Why Aerialists Need Method
An Analysis of the Key Components of Effective Aerial Arts Classes
Many aerial classes go from warm up, to a few inverts and climbs, to one or two random tricks, a bit of lazing around in between, then perhaps a stretch at the end. These classes can still be very fun, and they do get people moving! However, there a few issues with this model that are just begging to be optimized. The principles of repetition, scaling, and application can aid instructors in creating truly vibrant and effective classes.
To truly teach is to inculcate. Students learn by repetition over time. I model my classes from my experience in ballet and pilates— there is a fairly specific structure that allows a balance of consistency and variability. This doesn’t mean everyone has “ballet style” in my classes, only that we follow a flexible order of components which build upon eachother. Smaller fundamental skills and movement pathways are incorporated from the beginning of class, even beginning during the warm up. These smaller building blocks grow into tricks, combinations, then choreography. Fundamental skills must be practiced consistently, weekly when possible, just as professional ballet dancers still begin their barre with pliés as they’ve likely done from their youth. More complex tricks and combinations should also be repeated between a few classes. This will give students the opportunity to come to it with fresh muscles and minds— and to truly incorporate it into their skillset. This will not be boring if more than one combination is offered each class.
In order to fit a comprehensive array of ground exercises, drills, tricks, and combinations into every session, the class must keep moving. This can be difficult, especially if it is a mixed level class. To avoid confusion from beginners, boredom for more advanced aerialists, or chaos for the instructor who attempts to teach 5 or more private lessons simultaneously, the class must be scalable. Drills can be simplified to their most basic components or made more complex. For example, if the class is practicing straddle inversions, more advanced students may be doing a straight arm and leg variation in the air, while a brand new beginner tips over in a knot for the very first time. The concept can be applied to everything taught in a class. When creating combinations for class, think of your most advanced student and an absolute beginner. Perhaps the full combination is stimulating for the advanced student, but there is at least one component that a brand new student can access on day one. Instructors need to do their part in facilitating an encouraging environment where students feel comfortable practicing at their own level.
All learning must be applied. A great deal of this application can simply come from repetition, but it goes beyond that. When incorporating a fundamental movement into a skill and a skill into a combo, instructors can be creative. A knee hang is a fundamental skill on lyra. It can be placed “as is” into a combination, and students will learn the knee hang. However, this is where aerial can truly become an art form rather than a mere list of exercises. What shapes can be made in a simple knee hang? Where is it coming from? Where is it going? What visual or musical effect can it serve? As a new aerial arts instructor, I received two questions more than any other: “What do I do with my arms?” and “How do I make my transitions smoother?” This begins in how instructors present combinations. A good combination for class will have specific and varied transitions, as well as directions for arms and stylizations. These do not have to be enforced as law, but they must be offered. Then, as combinations are remembered in the body, improvisation and self-choreography can feel more natural. This is often when students really fall in love with aerial and begin to think of it as a second language.
Other art forms enjoy the structure of long-standing traditions. Even post-modern dance has benefited from the traditions of ballet, folkloric, and other older dance styles. Instructors of these forms can pull from a wealth of conventions. Aerial arts are notoriously wild and free— and relatively new, generally speaking. However, instructors and practitioners can also pull from the conventions of other movement traditions. The specific structure I use is just one way to optimize classes. My hope is that all instructors can craft their own refined structure and that the principles of repetition, scaling, and applications can serve as guides.
Method, Made Simple
Warm-Up
At a minimum, practitioners should begin with light cardio and a warm up of each joint. This is also a great opportunity to introduce key body shapes and physical skills which will be used in the air.
Drills
Choose 5-10 consistent drills, that can have slight variations between classes. Introduce fundamental skills, especially targeting those needed for the combinations.
Combinations
Create 2-5 combinations of different types (e.g. dynamic vs static) which introduce new skills, and reinforce old skills. Teach to the more advanced students, but create access points for all who may attend the class.
Improvisation Prompt
The prompt can be as simple as taking a song recommendation and asking students to keep moving through the whole song. However, some students may desire more specific direction such as, “incorporate these skills,” or “choose an animal 94 emotion to embody.” Many students will use this opportunity to make class combos their own.
Cool Down
This is a great time to address flexibility goals. It can also be an opportunity to reflect with students on the class. At a minimum, the upper body needs to be stretched and deep breaths taken.
For my specific drills, sample lesson plans, and an in depth guide to my method, stay tuned for my Teachable course!