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My Next Pole Dancing Competition Routine, No inverts? Really?

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It’s been a bumpy few weeks. Having been busy at work and then having some kind of weird virus for a couple of weeks – the countdown to my next competition is coming really quickly.

I’m 3 weeks away from competing, the routine isn’t finished and it has to be a routine with no inverts in it.

The competition is the Scottish Heat of the Pole2Pole Amateur Cup. It has an unusual rule to enter the Amateur category – absolutely no inverts.

When I first started Pole Dancing I would have been beside myself with joy to find a competition that didn’t allow inverts since I couldn’t do them. Now, 10 months down the line, having worked hard to develop a couple of quite pretty inverts, I’m working on a routine that doesn’t allow them – talk about a challenge.

I’d thought about altering another routine to take out the inverts but that seemed wrong somehow so I started my usual search method for music and hit YouTube. A friend of mine is working on a rumba based piece so I was a bit inspired to look for something a little Latin, but I have always had a kind of Black Swan idea in the back of my head without managing to bring it to fruition.

By a total accident, I stumbled onto a piece called Black Swan Tango and as with most of my music choices something clicked and the project began.

There are so many moves in pole that you do without inverting, but man alive is it hard trying to choreograph when someone tells you that you cant do something, Its like this thing you cant put in is the only thing that you can think of including in your routine.

Much the same as making the transition to compete at intermediate level, it’s been a bit of a mental block thinking about what I needed to do and what I couldn’t do. After a few goes it started to fall into place as the battle in the music between the ballet and the tango is quite clear (resembling the themes in the Black Swan).

Frustratingly although I knew what style the moves should be they were still not falling into place.

To get the routine to start to work together, I went back and tried to apply what I’d done at the choreography workshop with Nadia Shariff.

It did the trick nicely and I started to focus on transitions and the quality of the movements rather than thinking about what I was missing. I’m hoping the finished product will have a combination of smooth long movements and tight staccato ones reflecting the 2 dances styles.

As difficult as I’ve found this process I’m hoping it will improve my dancing overall.

I’ll keep you all updated on how it all goes on the day.

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