial. 

1. Cost. Competition isn’t cheap. From registration fees to coaching, costume, music editing, hair, makeup, tickets for your friends and family, those costs can add up real quick.
   
2. Time. Prepping for competition requires more time than what most currently spend in classes. Finding additional time in your schedule, taking time off of work or saying no to other opportunities/events can be a challenge and a tradeoff.
   
3. Access. This is big for competitions that aren’t local. In these cases there’s additional logistics and costs around transportation, lodging and scheduling.
   
4. Pathway. Not everyone has a direct pathway to competition. Whether they train at home on their own or are at a studio that doesn’t have a competition team, competitions coaches or other competitors, this lack of a competitive ecosystem can make it hard to get started. 
   
5. Coaching. Having access to (or the finances to pay for) knowledgable and experienced competition coaches.
   
6. Knowledge. Each competition has it’s own rules, requirements, scoresheets, code of points and other key information that dictates and helps shape what competitors can and cannot do on stage. Being able to understand, interpret and apply this while still being competitive and creative can be a challenge for new and inexperienced competitors. Additionally, the lack of experience and mentorship from experienced competitors can be a disadvantage.
   
7. Practice Resources. Having regular access to competition-regulation equipment, proper stage setup, training space, body care and other necessary resources interferes with the training process.
   
8. Gender Identification. Some competitions require competitors to compete under their gender assigned at both, while others allow people to compete as who they are.
   
9. Body type concerns and biases. Okay so this one was a BIG one for me when I started competing. Feeling like you need to change your body to be competitive or judged fairly is a serious and valid concern. There are also biases (some unconscious and some not) that can sneak their way onto the judging panel.
   
10. Use of legal name. Many competitions (especially those Olympic-bound) require competitors to register and compete under the legal name. Many people in the corporate world as well as those that prefer to keep their pole/aerial life private are not able to compete under their legal name.
    
11. Pressure to win. Whether self-imposed or imposed externally, the pressure to win to prevent someone from even trying.
    

12. Lack of representation. When you don’t see anyone who looks like you (racial, gender, socioeconomic groups) on stage or in past competitions, that lack of representation can make you feel like you don’t belong or won’t get a fair chance and assessment. 

13. Limited levels/categories. The way that levels are defined, what skills are allowed/restricted, as well as the lack of a para category can be leave potential competitors (and those hoping to level up) without a category or level that suits them and/or their current abilities.

When you can’t do what you want to do. Focus on what you can do.

After suffering countless setbacks, one of the biggest things that’s helped me each time I’ve had to start over is FOCUSING. There are definitely times where you’re gonna feel the feels….like ALL of them. It a complete mix of physical, emotional and psychological feelings. You’ll be frustrated, fearful, heartbroken, lonely, pissed the F off, depressed, isolated and so much more. 

But I realized that outside of feeling all of the feelings, there’s nothing that I can do that’s going to be a quick fix that’ll put me back where I want to be. 

Instead reframing my physical situation and focusing on what I can do allows me to be and feel productive and helps me celebrate the little wins. TRUST ME, YOU NEED AND WANT THOSE LITTLE WINS. Not only do those little wins add up to RECOVERY, but they also offer a helpful and positive distraction – even if it’s only temporary. And those deposits of positivity and hope help with the recovery process. 

Each time this #ProfessionalBeginner has started over, I find focus. I ask myself, what can I do with the parts of my mind, body and creativity that I am able to use? How can I continue to grow, develop and challenge those parts? This reframing has allowed me to:

– Strengthen my foundations
– Make new discoveries about my body and abilities
– Develop new skills
– Strengthening areas of weakness
– Improve my teaching and cueing craft 
– Understand non-traditional and disabled body types even more
– Create new approaches, variations and workarounds 
– Learn more about the human body and what an amazing machine it truly is 
– Make better choices with my body

If you find yourself starting over know that it’s not the end of the world, just another part of your journey. 

Starting over sucks. 

But you know what sucks more than starting over? 

Having to start over…again… 

And again…

And yet, again…

It’s very much a roller coaster ride and can feel like a lonely time in your life. It’s easy to be overwhelmed with feelings and emotions. A mixture of thankfulness and frustration. Thankful because it could have been worse, but also why me? Why again? 

What I’ve learned about starting over (way too many times) is that starting over isn’t returning to zero. It’s about rebuilding your foundation using new knowledge and tools to do it better and be better than the time(s) before.

Here’s a few things I’ve learned about starting over: 
– You fall behind, but you start ahead. 
– You know a lot, but you learn even more.
– You’ve been here before, but you’re on a new path.
– You lost what you had, but you can gain much more. 
– You might be on your own, but you’re never alone.
– It might be hard, but it gets easier. 
– It’s not fun, but it’s worth it. You’re worth it. 

Understanding the journey ahead and knowing that it takes a long as it takes, especially when you’re doing it the right way and not rushing back in. 

I call myself a professional beginner because I’ve had to do it so many times that I’ve gotten good at it, although it doesn’t get any easier.

Thinking about competing in pole/aerial but feeling unsure? The best time to start preparing is NOW! And the best way to start is by learning the rules of that competition and getting answers to all of your burning questions. So before you jump into creating a routine (although I’m sure you’ve got dozens of exciting ideas running through your head already), here are three things you should do off the bat. These will give you a look into the structure and personality of the competition, and help you understand how to build a competitive routine in alignment with the competition, its rules and areas of scoring. 

1. Review the rules and scoresheets so you know exactly what you can and cannot do in your routine, the layout of the stage, and what the judges are looking for, so you can craft a routine that is both compliant and uniquely expressive.
   
2. Watch past videos from that competition to get an idea of the stage and what a competitor in your level/category ideally looks like movement wise – and for those that are after hardware…what a winning routine looks like.
   
3. Ask any and ALL questions you have to the competition organizers, your coach(es), other competitors you know, other competitors that have competed at the competition and are open to sharing. 

Got competition questions? Ask away! Drop your questions in the comments or contact me here!

Having an infusion of dance styles will not only make you stand out on stage with a memorable performance, for many competitions it can also be worth some sweet sweet bonus points. But WHAT are all of the dance styles in existence and do you know how to recognize (or better yet, perform) them? Let’s take a look at the different dance styles and their key characteristics:

Ballet:

• Graceful, precise, and technical
• Emphasizes turnout, pointed feet, and fluid movement
• Classical storytelling and structured choreography
• Styles include Classical, Neoclassical, and Contemporary Ballet

Jazz

• High energy, syncopated rhythms, and isolations
• Includes leaps, kicks, turns, and sharp movements
• Influenced by African, Latin, and ballet techniques
• Variations: Classic Jazz, Broadway Jazz, and Jazz Funk

Contemporary

• Fusion of ballet, jazz, and modern dance
• Fluid, expressive, and often abstract movements
• Strong emphasis on floor work, breath, and emotional storytelling
• Uses improvisation and dynamic energy shifts

Modern

• Rebellion against classical ballet’s strict structure
• More grounded movements with a focus on contraction and release
• Pioneers: Martha Graham, Isadora Duncan, and Merce Cunningham
• Often performed barefoot

Hip-Hop

• Urban street dance with strong beats and grooves
• Includes breaking (B-boying/B-girling), popping, locking, and krumping
• Highly improvisational with freestyle elements
• Often performed to hip-hop, funk, or electronic music

Tap

• Percussive footwork using metal taps on shoes
• Syncopated rhythms and intricate foot patterns
• Two main styles: Broadway Tap (showy, musical theater style) and Rhythm Tap (more intricate and jazz-influenced)

Ballroom

• Partner dance with smooth and Latin styles
• Smooth Ballroom: Waltz, Tango, Foxtrot, Viennese Waltz
• Latin Ballroom: Cha-Cha, Rumba, Samba, Jive, Paso Doble
• Emphasis on posture, connection, and rhythm

Salsa

• Latin partner dance with fast footwork and hip action
• Emphasizes spins, intricate arm movements, and energetic rhythms
• Originated in Cuba and evolved in New York and Puerto Rico

Bachata

• Dominican Republic partner dance with romantic, smooth movements
• Features simple footwork, body rolls, and close connection
• Styles: Dominican, Sensual, and Modern Bachata

Flamenco

• Traditional Spanish dance with intense passion
• Includes foot stomping (zapateado), hand claps (palmas), and expressive arm movements
• Often accompanied by live guitar and singing

Swing

• Lively, upbeat partner dance from the 1920s-40s jazz era
• Includes styles like Lindy Hop, East Coast Swing, and West Coast Swing
• Characterized by fast footwork, lifts, and aerials

Charleston

• 1920s jazz dance with energetic kicks and fast movements
• Often danced solo or with a partner
• Syncopated and playful movements

Argentine Tango

• Improvised, intimate partner dance with close connection
• Slow, deliberate footwork with intricate leg hooks and embellishments
• Emphasizes musicality and improvisation

Belly Dance

• Middle Eastern dance focusing on isolations of the torso
• Undulating hip and abdominal movements, shimmies, and fluid arms
• Various styles, including Egyptian, Turkish, and Tribal Fusion

Kizomba

• Slow, smooth partner dance from Angola
• Focuses on connection, fluidity, and sensual body movement
• Danced to rhythmic, romantic music

House Dance

• Social street dance style from underground club culture
• Quick footwork, fluid upper body, and groove-based movements
• Includes elements of lofting and jacking

Waacking

• Expressive dance with dramatic arm movements and posing
• Originated in LGBTQ+ disco clubs in the 1970s
• Emphasizes musicality, speed, and storytelling

Vogue

• Inspired by fashion poses and exaggerated lines
• Styles: Old Way (precise, geometric movements), New Way (more flexibility), and Vogue Fem (fluid, dramatic, and feminine)
• Popularized by ballroom culture and Madonna’s “Vogue”

Krump

• High-energy street dance with expressive, aggressive movements
• Originated in Los Angeles as a way to express emotions
• Characterized by chest pops, arm swings, and quick footwork

Bharatanatyam

• Classical Indian dance with storytelling through hand gestures (mudras)
• Rhythmic footwork and expressive facial expressions
• Traditionally performed in temples

Kathak

• North Indian classical dance with intricate footwork and fast spins
• Includes rhythmic storytelling and expressive gestures
• Often accompanied by live tabla music

Odissi

• Classical Indian dance with fluid upper body and grounded stances
• Inspired by temple sculptures and Hindu mythology
• Graceful and intricate storytelling

African Dance

• Rooted in traditional African cultures, highly rhythmic
• Emphasizes full-body movement, high-energy jumps, and percussive footwork
• Often performed to live drumming

Step Dance (Stepping)

• Body percussion-based dance using stomps, claps, and vocal calls
• Popular in African American fraternities/sororities
• High-energy and synchronized

Irish Dance

• Rapid footwork with minimal upper body movement
• Styles include Soft Shoe (graceful, light) and Hard Shoe (rhythmic, percussive)
• Popularized by “Riverdance”

Clogging

• Appalachian dance style with percussive foot stomping
• Similar to tap but with a looser, folk-style approach
• Often performed to bluegrass music

Polynesian (Hula, Tahitian, Siva Afi)

• Hula (Hawaiian) tells stories through hand gestures and hip movements
• Tahitian dance features rapid hip shaking (ote’a)
• Siva Afi (Samoan Fire Knife) is an acrobatic, martial-arts-inspired dance

Folk Dance

• Traditional dances representing various cultures
• Includes styles like Russian Cossack, Greek Sirtaki, and German Schuhplattler
• Typically social and performed in groups

Can-Can

• French cabaret dance with high kicks and splits
• Fast-paced and energetic, often performed in a chorus line
• Famous for its association with the Moulin Rouge

Burlesque

• Theatrical dance with elements of seduction and comedy
• Often features feather boas, gloves, and dramatic movements
• Inspired by vintage jazz and cabaret

Twerk

• Twerking has roots in West African dance styles (like Mapouka) and evolved through hip-hop, dancehall, and bounce music influences.
• Rhythmic hip movements and strong lower-body engagement with variation in speed and levels
• Isolated hip movements, popping and shaking, squatting and bending

Hiplet

• a unique dance style that combines classical ballet technique with urban dance influences.
• traditional ballet pointe work but with rhythmic, grounded, and percussive movements rather than the usual airy, classical style.
• Rhythmic footwork with sharp syncopated footwork and often follows hip-hop or R&B beats.
• Movements emphasize rhythm and timing, responding to bass-heavy beats rather than classical music.
• Urban Flair & Attitude – Hiplet dancers incorporate expressive head movements, hand gestures, and attitude-driven styling influenced by hip-hop culture.
• Fusion of Styles – While hip-hop is a primary influence, Hiplet can also blend elements of jazz, contemporary, and even dancehall styles.

One of the best tools at your disposal as a developing artist-athlete is competing (and performing in general). Even if competing isn’t your jam, these three things still apply if you are just interested in performing in shows or one day professionally. 

Going through the process of developing, fine tuning and debuting a stage performance can do wonders for growth! Here are 3 things I love about the benefits of competing: 

1. Exponential growth through regular practice and hopefully movement mastery 

2. Planting your own performance seed and watching it grow 

3. Connecting the dots between what you’ve been learning in classes and/or working on your own. This happens through connect tricks and flow, working through transitions and adding character and style. 

Bonus: wearing cute outfits and shoes!! 

There’s definitely MORE but these are the three that as a coach and judge, I absolutely LOVE seeing happen for performers. 

Want to learn more? Join me Sunday February 2, 2025 at 10am CST for a virtual competition info sesh! In addition to answering all of your burning competition questions, we’ll be exploring what competitions exist, how to know if you’re ready to compete, time and cost commitment and more! RSVP here.

Ashley here! The last two years have been full of surgeries and healing, but I’m finally out of pain and feeling more like me! Prioritizing my body and healing put so much on hold, BUT I’m back! So you’ll be seeing me pop up in your feed a lot more and I hope that you’ll connect with me and engage in some much needed discussions. In the meantime here’s some fun facts about me and the many things I do: 

✨ I gave birth to my creative brain child: Aerial Athletics Dallas. It’s not a studio, but is home FlexyFit, Aerial Ashletes, Slay the Stage, Aerial Ambition & everyBODY.

✨ Aerial Ambition: Connect with me for creative Business Coaching for Movement-based Businesses and Soloprenuers, and branding for pole/aerial/circus instructors. 

✨ Body & movement nerd. CPT, CES, HMS are some of my fancy titles. The more I learn about the body, the more I realize I don’t know about this incredible machine.

✨ everyBODY coach that believes in body inclusive teaching practices because no two bodies are alike.

✨ Slay the Stage: my contribution to our local community and a way to positively pour into our future leaders, teachers, performers and stars!

✨ I’m a shape shifter that has been overweight, in shape, out of shape, in broken shape and back. Now I’m just happy to be in a pain free shape.

✨ Professional Beginner. I’ve started over more times than I can count. I get a little better, more patient and a lot stronger each time.

✨ Pole/Aerial Competition Judge. I’m a multi-certified judge, and I’ve judge hundreds of competitions and thousands of competitors. 

✨ Pole/Aerial Competition Coach. I love coaching all levels and have trained athletes on the National and World stage. My team has a nice pile of hardware

✨ Master torturer is what my #Ashletes lovingly refer to me as.

✨ I love bending & stretching. Splits are my fav!

✨ Words & Colors are my Jam!

✨ I love to read books and drink red wine!

One of the conversations I find myself having with all too often with students is grounded in this randomized expectation and the resulting disappointment in movement abilities. It seems with all of the #inspo and #goals we consume via tv/movies and social media that we’ve somehow created these mythical standards dictating what we should be able to do and how long it should take “because we’ve been doing (insert apparatus) for this many months or years.” This line of thinking actually keeps us forever trapped in a model of comparison, stuck and frustrated because of what we *think* we should be able to do, rather than appreciative of what we can do and have achieved.

Let’s start with what a “Mythical Standard” actually is. We know a standard is defined as a rule of measure or something established by authority, custom, or general consent as a model or example. It becomes mythical when we start to apply that arbitrarily, unnecessarily and unrealistically to ourselves or our students. I’ve noticed that many of the things students think they should be able to do are based on what they see other’s (near and far) doing. But there’s a whole lot of context missing from what you see posted, streamed and shared.

This line of thinking is disappointing and dangerous. Besides impacting your mental-emotional and self-worth, it can also lead to injury if it’s something your body isn’t ready for or something you’re trying to force your body to do. Like Regina George, I’m here to tell you to STOP trying to make fetch happen! Now, I’m not saying give up on your goals. Goals are important! What I am saying is to get specific about the goals you want and why you want them.

I personally think we just get excited and impressed by something cool we see and instead of simply allowing ourselves to say: “that’s dope”, “I love the way that looks” or “I’d like to grow to where I can try that one day,” we instead tell ourselves “I NEED to do that” or “I SHOULD” be able to do that. And if it shows up in your feed, studio or on a competition stage near you then that seems to amplify the thought that it is a must do.

Understand that another person’s abilities or movement style does not have to be and really shouldn’t be yours. Respect your body, respect your level and create your own style. Yes there are certainly some foundational movements and ranges that we need to be able to strongly and safely put ourselves through as we progress on our movement journeys, however get clear on what’s foundational vs. what’s not. Now that’s not to say that we shouldn’t have movement goals that we are working towards, but it is to say that we should pick out realistic goals and treat them as things we’d like to do and not things that we should be able to do. From there get with an experienced coach to learn your body’s challenges and abilities, understand the demands of our sport and the desired move and then build a realistic training plan to help you close that gap.

And remember, your self-worth isn’t and shouldn’t be determined by what moves you can do.

Here’s a little exercise I want you to do. Grab a pen and a notebook and answer these questions:

1. How do you THINK you should move?
2. What do you THINK you should be able to do?
3. How easy do you THINK that should be?
4. How did you come to these conclusions above?

Send me your responses and then let’s talk about it!