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Chrome Allergies: Pole’s Itchy Little Secret
(This article was originally posted on Bad Kitty’s blog, which is no longer active. I pulled an archived, early draft to repost here, since the demand for information is still high. It does not have quite as many photos or personal stories as the original, but much of the other information remains the same.)
As polers, we’re pretty used to a lot of body trauma: pole burns, righteous bruises, and general aches, pains, and whatnot. But, there is one itchy little subset of injuries that doesn’t get a lot of attention: “chrome” allergies.
What is a “chrome” allergy? In short, it is contact dermatitis due to an allergen. Although chrome itself can cause allergies, particularly in industrial uses, the prevailing theory in the pole world is that the allergic reactions dancers have to chrome poles is actually due to the nickel content found in the plating. According to the Mayo Clinic, nickel allergies and other metal allergies are among the most common causes of contact dermatitis. [1] Pole dancers who suffer from these allergies can have reactions ranging from itchy skin, to red patches, hives, and worse, depending on the level of allergy and duration of exposure.
Photo from Michelle Stanek
About Metal Allergies
Metal allergies are more common than you’d think, with studies showing that anywhere from 10% to over 20% of the population may suffer from nickel allergies alone, and these allergies are reportedly on the rise. Women are reportedly more likely to suffer from metal allergies, in part because of the higher occurrence of piercings among females. [3] Within the pole community, some reactions may go unrecognized due to the lack of discussion around the topic. Anecdotal evidence shows that these types of allergies and reactions occur primarily after using chrome poles. Unfortunately, many studio poles in the US, Canada, and Mexico have poles made from chrome, and students with metal sensitivities may get the short end of the stick. They can enjoy class at their own peril and hope they get to a shower fast enough to wash their skin before the reaction begins. If they don’t, they are in for an ugly, painful, and itchy few days…often longer.
Allergic reactions (aka allergic contact dermatitis) can appear similar to irritant reactions (aka irritant contact dermatitis), with many of the same symptoms. A licensed allergist can administer a patch test to rule out allergies, but some differences include the severity of the reaction; the localization of the reaction (ACDs tend to be localized to the contact points, while ICDs are more wide-spread); and the swiftness with which the reaction occurs (ACDs tend to crop up 24 to 48 hours after exposure, while ICDs are more immediate). [2]
Research into how to treat the allergic reaction shows that the recommendation is to clean the skin as soon as possible after contact, then follow with a hydrocortisone cream. If you have a serious allergic break out that includes skin eruptions, you may need to consult your dermatologist for additional care, possibly including antibiotics to ward off a secondary infection.
Some recommended treatment tips from polers I spoke to include:
- Bring alcohol wipes with you to class and wipe down your contact areas as soon as class ends – Follow up with a shower as soon as you are home/able
- Hydrocortisone cream
- Benadryl allergy gel (no greasy finish to worry about!)
- Oatmeal lotion and oatmeal baths
- Essential oils mixed in coconut oil and applied topically (A couple drops each of lavender, tea tree, and geranium oils works best)
- Creams used for diaper rash (i.e. Zincofax or Penaten)
- Topical steroids (requires prescription)
- Chinese herbal remedies/detoxes
Unfortunately, there are not many ways to prevent an allergic reaction that don’t involve a) keeping your skin covered b) applying a lotion that will block the allergens, or c) using stainless steel poles. While poling in sticky pants can be an option for pole dancers, we all know that lotion and poling don’t mix. The best option is avoid chrome all together, which is pretty difficult if your home studio doesn’t offer stainless steel poles. In a city like Los Angeles, where there are many studios to choose from, it’s easier to avoid chrome if you need to do so. But in smaller markets, students with this allergy are likely to be stuck with chrome as their only poling option. Silicon coated or powder coated poles are also options, but again, these are difficult to find in most markets, particularly in a studio environment.
These allergies are so common that even world famous polers like Marlo Fisken, Bad Kitty® Brand Ambassadors Michelle Stanek, Lou Landers, and Nadia Sharif suffer from them. In Nadia’s case, her allergy was so serious that topical steroids failed to resolve her issues. After a follow up appointment with a doctor, she had a blood test that diagnosed her with metal toxicity. Due to the severity of her skin lesions, she was forced to take a 2 month hiatus from training while she healed. It began with training on old, chrome poles in humid weather; the first signs were sores and blisters on her hands and feet, but it soon progressed to cracked, bleeding skin that would not heal, despite the use of topical steroids. Nadia was able to get help through Chinese herbal detoxes, but she avoids chrome whenever possible; when she does have to train on chrome poles, she resumes her Chinese herbal treatments.*
In an effort to hear more about how contact dermatitis impacts polers at all levels, we reached out to polers across the US and into Mexico with the allergy. All of the respondents reported similar symptoms after using chrome poles, particularly in humid conditions: itchy, red rashes localized to contact areas such as armpits and torsos/sides, and in severe cases, vesicles (blisters), sores, and/or cracked skin that failed to heal. You can see a gallery of their photos at the end of this piece. One featured poler, Andrea Plancarte of Mexico, told us that her symptoms included itchiness, particularly on her contact points, with vesicles forming about a week after exposure. These vesicles eventually burst and cause erosion of the skin, with flaking and cracking skin scales that prevent her from poling. Her dermatologist recommended using only stainless steel or silicon coated poles for training, but she’s found it difficult to locate studios near her with stainless or silicon options.*
Photo from Lara Michaels
How do poles cause allergic reactions?
To find out a little more about the science behind chrome use in poles, we sat down with an expert who not only has his PhD in Chemistry, but also has the good taste to be the significant other of a pole dancer! He helpfully laid out how these types of skin reactions could easily occur:
The chrome poles are almost certainly manufactured with nickel, as that’s what you electroplate chromium onto to get that classic “chromed” finish…So, you’re looking at chromium electroplated onto nickel. There is a very high probability that the contact dermatitis is being driven by a nickel allergy, not a chrome allergy. Nickel is a notorious allergen…and has been demonstrated to dissolve in water due to corrosion from extended contact with sweat. The most straightforward explanation is that the chromium is wearing off due to extended contact with skin/sweat, exposing the nickel and that’s what’s causing the problem.
But where does the chrome plating go? Dancers have been concerned that it may be absorbed through the skin, but our Chemist had this to say:
The takeaway here is that the rate of chromium oxidation is likely to be extremely low and very unlikely to be a health hazard. The first oxidation state of chromium (Chromium III) is very, very poorly absorbed across the skin and almost none of it will be generated in any case. What you’re seeing is very likely the chromium just coming off in microscopic particles due to friction – there’s probably a very light dusting of it on the studio floors…it is very, very, very unlikely to be absorbed into the body.
We also asked about how chrome poles become stripped, exposing the nickel plating, and his answer was fascinating. While the quality of the electroplating will have a lot to do with how quickly chrome will break down, the ultimate reason for the wear is that chrome requires care that is the opposite of how it is treated in pole. To maintain the shine and integrity of chrome, oil or wax is recommended, and polishing is discouraged. Between the use of alcohols and cleaners, to the friction created by skin grips, slides, and general contact with skin through movement, the chrome on poles is likely to not survive use in a pole dancing environment.
Why is chrome so prevalent?
Chrome is a popular finish for many pole dancers because of its grip / ability of the skin to stick to the pole without sliding. We reached out to leading US pole manufacturer, X Pole, to find out more about the pole finishes they offer. Until recently, X Pole offered only chrome options for their studio Build-A-Poles, but they do now have stainless steel 45mm Build-A-Poles available for studios in the US, as well as brass 45mm of the same style for Canada. Until demand grows, these options will remain limited to their respective North American markets, but they are available by inquiry (as of publication, neither option is listed on the US website). With the new stainless option, the main base pole is stainless, but the extensions for higher ceilings are chrome – again, until demand increases, this is unlikely to change. While X Pole’s home poles are made in a variety of finishes, home poles are not suitable for the battering that goes on in a studio environment.
Another reason why we see a lot of chrome? It’s usually priced more affordably than stainless. When starting a pole studio, there are a lot of expenses to factor in, and this is one way for studio owners to keep costs within budget. Many students prefer the grip of chrome to stainless or brass, so chrome can also be a crowd pleaser for those who do not suffer from metal sensitivities.
What are the alternatives?
The other main US brand, Platinum Stages (now owned by X Pole), does offer single piece, stainless steel poles for studios, but their poles are not as widely sold outside of major US markets, and therefore, not as easy to find. The company has also been plagued by customer service complaints, which has reportedly hurt their trustworthiness amongst studio owners. Lupit Poles are an excellent option for studio or home use, being that they are stainless and well made – their popularity in the US has grown over the last few years (since the original publication of this article), and they are my personal choice for a pole. A lesser known US brand with studio pole options is Pole Danzer, which offers 45mm and 50mm stainless or brass permanent mount poles, as well as some portable options. Unfortunately, based on our research, there is no 40mm stainless studio-quality option currently available on the US market.
What can you do?
Please remember: each dancer is an individual, and while allergies exist and skin reactions may pop up, only a dermatologist, allergist, or licensed physician is qualified to diagnose the condition and cause. Not every dancer will react to chrome poles in the same fashion. For studio owners, we strongly recommend caution in exploring your options and best practices for your studio, students, and market.
Some additional resources regarding chrome and nickel allergies:
[compiling a list of links on nickel allergies, chrome allergies, and contact dermatitis]
[1] Mayo Clinic – Nickel Allergy Definition
The Cost of Being a Pole Instructor
So you want to be a pole instructor? Awesome! First, head over to the Alloy Images blog for a fun take on the joys (and occasionally not so fun, but still funny aspects) of being a pole instructor. They do a great job at covering it with glee!
Now, let’s get down to the serious stuff. Being a pole instructor comes with a lot of responsibility (duh), but what may not be obvious is that it can also cost a lot. Not just financially, but physically and emotionally, too. I’ve been thinking about this off and on, discussing it with my friends who teach, and I’ve finally put together a list of costs associated with teaching pole – with some bonus help from members of one of the excellent, private Facebook groups dedicated to teachers and studio owners. (Thanks all!)
FINANCIAL COST
You might think that teaching pole is a means to extra income. Sometimes, that is true! Buuuut, not always. Here are some costs to consider:
Insurance
If you are teaching pole, you must have proper instructor insurance. To not insure yourself as an instructor is to leave yourself open to potential lawsuits should a student be injured in your class. While studios should have their own insurance, that coverage will vary (it may not cover you as an instructor), and you should ALWAYS protect yourself, regardless of the level of insurance at your studio. Do your research into coverage; make sure you choose a plan that covers pole. Personally, I have insurance through Alternative Balance. They offer options for part-time and full-time instructors, plus they specifically cover pole. My yearly rate comes out to just over $200, before adding my studio as an Additionally Insured. Make sure that you add every studio you teach at to your policy – this can cost anywhere from $10 to $25 per studio, on top of your premiums. Other policies are out there, and they can be expensive!
As a pole instructor with a muggle job that provides me with health insurance, I am afforded the privilege of not having to pay for it fully out of pocket. But if you plan to make pole your central means of work, health insurance is something for which you will need to budget – you do NOT want to get injured without coverage. Trust me. Plans will vary, but when I was getting insurance through the Affordable Care Act (aka Obamacare) from 2013 to 2014, I went through Covered California and saw plans that provided bare bones coverage for very little, to “Cadillac” coverage plans that cost a few hundred dollars a month, even after subsidies (at the time, I was making about $24,000/year, so my subsidy offers were decent, and I went with a medium level plan that cost around $125/month).
Certifications
There are a number of Pole Certification companies out there, and none of them are particularly cheap. You’re looking at a minimum of $500, to close to $1000, for any certification course. Now, do you absolutely NEED to be certified? It depends on your studio (some will require it). Personally, I have some mixed feelings on it.
I am certified through Pole Moves. I found my certification helpful for a lot of things that a good teacher will need: warm-up concepts, verbal cues, safe spotting, how to plan and manage a class, etc. Those things are invaluable, and a certification can really help you in these matters. What it cannot do is give you apparatus mastery and the personality that is suited for teaching. Some folks are natural teachers, or can cultivate that skill set to become good teachers. Others…just don’t have it. Even if they’re incredible polers who have apparatus mastery…they might just suck at teaching. It happens. A certification may help that, or it may not. Overall, I feel that certifications are a smart investment, but I do not feel that they will automatically make you a good teacher.
Another type of certification that is important to have (but seems rarer) is CPR/First Aid. A quick search on the Red Cross certification website shows prices ranging from $75 to $120 for a certification class, depending on the type of certification you want. This brings me to the concept of group fitness certifications: in addition to a certification that is pole specific, you may also want to be certified for group fitness through an organization like ACE, AFAA, etc. This takes time and dedication, but also money – anywhere from $300 to $600 register, not including other fees for prep materials, tests, etc. (it varies depending on the organization).
Continuing Education
As a teacher, it’s important to continue to learn. That can cost money. Maybe it’s a new certification, a private with another instructor, a trip to a pole-centric learning event (i.e. a convention or a retreat), additional classes, etc. Trips to large pole events or retreats can cost A LOT – thousands of dollars – and even additional classes can add up. Some studio compensation packages include free classes for instructors, but others do not, which brings me to…
Compensation
Being a pole instructor can mean some extra income! Yay! But…not always. Before coming on board with a studio, make sure you know their policies:
What is their class rate?
Some studios pay a flat fee per class; others pay a flat fee plus additional compensation for good class numbers; some only pay in trade (free classes/rehearsal time). Make sure you know what your compensation will be before you agree to teach at any facility. This includes fees for privates! Most studios take a cut of earnings from privates, as much as 50%.
Will you be an independent contractor or an employee?
As an employee, your taxes will automatically come out of your paycheck. As an independent contractor, you will be paid up front, but have to pay out taxes at the end of the year, once your studio issues you a 1099. This means that you’ll need to budget enough money throughout the year to cover your year-end tax bill. Being an independent contractor may also cost you in other ways, like possible fees for music licensing and additional fees for tax processing (if you freelance at multiple studios).
What are their studio cancellation policies?
How many students are required for a class to run? For our studio, it’s a minimum of 2 students. If your class is not performing well, you may not end up teaching as often as you think.
Will you actually get paid?
Beyond the established pay rate of the studio, you need to know: will they pay you? This is a serious issue within the pole community. I’ve heard many an anecdote about instructors being stiffed by studio owners, both for traveling workshops and regular classes. If you can, do some research and talk to the other instructors at the studio – make sure that the owners can pay you, and that they can pay you on time. You don’t want to work for someone who is not on top of paying their instructors.
Tools and Supplies
While most studios will have the basics of what you’ll need to teach your classes (i.e. poles, yoga mats, yoga blocks, etc.), you may end up needing to purchase other supplies, like stretching/resistance bands, massage balls, grip aid, knee pads, shoes, pole clothing, etc. Even things like music purchases or music subscription service fees (i.e. Spotify), class planning supplies (including advertising, i.e. if you pay for online design templates to create posters for your classes/workshops) can add up. I have the added issue of supplying props for my movement class, like chiffon. There are also other things to consider, like gas to and from various studios (if you’re teaching at multiple places), portable mood lighting or music devices (iPods, speakers, etc. – not all studios have speakers), and professional pole photos to help market your classes/workshops.
The nice thing about being an instructor is that you can write off most of your supplies at tax time; but you still have to pay for them, so it’s still money out the door.
Recovery – Part I
Being an instructor can take a serious toll on your body. Doing something 18 times, in slow motion, while talking, is exhausting, and the wear & tear can be all too real. As an instructor, it’s important to take care of yourself, and that often means spending money on things like massage, acupuncture, trigger point therapy, chiropractic adjustments, and more. As an example, at one point earlier this year, I saw an acupuncturist for needles and cupping ($90), a trigger point therapist for release work massages ($195 cash), and a chiropractor ($60 + tip for masseuse), all in the span of less than a month – with multiple visits to the trigger point therapist. That’s A LOT of money spent to keep my body functional.
This doesn’t even account for things like proper diet (good food costs money) or supplements, or self-work tools like foam rollers, massage balls/tools, or in my case, the help of a nutritionist. My point is: this shit adds up. And that, in and of itself, can be stressful.
Photo by Alloy Images. Shot at The Brass Ring, featuring Iris Smoot & Manda Ritz.
EMOTIONAL COST
Teaching can be a ton of fun, and it be incredibly rewarding. Any time I see a student nail something they’ve been working hard to get, or find themselves breaking through to a new level, it is THE BEST feeling. I get so happy and so proud. I think about how far students have come, how much I love seeing them work and try and succeed, and it makes my day.
That being said: teaching can also be exhausting.
Time
If you are teaching a lot, you may not have time for yourself. You may be giving up time to do basic things, like errands, or you may be giving up time with your friends and loved ones. If you end up with classes on the weekends, guess who is not going to get to hang out with their friends who have muggle jobs? Yep.
Even if you are like me – muggle job, teaches once a week, with the occasional subbing gig – it’s still hard to make time. On nights where I teach a couple of classes in a row, I am doing it after 8 hours at my day job. I get an average of about 30 minutes of “me” time between driving home (30-45 minutes) and driving to the studio (30 minutes). I usually nap, then shove some healthy snacks into my face on the drive in. When I get home, I usually eat something, plus I still have house stuff to do, and I want to spend time with my husband, and the next thing you know, it’s midnight, and I have to be up in 6 hours. I’m usually quite tired the day after!
Beyond just time to do things and hang with your friends and family, you may also not have time to train. “But, I am teaching all the time! Of course I will train!” Eh, not always. Many instructors I know are so busy instructing others that they rarely get to take classes and be a student themselves. Nor do they always get to go to the studio and work on their own stuff.
You also have to set aside time for the administrative side of things: planning/practicing your lessons, creating/practicing/breaking down choreography, promoting your classes online with video or posters, hustling for new opportunities, etc.
Boundaries
It’s natural for students to become attached to their teachers – and vice versa! – but boundaries are important. Some students will need more attention and time, but if these requests are coming outside of class, and taking up a lot of time, there may be a need for a boundary.
Boundaries can also come into play when your friends take your class. Teaching your friends can be super fun, but if they aren’t respecting you as the instructor – goofing off, talking over you, doing moves not at the class level or part of the lesson – it can be stressful. In that case, boundaries are a must.
Last, but not least: for whom will you be working? What is the personality of the studio owner? How do they run their business? Are you okay with any of their idiosyncrasies? Or will they end up driving you insane? This is an important thing to consider – ask other instructors how they like working for the studio, and of course, use your own judgement. Nobody wants to work for a crazy, flaky person, and if you end up in that situation, boundaries will be important if you want to continue to work for them.
Giving vs. Receiving
As instructors, we give in order to allow students to flourish. Sometimes (often), one small win for a student makes it all worth it. But to put so much of ourselves into something can be draining. You have to make time to feed your own creativity and soul, in order to be of any use to others. This is important to your emotional well-being, and – surprise! – it requires time and boundaries.
Nancy spotting me at The Vertitude. Photo is my own.
PHYSICAL COST
While we all make jokes about how our bodies change through pole, being an instructor means putting your body through different rigors. Repeating moves over and over again, spotting people properly, hours of movement, even talking through moves as you do them…it requires a lot of your body.
Recovery – Part II
I mentioned the financial cost of recovery above, but beyond that: you must take time to recover. Whether this means time off between classes to let your body rest a day or so, to taking time to roll out your muscles and stretch after class, to sit in Epsom salt baths after a hard class, or to even stopping to eat a proper meal and hydrate, it’s imperative you do it. Your body will crap out on you, if you don’t, and then you’ll be forced to take time off.
Maintenance
I’ve mentioned this twice, but diet is an important part of keeping your body in good shape. I don’t mean weight loss. At all. I mean eating the proper fuel to allow your body to function and recover at the best of its ability. This means taking the time to prep your food, and eat your food, and not rush around all the time. It means reminding yourself to keep hydrated. It’s time, and it’s money, but it’s necessary to remain in your best physical condition.
If you’re like me, and you have chronic health issues, this self-care is vital. I have to eat well, and remember my supplements, and make myself drink lots of water. And I have to get good sleep, and do all of the other recovery things I’ve already listed, just to maintain some semblance of functionality. I also have to work regularly with my Nutritionist, and see my doctors…which hey, costs more money!
IN SUMMARY
Teaching requires a lot. Despite aaaaaall of this, I truly love teaching (even when I’m tired and over it, which does happen from time to time). I had to stop teaching pole work classes for about 6 to 8 months earlier this year, due to my health issues, and I missed it. I felt so left out of the progress of my students, and I missed the community a ton. Now that I am slowly coming back to teaching regularly, and being able to pole on my own, I don’t think I realized just how much it means to me. I recently took a day off of my muggle job, just to attend an instructor jam at our studio, and spent 4 hours in the company of a handful of other polers, playing and exploring new stuff. I left SO HAPPY.
My point in putting together this exhaustive list of things to consider is simple: if you want to teach, you should be informed about every aspect of it, not just the fun and amazing things. Knowledge is power, y’all!
Note: I’ll be updating this post if any new suggestions on “cost” come to me, so check back periodically to see if anything has been added!
Don’t Steal Shit: Let’s Talk About Choreo Credit
At some point, every dancer who discovers pole goes looking for inspiration. There are a lot of ways to find it: maybe it’s your teacher, maybe it’s a showcase or competition you go see, or maybe it’s a new class you try out, but I’d venture to bet that the most common means of finding inspiration is now online. Platforms like Instagram, YouTube, and Facebook allow us to find the work of other polers from across the globe.
Instagram in particular has been huge for polers. Every week, it seems like there is a new move popping up to try. With the platform’s ability to send videos to friends (and to yourself), and its new “save” feature, it’s the perfect means to save ideas to try in your next jam session. There’s also the magic of hashtags, which – thanks to an idea from Michelle Shimmy – can now be easily customized to tag specific pole moves (#pdinsertyourmovehere).
But with all of these opportunities to be inspired by the work of other polers, there is also an opportunity to ruffle feathers: taking credit for something you didn’t originate.
The first example of this with the naming of moves. I hate to break it to folks, but the chances that you have discovered a new move are pretty low. Unless you are a magical unicorn poler with skills in the top 1% of our industry, it’s fairly likely that somebody, somewhere, has probably done that thing you’re doing (and – frankly – I’ve seen famous polers co-opt moves that lesser-known polers were working on, so nobody is immune from this egocentric excitement). Without standardized names for every move, and due to the innovation happening in our industry, it’s understandable that some moves will have two, three, even five names. And that makes it tough to know if something is new, or if it’s something you just haven’t seen or heard of yet. But, my loves, remember to be humble and recognize that it’s okay that you aren’t the first person to do something. The fact that you found a cool shape or awesome move and can try it – and nail it – makes you a bad ass in your own right.
A move I spotted on Tiffany Jane, which I have been calling Jade Bird, but which may have another name! Photo by Alloy Images 2017
The second example is outright choreo theft. While this wonderful internet age has brought us the ability to see inspiration in the work of others we may never meet in person, it also means that those polers putting their work online have become vulnerable to having their work stolen. Yes, I said stolen.
These dancers work hard to create art and share it with the world. Choreography is an expression of that individual, something that they pour their heart and soul into, and to see it stolen can be a brutal and emotional experience. To rob these artists is cruel and selfish; it’s also massively lazy and rude.
Choreography theft can take place in a classroom – attending a class and teaching someone’s curriculum elsewhere, without crediting them for their creation – but most often, it happens through online videos. It’s very easy to watch, re-watch, and study clips online, to teach yourself the routines of others. Fundamentally, there’s nothing wrong with wanting to learn from the work of others, or even to emulate it, but if you are going to copy a routine, you must give credit where credit is due.
Always, always give mention to the person who inspired or created the original choreography. Tag them; give them a shout-out; make sure it’s clear that you are acknowledging their hard work and how it inspired you. Do this in classes, or when you post your videos online. It’s important, and it makes us better as an industry.
I know this move as B-Girl, and I know it as a Natasha Wang creation, but I could be wrong! Photo by Alloy Images 2017
And, when it comes to creating routines? Don’t copy. Polers who have competed or performed often put dozens of hours into a piece. They have given blood, sweat, and tears (often literally) to bring their work to life. Stealing their choreography is a violation. Just because a routine is available online does not make it acceptable for you to copy.
But, what if it’s just one part of a routine? Perhaps you like a sequence you saw, or a combo somebody made, and you want to incorporate it into your piece. Is a sequence or combo considered the same as choreography? It’s a difficult question to answer – my personal thought is no for a combo, yes for a full sequence – but your best bet is to always give credit where credit is due. A simple, “inspired by” when you post the performance video is a great idea!
If you do find yourself loving a full sequence you’ve seen in another routine, and you want to incorporate it into your own piece, you better find a way to really make it YOURS; it will make you a stronger dancer if you do you, instead of doing a knock off of last year’s winner of such-and-such (because, believe me, everyone will see it and compare it to the original…which you do not want). And, remember: credit your inspiration!
Bringing Sexy Back Voting Is Open
As I mentioned in my last post, I entered the BSB Poster Girl Contest. I am on a page that features some of my sexiest friends and idols, including my loves Iris & Jamers (two of the sexiest women I know).
Photo by Alloy Images, 2015
Why did I do this? I did it to promote body diversity. Generally, I see a lot of similar bodies in the marketing and promotion of pole. Inevitably, a certain body type is shown quite often, and while it is beautiful and should be celebrated, I get a little sad sometimes when I think about how many women don’t actually look like that. I don’t. I may never. I’m a little bigger, but not plus size. I would say, “Average American Size”, because I literally weigh right in the average window for American women. Which, to be frank, can seem big in the world of pole. As such, I struggle with how I look when I get in the studio. I have to remind myself a lot that, even on my worst days, I have something of value to share.
So, I decided to throw in one of my Alloy Images photos for the contest. My dear friend Claire helped me choose it. The story of this photo was very me: Iris found a riding crop at the studio during me shoot, and I was just messing around with it and having fun when this moment was caught. I feel like that’s pretty fitting for who I am: somebody who has moments of fire or stillness in between the laughs.
I look at my company on the voting page and see an array of amazing women. Let me be frank: ALL of them are beautiful, luscious, real women worth celebrating. All of them have something special that makes them sexy. My photo is there not so much because I feel like the sexiest of the sexy; but because I want women who don’t feel like they look like the other women on that page to feel like they too can be adored, and that they have every right to feel sexy, too. It’s something I have to remind myself about in my own life, so my guess is that I am not alone in that mentality.
Voting is now open: https://www.unitedpoleartists.com/bsb2015/ Go choose and enjoy the loveliness of all of the contestants!
Dealing with Disappointment in the Pole Community
I’ve been mulling over a post about disappointment for a while, but it took me a bit to put it together. I feel like I see disappointment from pole almost every day, from my friends’ posts on social media to my own personal experiences, and it got me thinking about why it seems so common, as well as what to do about it.
I think one of the magical things that keeps people coming back to pole is the sense of validation they get from their achievements. The feeling of nailing your first spin or trick, of working hard on something for weeks and finally getting it, the feeling of marked growth that can be had…all of it is an addictive validation. Couple that with the sense of community – the support one can find from friends and classmates, the sense of tackling a problem as a team or group – and pole can be a pretty powerful experience!
As is normal with things that you get invested in or come to love, expectations can run high. I think it’s natural to get excited and maybe set your expectations a little high. The thing about expectations, though…they’re often a set up for disappointment.
I once had an ex who was all about no expectations, because he felt that expectations always bring disappointment, and he never wanted to be a disappointment to anyone. This is pretty extreme, and in a way, a means of never having to commit to anything to the full degree required for success. Expectations are a natural part of any relationship, whether it be with a person, or with a hobby, a passion, etc. Perhaps, with a passion like pole, the expectations are a little more like expecting things from yourself, or the community, or your friends. You want to do well, and you expect to get that new trick, combo, etc. You expect your community to support you, your friends to celebrate you. And, it can be pretty disappointing when something you expected, or even hoped for, doesn’t work out the way you thought it would.
So, how do we cope with disappointment? In my personal experience, there’s a lot of hurt. A lot. Like, butt-hurt level hurt. Sometimes, that can lead to complaining, lashing out, needing to verbally talk through everything. Sometimes, it means taking a break – from a class, from your friend(s), from the community, from pole itself. Distance can be a pretty powerful salve, if you are inclined to need some time away to clear your head and get perspective.
Another solution that I like is creativity. I find that when I am most disappointed with pole or the pole community, when I’m at the point of wanting to throw in the towel and walk away, hurt and sad…the thing that pulls me back from retreating fully into myself is the act of creation. This could be working to develop your own curriculum; reaching out to teach somewhere new; jamming in a studio on new tricks; freestyling your heart out; even doing crafts, or focusing on something creative outside of pole. For me, there is also writing.
The act of creation gives you a chance to have direct input into an artistic endeavor that is not subject to anyone else’s expectations or whims. It’s also a distraction, to be frank. Something positive you can use to move through the negative.
If you’re suffering from disappointment of the physical kind – i.e. not being able to get a trick everyone else has, or not progressing as quickly as your friends – take a step back and try to find the thing that is yours to do. Maybe it’s not rocking that janeiro, but it could be your low on the pole flow, or floorwork, or freestyle. Try to invest in what is yours to do and let go of the expectations of being “as good” as everyone else. The trick may come, or it may not. All you can do is feed the healthy, positive things, and continue to try to put your best foot forward with the hard stuff. Feeding the good is the best way to set yourself up for success with the endeavors you find difficult.
Dance it out. Photo by Alloy Images.
If the disappointment you feel is a result of emotional reactions within the pole community – maybe a rift between friends, or a disagreement at your studio, as examples – remember that space and time can help heal the rawness. Taking a break from the environment or people that are causing the upset can give you some space to get your head around what is actually happening, how you feel about it and why, and what you can do to make a positive impact for yourself. Also, take a moment to remember that many of our personal thoughts can be distorted, causing us to interpret things in a manner in which they were not meant (look up Cognitive Therapy for more on this). It is with these emotional disappointments that I find creative activities to be the most helpful. Sometimes, your feelings really do need a creative outlet to be expressed. So, go with it, and find your creative niche. Create something wonderful for yourself.
On a closing note, I wanted to add this: Pole can’t and shouldn’t be the only thing in a person’s life. When I was still acting, there was always this adage that actors need to live full lives – not only to help their creative work (i.e. understanding characters), but also to have more to talk about than acting. I feel like this applies to pole, too. I think pole can be wonderfully restorative to dancers going through a tough time, and I think it can be a joy for those looking to have fun, blow off steam, be creative, etc. I also think incredible bonds can be forged amongst those in the community, based on their mutual love of the activity. But relying on pole for too much brings in higher expectations, and therefore, the chance for very deep disappointment. Cultivating passions beyond pole can help lighten the load and improve the fun you do have with it. Plus, you’ll be a richer person for it. J
Do you have any tried-and-true methods for coping with disappointment from pole? I’d love to hear them!
How to Deal: Substitute Teachers
We all have our favorite instructors – the ones whose classes we seek out and never miss if we can help it. I’m willing to bet most of us have had a moment where we look at the schedule and find out that our favorite teacher as a sub for their class…and we cancel. I’ve done it. I’ll admit it.
Sometimes, it’s simply that I was looking forward to a specific thing from a specific teacher, and I’m not in the mood to be open minded (terrible, I know). I want what I want. The sub may be great, and I may know that already, but I just…wanted that other thing. Other times, I know the sub and know that they are not my cup of tea. Maybe their style is not like mine, or they focus on moves that aren’t traditionally for me (i.e. anything overly bendy). Or…and this has happened…maybe I just don’t like them. As a person. That happens. And, I’m not about to drop money to spend 60 to 90 minutes with someone I don’t like.
Canceling class because of a sub is the right of any student. I would venture to bet that most studios expect some cancellations for subbed classes when there is a regular, much-beloved teacher who is out. But, I would also venture to say that a lot of the time, those students who do cancel because they want their favorite teacher are maybe missing out on the chance to learn something new, or even find some gem in the instruction that they didn’t think they’d find.
I recently went to a class, expecting a teacher that I really like to be there, and found a sub. I was a little let down, but happy to just be in a class and getting a chance to exercise. All of the students were polite, but a little reserved, as I think tends to happen with a sub. I think there’s a definite tendency to sit back a bit and take measure of the teacher, but also of what they intend to teach. And nobody wants to step on any toes at the outset (unless you’re a bratty student), so there’s also that tendency to hold back initially.
For students, I think dealing with a sub requires some measure of getting over yourself and being open. Maybe they aren’t teaching what you wanted to learn, but that does not mean that you won’t get something out of it. Maybe they’re a new teacher, or new to you, but either way, it doesn’t matter. What does matter? That you give them the same attention and respect that you would give to your regular teacher, and that you make an effort to follow their lesson plan, even if it’s different than what you are accustomed to. Because, truly, you never know what might click for you. Maybe that teacher will spot some bad habit you have that is keeping you from nailing something – a habit your regular teacher may accidentally overlook because they know you better. Maybe they’ll have another way of explaining something that makes more sense to you, for whatever reason. You never really know!
Nancy helps me out as I finish a complicated tumble. She’s an awesome spotter!
On the flip side, if you are subbing someone else’s class, you have to expect some amount of dissention or discomfort from the group, but there are some things you can do to prepare. One suggestion I like is to approach each of the students and ask them individually what level they are at – what are tricks they are working on, what are they comfortable with (giving them examples, like shoulder mount, invert, etc.) – most teachers ask the class as a whole, which can work, but in classes with mixed levels, that can be tricky. And some students may be too shy to be honest in front of the group. While this suggestion does take more time, it may also allow the sub a moment to connect with each student and personalize the experience – that is, to be less of a stranger.
Another technique is to ask what the regular instructor has been teaching them – this can give you a good idea as to what the class may be looking to learn and where they are in terms of level. This does not mean you have to teach the same curriculum, unless it is required by your individual studio. But, it may give you the advantages I listed above, as well as the chance to add on. What I mean is: perhaps the regular teacher taught an Extended Butterfly to Flatline recently, but you can rock an Extended Butterfly to Reverse Poisson – that means that you can review a trick they know or have been working on, and add something really cool to it that they may not know. It’s a little familiar, but has a fun twist.
I think it’s also good to see if you can chat with the studio manager or the teacher for whom you are subbing and get a measure on the class: are they shy? Are they unruly? Do they have a tendency to go off the reservation and try stuff they shouldn’t? Are some at a higher level than others? How long is the usual warm up? How long is the actual class? (Sounds funny, but I once had a sub end a class 30 minutes early by mistake.) It’s also good to ask the teacher what has been on the agenda, too.
Having been on both sides of this issue, it’s an interesting and delicate one to me. I am generally averse to subs as a student, as I find that I tend to have some needs as a student that not all instructors can handle well (i.e. I ask A LOT of questions about small things within the technique, as it helps me to break down tricks better and make adjustments based on my own body – and not every teacher knows how to deal with that). I’m not fluid, bendy, or strong enough to just roll with any teacher, either – if I come in and there’s some back bending trick, I effectively just lost a class. And, I tend to feel bad about working on my own stuff in someone else’s class, so it’s a double fail.
That being said, I HAVE totally gotten stuff out of classes with subs. And, I always think it’s an excellent lesson to shut up and be open. In a recent class with a sub, the instructor had planned curriculum for a class that was far less advanced than the level of the students present (it was mixed level). As such, it was a lot of review on conditioning, which was a really good workout, although a little dull. Still, there were one or two things I hadn’t done before, so I got a chance to at least try those things, even if they weren’t really what I was hoping to do that day.
And, as someone who has subbed classes, I know it’s tough to do, especially if the teacher you are subbing for teaches in a completely different way than you do (which was the case for me). As much as I might pout about not getting to see my favorite teacher, I do have empathy for the person subbing – it’s not easy! As a sub, you’re generally trying their best to do right by the class. Ultimately, while it’s good to know and understand someone else’s way of teaching, you must be comfortable in order to be effective. If someone’s style is completely different than yours, don’t sweat it! Just let the class know ahead of time what to expect: how the warm up will run and how you teach. It won’t guarantee that they’ll be totally into it, but at least they won’t be surprised.
So, the next time you have a sub, consider attending class and being open to what they have to offer – you’ll probably get something out of it! And, if you’ve got a class to sub coming up, do your research and remember to have fun!
Update: A friend of mine mentioned that she’s seen students go as far as to arrive to class, change into their clothes, then leave as soon as they see there is a sub…or leave right after warm up…or even ask if there is another class going on they can take instead while IN FRONT of the sub. All of those things are rude. Just flat out rude. If you arrive and find a sub you weren’t expecting, it can be a disappointment, but you’re there already. Commit and make the best of it, especially since you’re going to lose the class credit if you don’t. If you haven’t gone into the class yet and want to inquire about switching, do so in a discreet manner and only involve the front desk. But once you are in that door, honor the instructor and be present. Don’t be a douche.
West Coast Hurricane: Cleo Makes Landfall in LA
2014 brought a Hurricane to the US Pole Scene: Cleo The Hurricane, that is! Over the last two years, we’ve watched as Cleo launched her incredible DVD series, expanded her clothing line, and made the leap from Australia to LA. With so many exciting things happening in the World of Cleo, I was eager to get the chance to sit down with the pole rock star herself and hear more about where she’s been and where she’s headed next!
Cleo – photo courtesy of her Facebook page
Poleitical Diaries: How were you first introduced to pole?
Cleo The Hurricane: When I was 27, my best friend took me along to a Breast Cancer benefit at her Pole Studio. I was blown away by the instructors’ performances and signed up for lessons right away. After 2 weeks of learning, I got asked to teach just from my momentum turn – haha – and the rest is history.
PD:When did you first realize you could build a business from your pole career?
Cleo: I knew from the beginning that I wanted to make a career out of pole dancing. Originally (as you would expect) the goal was to own my own Pole Studio; however, my path changed when I moved to Sydney to teach at Bobbi’s Pole Studio in 2010. That year I was so motivated to compete in Miss Pole Dance Australia and I did the following 2 years. From there, I went on my first big tour to Asia, Canada and the USA, and that’s when I got a few t-shirts printed. I think that’s really when I realized I could build a business for myself. Plus, I was having so much fun with it. I was using my creativity in other ways and starting to explore other opportunities. Originally, building the ‘Cleo The Hurricane’ brand was never planned… it really just evolved. I only got my Cleo logo and website designed for the tour! How it has changed from those early days!
PD: What was your first pole product idea? Did it come to life the way you envisioned?
Cleo: When I competed in 2010 I danced to “Rock You Like A Hurricane” and played the guitar (well, pretended to). The intro to my show was a man’s voice over “The Hottest Rock N Pole show in the world…Cleo!” Kinda like what Kiss do at the beginning of their concerts. The whole Rock N Pole or I Love Rock N Pole slogan also happened by accident because of that show. Even my name Cleo ‘The Hurricane’ came from the show. The first T-shirts I ever had printed said, “I Love Rock N Pole.’ I’ve had many other designs based on the original, and yes it has DEFINITELY come to life. My whole brand is built on Rock N Pole. As far as Rockin’ Legs N Abs (my first DVD), that has FAR beyond exceeded my expectations. I’m pretty sure we’ve nearly achieved ‘GOLD’ sales according to Australian certifications. So yes, everything is awesome!
PD: When did you make the switch from pole as a hobby to pole as your sole job/business?
Cleo: Well, considering I have been teaching my whole ‘Pole Life’ it was always kind of my sole job/business. But, it’s also my hobby: I still put my favorite music on and dance, no cameras and no Instagram…just for me.
Cleo in her new space in LA, courtesy of her Facebook page
PD: What is your philosophy on being a pole entrepreneur and how has your philosophy evolved as your business has grown?
Cleo: Continually staying positive despite struggle; believing in myself and my brand; and reinvesting in my business when I’ve had the profits to do so has always been my philosophy. In fact, it’s the only thing that has stayed the same. Everything else is constantly evolving and so am I.
PD: What are you currently most excited about and/or proud of within the world of Cleo?
Cleo: I have many things to be proud of: currently it’s my new website (well, the re-launch of my new site). This is something I’ve been working on for 2.5 years now, since the first version came out. Originally, I had hired a company in Australia to design/develop the site, and was completely disappointed with how it turned out. So, I started again from scratch with a new design team, and I’m OVER THE MOON! It is so shiny and pretty and glamorous and cool at the same time. It’s been a LONG, LONG time and finally, my vision has come to life. I can’t wait to show the pole world! Not to mention all the awesome new merch I have coming out. 2015 is very exciting for me.
PD: What is on the horizon for you and your empire? What can we expect next? What about long term?
Cleo: Keep building my empire, growing my online studio, and the Cleo The Hurricane brand. I have explored opening a studio in LA, but I am concentrating on my worldwide web students for now. Also, I’m shooting my 3rd DVD – back flexibility based on strength – and am really excited for that one! Long term, I am working on growing this brand to be not necessarily the biggest, but the coolest and best brand in pole dancing! There is always some project I’m working on, so you will always see something new from me!
PD: We love that you’ve begun adding guest instructors – what do you look for in those you invite?
Cleo: There are so many instructors that have perfect technique, but I’m looking for personality. From sassy, to strong, to a little quirky or crazy, everyone brings something different. (I’m the crazy one, by the way.)
PD: What brought you to move to LA?
Cleo: I have always loved LA. Plus, I fell in love with a California boy. I told him, if I’m making the move, it had to be LA. However, it hasn’t been easy getting used to living here…and it’s taken THIS long to be happy with the move.
PD: Was it fun for you to participate in and sponsor this year’s California Pole Dance Championships? Were there any moments from the show that stood out to you?
Cleo: Of course it was fun! Nothing really stands out though.
Cleo at CPDC 2014 – photo by Alloy Images
PD: Who inspires you in the pole world? (Doesn’t have to be anyone famous) Outside the pole world?
Cleo: I get my inspiration from my community. I am only doing what I do because I feel rewarded helping women feel sexy, or achieving their goals, getting their splits or even having a good laugh from my videos. Outside the Pole world, I’d have to say Joan Jett, because I love strong females who do what they wanna do, despite what people tell them. That’s Rock N Roll, and that’s the whole attitude I’ve brought to my brand.
PD: Do you see any differences between the pole community in Australia and the community here in the US?
Cleo: I guess the big difference is the 38mm brass poles compared to the 45mm chrome. That also relates to tricks, because there are tricks that are easier on a 38 and some that are easier on a 45. Also, Aussies love wearing heels -in comps, in class, training etc. Over here the percentage is significantly lower. In the USA girls say ‘NIIIICE’ to their pole friends doing a trick. In Australia, we say, “AWESOME!” or “UNREAL!” There are also a lot of differences in how studios are run, so it will be interesting to see if the Aussie style adapts over here!
PD: Where did you first teach? What do you love about teaching? Can you say a bit about touring?
Cleo: [I first taught at] Pole Princess in Melbourne. I love the students. I’m a real people person for sure! Touring is really fun, especially when I meet members of my community. I feel like I know them already. Physically it can get very exhausting, because my workshops are very challenging.
Cleo at Pole Show LA 2014 – photo by Alloy Images
PD: How did you get started with your clothing line? Who comes up with the designs?
Cleo: My friend Richard, who I used to work with, is a great designer and designed the Cleo logo. I used to work with him at a publishing company that did music/street/fashion mags.
I have about 4 designers that do work for me. One in Canada, two in the USA and one in Australia. I’m lucky because my background before pole was advertising, marketing, design, video production, and production management, so I have some great contacts…not to mention the experience!
PD: How did you get your nickname Cleo the Hurricane? And how did you develop your own pole signature style?
Cleo: I was having lunch with Chilli Rox in Sydney, and she told me I looked like Cleopatra…so that’s where Cleo came from! The Hurricane was because of my show in 2010 to “Rock You like a Hurricane” I had to change my name on Facebook and couldn’t think of anything else!!!! Once again…Cleo the Hurricane was never planned…it just happened!
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Thank you to Cleo for taking the time to chat with me! I am sure I am not the only one stoked to see your plans unfold! To find out more about Cleo, including her DVDs, apparel, and more, check her out online at http://www.cleosrocknpole.com/
A Rock n Pole Fan – photo credit Brooke Trash
Poleugg: Bringing Aussie Pride and Comfort to the Pole World
I love seeing new pole businesses bloom, especially when they have a unique product. When Poleuggs first popped up in my Instagram feed, I was fascinated: How did they work? Do they really stick to the pole? Are they legit and well made, like the original Uggs (we have a lot of cheap knock-offs in the States)?
I’ve been wanting to offer more interviews and product reviews recently, as I think it’s a great way to see another side of our community and hear from voices who may not always have a chance to share. As such, I reached out to Lyndal and Kacie, the founders of Poleugg to chat about their company:
Poleitical Diaries: How did you come up with the idea for Pole Uggs?
PoleUgg: The idea for Pole Uggs came when Lyndal noticed a trend in girls wearing Ugg boots in winter to pole classes, and also at the other local dance studios etc. The concept originally was just to be exciting designs with cool fabrics that were maybe sparkly or girly. When we sat down together to brain storm ideas it became apparent that we could possibly make them to actually stick to the pole, and be able to keep peoples feet warm through the entire pole lesson instead of just wearing them to and from the studio.
PD: How long does it take to make the shoes? Can you tell us about the craftsmanship that goes into each pair?
PU: Turn around to make one pair of boots is quite quick, between 1-3 days, however usually our orders are of a bigger scale so can take up to 2 weeks depending on how busy our manufacturer is with other orders. Our Uggs have a lot more hand cut and sewn pieces than a regular pair of Uggs, so can take a bit longer to make.
PD: What do you love about being a pole entrepreneur?
PU: The most rewarding thing, and the thing that makes us proud to be entrepreneurs, is seeing our product being worn and endorsed by some of the most amazing pole dancers in the world! And also the fact that we are involved in a deeper scale in the industry, other than just owning a pole studio (which we also do together :))
PD: Have you created other shoe or clothing lines in the past?
PU: This is our first venture into clothing/shoe manufacture and design
Fontaine
PD: What do you feel your line offers to the community that sets it apart from other lines?
PU: Our company is the first of its kind to offer something this unique, a very niche product, [for] which we actually have a patent pending.
PD: How has the community reacted to your new line? Where do you hope to take it?
PU: The reaction to Poleuggs has been amazing. The support we have had from local, and international artists has been integral to our growth. In terms of the near future our aim to gain more exposure as we are still relatively new in the market. For the long term, we hope to become a household name for pole dancers everywhere eg. “It’s cold today, I’ll wear my Poleuggs!”
PD: How long did it take for you to go from initial idea to selling your line?
PU: It was approximately 12 months from the initial idea to when we first launched. We went through numerous design stages and testing to make sure the Ugg was of high quality and standard.
PD: How can dancers purchase your product and connect with you online? How long does it typically take for the shoes to arrive?
PU: All purchases can be made through www.poleugg.com. People can connect with us through the website and also on Instagram www.instagram.com/poleugg. Shipping times vary greatly depending on your location in the world. We are based in Sydney Australia, so locally we can have them arrive at your door within the week, internationally can range anywhere between 2-4 weeks.
PD: Who is a part of Pole Uggs and where are you based?
PU: We (Lyndal & Kacie) are the creators and directors of Poleugg, and when you contact our business you will deal directly with us.
PD: What inspires you in the pole community?
We are inspired by lots of things in the pole community, but if we have to narrow it down, it would most likely be the amount of creativity and individuality in the industry. These are the things that we base around our designs and feed off to create our Uggs.
PD: Who are your pole icons? (They don’t have to be famous – they can be any pole dancer you are inspired by)
PU: It is such a hard question to narrow down as there are so many amazing people in this industry but we will give it our best shot! Carlie Hunter, Anastasia, Shimmy and Maddie Schonstein, Sergia, Marlo. But also being teachers, we are inspired by all of our students and the passion that they develop for pole.
PD: Is there any advice you have for budding pole entrepreneurs and budding pole dancers?
PU: Our advice would be mostly, to follow your passion. The rest of the stuff comes easy when you are true to your passion and dreams!!!!
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I adore their upbeat spirit and entrepreneurship! Do you own a pair of Poleuggs? Let me know how you like them!! I’d love to hear from you! If you’re looking to purchase a pair, be sure to check out their website. You can also catch them in action on the Instgram videos from stars like Amy Hazel and Sergia Louise Anderson.
Happy Poling!
Studio Spotlight: The Pole Garage
When I started pole dancing again in 2010, I started at The Pole Garage. It’s been my Pole Home for the last four years. Even when I go play at other studios, as I do quite often, I still always find TPG to be a bit magical.
Having known Drea & David for a while, I thought it might be fun to learn a little more about them and the “behind the scenes” at the studio. They graciously accepted my invitation for an interview with Drea!
Drea Roers of The Pole Garage
Poleitical Diaries: How were you introduced to pole?
Drea Roers: I began Pole Dancing in 2004, when a friend surprised me with my first Pole dancing class! The instant my fingers touched the pole, my life had changed forever…it was magic! My first spins were definitely not ‘pretty’, but I was flying through the air and I felt FREE, ALIVE and BEAUTIFUL! I was instantly addicted and fell madly in love with the artistry of pole dancing. I committed and dedicated myself to my pole dancing training and within a year, became an Instructor.
PD: What inspired you to start your studio?
DR: My dream was to open my own Pole Dance studio and to share the world of pole dancing with other women! I hoped that if I could change ONE life the way my life had been changed, that I would be able to share my love and passion for pole dancing with other women! In 2009, my dream came true. My husband, David Roers and I opened The Pole Garage in Santa Monica, CA! I left twelve years of a Trading/Brokerage career and never looked back! It was solely and entirely David Roers and the wonderful women from within the pole dancing community that were my absolute inspiration toward opening The Pole Garage!
PD: Tell us about your studio:
DR: The Pole Garage is a Boutique Pole Dance studio located in Santa Monica, CA. The Pole Garage is dedicated exclusively to the art of Pole Dancing. Our studio has five ‘Stationary’ and ‘Spinning’ 45mm poles by Platinum Stages and X Pole.
PD: How did you come to create the class structure for TPG?
DR: We offer a myriad of pole dancing classes at The Pole Garage, with an emphasis on progressive “Session Classes”. I created The Pole Garage Curriculum for women to journey together, at the same pace and ‘level’ progressively, in order to properly and safely strengthen, condition and learn pole dance technique. Our Session classes include Beginner, Intermediate I, Intermediate II, Advanced I, into Advanced level. At “Advanced” level, we offer “Unlimited” Advanced Specialty Focus Classes (ex: Adv. Spinning Pole, Adv. Aerial & Twisted Hand Grip, Adv. Shoulder Mount & Combos, Adv. Transitions & Dance, Adv. Drop Tricks & Thread Thru etc). We also offer Mixed Level pole classes (Pole Power Hour and Pole Play & Dance classes), Pole Parties, Privates, Workshops, Pole Choreography, Competition/Performance Training, Intro Pole Teasers and specialty classes. The Pole Garage is a fabulous place to meet a new community of adventurous women, to get toned & sculpted, to let loose, or to someday perform, compete, instruct OR JUST DANCE! 🙂
PD: What do you feel sets The Pole Garage apart from other studios?
DR: I believe every studio has its own beautiful and unique style. The Pole Garage provides a warm, welcoming and positive energetic space to explore the artistry of pole dancing. We wanted to give women a supportive environment to be creative, innovative and to be free to challenge oneself without judgment. We are very unique, as ALL of our amazing Instructors are hired internally from within The Pole Garage and have completed our Progressive Curriculum Training program, as well as complete our “Instructor Training” Certification program.
PD: What are you most proud of in regards to the studio?
DR: I am so proud that my Husband & Co-Owner of The Pole Garage, David and I fought to open The Pole Garage, a small Business, during the midst of a Recession and economic turmoil in 2009.
PD: How did you decide to make it a “family business” TPG
DR: David and I shared a vision of starting a small business together and we took a leap of faith and opened The Pole Garage! It has been the most rewarding experience imaginable for us to see how our studio has become such an integral part of the community and changed women’s lives!
PD: What are some of your favorite studio-related memories over the years?
DR: My all time favorite studio-related memories are from the endless amounts of laughter and cheering that fill the studio daily as we fly, spin, flip and dance together. I also cherish the life-long friendships formed from The Pole Garage and from within the pole community that I hold so near and dear to my heart. I believe the bond we share is beyond a friendship, it is truly a “SISTERHOOD” or as we say at The Pole Garage, our “POLE SISTERS”.
PD: What’s on the Horizon for The Pole Garage
DR: On the horizon for The Pole Garage is to continue to support and bring awareness to the pole dance industry one pole dancer at a time.
PD: What are your favorite classes to teach?
DR: I LOVE teaching every class from Beginner to Advanced. It’s so exciting to teach a Beginner their first ever pole spin! And if I had to choose one Advanced class, I would say Advanced ‘Aerial Pole’, as it’s such a blast to dance Aerial in the air! Instructing is such a dream come true to be able to share what I love so very much w/ others. 🙂
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Thanks, Drea & David! If you’d like to check out classes at The Pole Garage, you can find their website at www.thepolegarage.com.
The Pole Garage
Poleitical Diaries 