Trapecio, Tela y Barra

Static Trapeze, Rope and Silks
Contents Page
Static Trapeze, Rope and Silks 3. Inverting on the rope
4. Inverted locks, hip locks and variations
Specific strength exercises 1 Half catchers
1. Trapeze based exercises 2 Catchers hang
2. More advanced trapeze based exercises
3. Rope based exercises 3 Catchers with double wrap
4. Floor based exercises 4 Hips lock
5 Stag
Part 1 Static Trapeze
1. Transitions 5. Small drops
1 Swingstand
2 Basic Hang 1 Catchers drop
3 Basic Beat 2 Starfish
4 Tuck through
5 Pop-off 6. More advanced drops
6 Beat in hocks hang to sit 1 Hips lock salto
7 Skinners
8 Skinners from hocks beat 2 Big drop
9 1 leg pop-on 3 Loop roll down
10 One leg skinners 4 Hocks hang (from loop)
11 Back roll from sit 5 Hocks hang from standing
12. Forward roll from stand 6 Hocks cartwheel
13 Up and over from beat
14 Up and over without beat
7. More advanced positions
2. Basic Moves 1 Front balance
1 Birds nest under bar 2 Back balance
2 Birds nest on ropes
3 Mermaid under bar
4 Mermaid above bar 8. Hanging positions
5 Half angel forwards 1 Flag
6 Half angel backwards 2 Foothang
7 Gazelle
8 Amazon with supporting hand Part 3
9 Amazon Skills on split tissues
3. Hangs 1 Roll ups
1 Hocks hang 2 Parachute
2 Ankle hang 3 Splits
3 Toe hang
4 Heel hang Part 4
4. Balances Teaching Methodology
1 Front balance 1. The training programme
2 Seat balance 2. The psychological basis of correct
3 Back balance preparation
4 Waist balance 3. Safety
5 Knee balance
4. Methods of stimulating the creative process
5. Basic Drops 1 Use of speed and tempo
6 Drop to front angel 2 Changes in direction
7 Sitting to ankle hang 3 Continuing in the same direction
8 Skinners to ankles 4 Set movements with voluntary linkage
9 Front balance to catchers
10 Front balance to 1 leg hocks 5 2 on a rope
11 Hocks direct
Part 2
Rope and silk skills
1. Climbs
1 Basic climb
2 Russian climb
3 Toe climb
4 Hocks climb
5 Straddle/pike climb
Acclimatising to the rope- rest positions
2. Rest positions
1 Basic rest position
2 Amazon
3 Amazon on silks
4 Foot lock
2
part1/ basic skills on trapeze
Manual for Static Trapeze, Rope and Silks
Specific Strength Exercises for Aerial Skills
Following are a number of exercises specifically designed to help strengthen for trapeze,
rope and tissue. These are by no means exhaustive but will help to create a balanced
programme of physical conditioning.
Following these specific exercises is a suggested circuit for general conditioning and
stamina.
1.TRAPEZE BASED EXERCISES
Hanging Leg Lift

- Keep the head in
- Depress the shoulder blades
- Avoid pulling through the shoulders
- The angle between the arms and upper body should
remain as open as possible to isolate the hip flexors T1
Pull ups
- The body should remain static throughout
- Depress the shoulder blades in hang
- Lift the chest to the bar T2
Seated Pull up
- Keep the legs horizontal
- Elbows out
- Keep the shoulder blades depressed T3
Skinning the Cat

- The shoulder angle should be kept out as long as
possible to allow the legs to circle through
- Coming back is as important as going through T4
Hang and Pull up in Shoulders

- Depress the shoulder blades and pull the chest
towards the bar
- Do not bend the arms T5
Front balance roll ups

- Training for the muscles of the back and seat
- Use a spotter to keep the legs from rising in
early stages T6
1
2

Lifting legs to either side in Hang
- During this the legs stay straight
- Lift in all directions
T7
Hanging on one arm

- Make sure the shoulder stays depressed
- Alternate arms
T8
Catchers Hang Abdominal Curls

- Avoid swinging into the curl
- Do not strain the neck by pulling the head forwards
too much
- Elbows to knees
T9
Ankle Hang Hip Flex

- As above, avoid swinging into the curl
- Do not arch the back (if you have to do this then
you need to build it up using an easier exercise
- Fingers touch toes T10
2.MORE ADVANCED TRAPEZE BASED EXERCISES
Leg Lift and Extend to Invert

- Complete leg lift and then close the shoulders,
extending the body
T11
Chins in Pike
- Keep the legs horizontal
- Do not arch the back
T12
2
2
Inverted Pull Us
- The elbows should bend backwards and not
outwards
- Lift as far as the chest
T13
Straight Body Lift (Bent arms)

- Pull up, then pull the body to the bar straightening
the arms
- Repeat in reverse on the way down
T14
Straight Body Lift (Straight arms)

- Very advanced
- Lift through front planche keeping the body straight
- Controlled descent
T15
One leg hocks hang
T16
3.ROPE BASED EXERCISES

(These can also be carried out on one or two tissues)
Inverting (Tucked)
- Start by using bent arms progress to straight
R1
Pull ups
- The body remains static
- Lift the chin to the hands
R2
3
2

Leg Lifts (Piked)
- To isolate the hip flexors try not to pull up in
the shoulders
- The movement should only be in the hips and legs
R3
Curl ups (Straddled)

- A more advanced form of this is to start and finish
with the legs horizontal
R4
Hanging from one hand

- This should be timed and the performer tries to
increase the amount of time hanging
R5
4.FLOOR BASED EXERCISES
Dish on front and back

- Arms can be put by the side to start with
- When on the back the lower spine should
not be arched
F1
Press ups
- These can be done with elbows backwards and
hands narrow and with elbows sideways
and hands wide
F2
V-Sits
- Should be done with control up and down
- The lower spine must be flat to the floor
- Legs straight throughout
F3
4
2
Abdominal Crunches
- Keep the knees still and raise the chest to them
- Do not pull the head with the hands
F4
Back Extensions
- Raise the upper body
- Hands can be by the sides, by the ears or
arms extended
F5
Side Lifts
- Maintain a straight position from fingers to toes
- Put the upper hand on the floor to help balance
F6
Dish Rocks
- The body position must remain the same throughout
- Small rocks
F7
Rocks in Shoulder Stand

- Hold wallbars on bottom rung
- You can start with the hands higher to make it easier
- Maintain body tension
- Small movements
F8
Lifts up and down in Shoulder Stand

- As above for hand position
- Try to keep the body straight throughout
F9
Adductor Lifts
- Lower leg is lifted
- Keep a straight line form fingers to toes
F10
Abductor lifts
- Upper leg is lifted
- As above make sure the leg is lifted in line
with the body
F11
5
2

Tension Bridge
- Start with the hands just in front of the shoulders
and move forwards with time
- The back must remain straight, no arch
F12
5.WEIGHTS EXERCISES
Closing Shoulders (Straight arms)

- Move only the arms
- There should be no movement in the body
W1
Pullovers on bench
- Weight starts at the waist and arms are maintained
slightly bent
- Keep the back flat
W2
BASIC SKILLS ON STATIC TRAPEZE

1 TRANSITIONS (Pre Skills)
These movements are not really tricks but are essential basics for learning more advanced
moves on the trapeze. The student should make sure their body is prepared by spending
time on the conditioning exercises already shown then learn the following movements
until they are perfect before advancing onto the trapeze skills.
Swingstand (part 1)
- Start from sitting
Shoulders back, slide bar to hocks-
- Bend 1 leg and put toes on bar
- Pull into ropes and push straight
- leg down to floor
Swingstand (Part 2)
- Slide hands up the ropes
- Pull up and push with the leg
- Place other leg on bar
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2
Basic Hang Position

- The scapulae should be depressed in
hang so the neck is “long”
- First two pictures show correct position
- Third picture shows incorrect position
Basic Beat
- Start from pike
- Beat the legs downwards and
backwards keeping tension in the
lower back and legs
Tuck through to pike

- This should be performed from a
beat first and then from static
- The legs should be brought up
to the bar without pulling to much
in the shoulders in order to allow
the legs to squat through
Pop-off (bent legs)
- From sitting to pike
- Perform with bent legs in hock first
It’s important to keep contact
with the bar
- Do not let the shoulders fall back
Pop-off (straight legs)

- As above, keep the legs straight
and in contact with the bar
Beat in hocks hang to sit

- Hocks beat, arms parallel, reach high
at the end of the swing
- Push down into the bar with the legs
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2

Skinners
- From pike, hocks on, reach under the
bar, grasp the ropes, pull backwards
into backward roll to sit on the bar
Skinners from hocks beat

- From beat bring the chest to the bar
- Reach under the bar to hold ropes
- Continue as for normal skinners
One leg pop-on

- Use the free leg to swing and help
momentum
One leg skinners

- The free leg can help with the
momentum
- Keep the hocks leg tight on the bar
until sitting
Backward roll from sitting

- Reach high with straight arms
- Lift the legs, pull up and back roll to
toes on bar,
then roll body up to stand
Forward roll from stand to sit

- Fold in half to pike
- Lift feet off bar and forward roll
- Pull up in the arms to arrive in sit
Up and over from beat

- Aim the knees to the bar, and at the
same time start to pull up with the
arms
- Bring the hips to the bar, as the feet
go over and down raise the upper
body to a straight position
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2
Up and over without beat

- This requires more strength than above
2/ Basic Moves
Birds Nest (Under bar)

- Legs should stay straight
- There should be a smooth curve all the
way from
the shoulders to the hips
Birds Nest (On ropes)

- Same position as under bar with hands
on ropes
Mermaid (Under bar)
Mermaid (above bar)
Half angel forwards

- The foot on the rope should be flexed
but not syckled
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2

Half angel backwards
- As above
- Drop the lower leg to maximum stretch
Gazelle
- Turn the body to the side, bar between
cheeks
(Picture 1)
- Open the hips slightly with the bent leg
- Straighten the other leg and lower the
body down into position
Amazon (with supporting hand)
Amazon (without support)
3/ Hangs
Hocks Hang
- Hips should be pressed forward
- Grip bar with the backs of the knees
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2
Ankle hang
- Feet should be flexed
- Push the ropes inwards with the feet
Toe Hang
- The hips should be pressed forwards
- The bar goes across the upper part of
the foot, near the ankle
Heel Hag
- Begin this on lunge
- Open out slowly
- Come up head first
4/ Balances
Front balance
- Keep the chest up
- Squeeze the buttocks
- Balance under hip bone
(this can vary from person to person)
Seat balance
- Balance on the base of the pelvis
- Sit back and lift the knees
- Tighten the stomach
- Keep balance with a minimal movement
of the legs
Back Balance
- Extend from the rib cage to the toes
- The shoulders should be vertically
downwards Balance on the coccyx
(this can vary)
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2

Waist balane
- Balance in the middle of the lumbar
spine
- Arch over the bar
- Keep the hips in alignment
Knee Balance
- Balance on head of tibia
- Hips should be back
- Arms forwards
5/ Basic drops
Drop to front angel

- From sitting take 1 leg to side
- Do not pike, maintain dish
- Move the shoulders back
Sitting to ankle hang

- Take the shoulders back
- Do not pike, maintain a dish
Skinner to ankles
- Open out from skinners, straddling legs
- Drop to ankles
Front balance to catchers

- As you drop forwards start to open legs
- Don’t bend legs until they touch the
ropes
- Extend forwards as you drop
-
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2
Front balance to 1 leg hocks

- As you drop open one leg to the side
- The other leg goes forwards
Hocks direct
- From sitting lower the hips to hocks
- Keep the back straight
- Hocks beat to sit
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part2/ basic skills on Rope

BASIC SKILLS ON ROPE
The following skills and drills are presented only as a guide to the basic requirements
for beginning to create a vocabulary on the rope and silks. All of the skills shown on
the rope can also be performed on silks, but there is a separate section at the end for
skills performed on both silks. Whilst the movements generally progress from simple
to more complex the student does not necessarily need to learn them in the sequence
shown. This series of skills is by no means exhaustive, the student can learn these
movements but then must use his or her own imagination to connect them in a way
which is creative and entertaining. Further skills can be learned by experimentation but
this should be done under the direction of an experienced teacher. Remember also that
the movements shown here are only possible if the body performing them is physically
correctly prepared.
1/ Climbs
Basic Climb
- The base foot should be kept square
and not syckled
Push the base leg slightly forwards
as you climb
- Use the ball of the upper foot to
push the rope against the base foot
- Depress the shoulders and open the
chest as you climb to use core
strength
Russian Climb
- The upper knee should remain a
little bent whilst keeping the rope
between the knees. This stops the
twist of the knee.
Toe Climb
- Spread the toes and roll over from
the bottom of the flexed foot to an
extended foot with the heel lifted
- Keep the top leg straight
- Stand up on the foot as the bottom
toes bring the rope up behind
- Keep the body close to the rope
Hocks Climb
- Turn the climbing knee slightly
sideward as it reaches the rope,
to ensure a tight lock on the rope.
- Point the foot to hold the lock
- Lift the lower leg as you climb to
provide extra friction to grip as in
4th picture
- It is easier to invert from bent arms
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2
Straddle/Pike Climb
- Learn this as a
descent first until strong enough to
climb
- Easier versions include, bending the
knees in tuck and pike
2/ ACCLIMATISING TO THE ROPE-REST POSITIONS
Basic Rest Position:

- Hook the elbows around the rope
- It can be done in squat as well
(picture 2), ensure the rope is
trapped in the groin; pull the leg
across the body.
Amazon
- Extend leading arm as far past the
shoulder blade as possible
- Release the feet a little and re-grip
to get a straight body in the position
Amazon on tissues
Foot Lock
- Hang hips away from the rope
- Have the feet in front of you at hip
height to make the lock
- Make sure you push a long enough
piece of rope away with the free foot
- In these pictures the left foot wraps
the rope underneath the right foot
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2

3/ Inverting on the Rope
In order to build up the strength for inverting on the rope there are a number of progressive
stages which can be followed, these are:
1.Bend the arms and pull the legs up apart and bent straightening the arms and legs
when the hips are fully above the head.
2.Bend the arms and lift the legs in straddle straightening the arms when inverted
3.Bend the arms and lift the legs in pike (together)
4.Repeat 1. with straight arms
4/ Inverted Locks, Hip Locks (keys) and Variations
Half Catchers
- As you put the leg on the rope the
hips should lift above the hands
- Reach over the head, not behind the
back to find tail of rope
- Immediately as you grab the tail of
rope release the hand in the groin
Catchers Hang
- As half catchers
- Try and keep the hips level and the
body hanging straight down with the
hips relaxed.
- Variations can include knees together
or apart, or both legs straight.
Catchers with double wrap

- Hips Lock (Method 1)
- Go in as if doing hocks climb
- Lift bottom leg up as you push top
leg down and turn into the rope, this
helps get the rope into the groin and
not wrapped around the leg.
- Fold in half quickly and release the
top hand
Hips Lock from hocks climb on
tissues
Hips Lock from Scissor

- Try learning it from standing on the
ground, one leg in front of the rope,
one leg behind. Then lift the legs up
and scissor them to pick up the rope
and turn towards it.
It helps to keep the legs wide here.
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2
Stag
- Start from position 3 in catchers
(previous page)
- Pull the body into the rope, don’t let
it fall away
- Bring the arm under the opposite knee
to grasp the rope
- Ensure the rope remains squeezed
behind the knee as you bring the body
upright
Swing the straightened leg downwards

to bring the body upright
5/ Small drops
Catchers drop
- From catchers pull the rope at the
hips to make a loop approximately
60cm
- At the same time, hold the rope in the
groin
- Keep the knees together
- Release hands and drop
Catchers Baby drop (Starfish)

- From catchers hang, bring the rope
in front of the body
- Extend the arms and legs, maintain
body tension in a star shape.
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2

6/ MORE ADVANCED DROPS
Preparation for Hips Lock Salto
Start from hip lock

- Top hand reaches high enough to
drag the front of the shin through the
gap, keep foot pointed.
- Keep the hips vertical against the
rope to maintain the lock
- Reach high with the hand and pull
hard to bring the rope behind the
back as you stand up
- Ensure the rope is between your legs
Hips Lock Salto

- Place both hands above the head
and arch the back
- Release and kick with the legs
- As you circle, catch the rope that was
behind you and pull your body into it.
- You can learn first by reaching for the
rope with one hand and then joining
it with the second hand.
Big Drop Preparation (part 1)

- From catchers, change legs on the
rope and put the rope over the free
leg
- Change legs again, the rope will be
trapped beneath itself at the groin
- Wrap the rope around the free leg
Big Drop Preparation (Part 2)

- Then wrap it in front of the body and
around the back
- Extend the arms, holding the tail of
the rope away from the body and
over the head
Big Drop (Part 3)

- Release the top leg, holding a flat
star shape with tension in the
mid-section
- Keeping the legs wide slows down
the roll, legs together increases the
speed.
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2
Loop roll down – Making a loop

From standing, right leg climb, squat
down pick up the rope in the left
hand and take it to the top hand.
Hold both parts of the rope together
and extend the loop away.
Unwrap the right leg and push it
through coming into a sitting position
Loop roll down

- Wrap the rope around itself, push
the legs forwards, shortening the
loop, holding the rope at the hip.
Loop roll down

- Maintain body tension throughout
the roll, hands turn with the body
Hocks hang (from loop)

- As you push the legs through the
loop, keep them straight and slightl
y apart
- Knees should be facing up before
you bend them onto the rope
- Squeeze the rope behind the knees
as you lower the hips and point the feet.
- Move the right hand above the

knees as the left hand moves down
the rope and pushes it upwards to
make a seat for the knees
- Release right hand as the body
lowers, slowly release the left hand
- Keeping the left hand there too
long will pull the rope out of the
knee grip
Hocks hang from standing

- Left leg climb, right leg hocks onto
the rope
- Left hand reaches beneath the
knees and pushes the rope up as
the knees squeeze it.
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2

Hocks cartwheel
- From hocks, take the rope in front
of the body and around the back
- The right hand holds the rope c
losest to the knees
- The left hand holds the rope away
over the head
- You can release both legs together

but it is more controlled when you
release one at a time
- At the bottom of the roll arch the
upper
back, look up and make a strong
crucifix position with the arms
- For beginners just do half a wrap
(see last picture).
7/ More Advanced Positions
Front Balance
- From standing
- Slide the bottom hand down quickly
under the hip to make a seat for the
body as you bring both legs to one
side of the rope.
- Fold in half quickly and immediately
take top hand off
Back Balance
- Get into this from half catchers
position
- The rope lies on the hips and not
the waist
- The bottom arm is straight and
pushing against the hip.
- The top hand should be released as
soon as the body is in position and
the head held back
- Get the weight of the arm past the
head
Less flexible students could try

widening and bending the legs
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2
8/ Hanging Positions
Flag
- The hand can be either way up
- Make sure the arms are at full
stretch with tension
- Push the bottom hand down and
out
- The bottom arm should be at 90°
or slightly more, not less
Foothang
- Let the top foot sit alongside the
base foot as you lower the body
- Keep the base leg straight to help
the foot go into the correct place for
the hang
- Flex the foot and don’t syckle
- Place the outside of the foot
against the rope pushing against it
PART3 Skills on split tissues

Roll ups
- Start with left foot lock
- Drop forwards to left side, pull up
and turn to right through the tissue
- Repeat
To exit reverse the process above
Parachute
- Start from straddle invert, wrap the
legs outside and then inside the tissues
- Trap the tissues between the legs
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2
part3/ Skills on split tissues

Roll ups
- Start with left foot lock
- Drop forwards to left side, pull up
and turn to right through the tissue
- Repeat
To exit reverse the process above
Parachute
- Start from straddle invert, wrap the
legs outside and then inside the tissues
- Trap the tissues between the legs
- Wrap around the back and then

the front
- Hold the tissues and then rotate
forwards, arms to the sides
Splits
- Start from foot lock on one leg
- Sit down on foot, wrap tissue around
other foot to make foot lock
- Sit down on heels

- Reach up to hold tissues and split
legs
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part4/ Teaching Methodology
Teaching Methodology
1/ THE TRAINING PROGRAMME
When planning the training programme for any individual it is necessary to consider
the relative strengths and weaknesses of the student. However, when dealing with a
new student it is probably necessary to increase the general level of their fitness and
strength before doing anything else. It is not possible to do the job of a Ferrari with
the engine of a Citroen CV!
Training for aerial skills in the first year should emphasise physical preparation. Once
the body is physically ready then the skills can be developed. The means to do this
have already been shown in this manual, but below we take a look at an example of
a programme for a student in his or her first year of learning trapeze, rope or silks.
Obviously not all students are learning full time so we look first at an example for a
two hour session for a part time student.
Programme:
1. 15 minutes directed warm-up
2. 30 minutes basic conditioning circuit including basic climbs / trapeze transitions and
basic skills
3. 45 minutes skill learning/training of personal figures
4. 20 minutes specific conditioning (This can be alternated with stretching exercises,
depending on the range of movement of the student)
5. 10 minutes warm down and stretch
Full time students would do a similar session but probably longer. Their training would
also include separate time with a choreographer, perhaps a nominated conditioning
teacher and time to stretch and warm down.
Teachers should be aware that when they start a student in training they are preparing
them for something which may not come to fruition for years, but unless they plant the
roots correctly there will be no fruit. The basic techniques are the most important part
of an individuals training because it is this that he or she builds everything else upon.
There is no magic to producing high level skills, there are only the correct ingredients:
Physical preparation
Basic training
Correct development from the basics
Incorporation of skills into a personal artistic framework
2/ THE PSYCHOLOGICAL BASIS OF CORRECT PREPARATION
The physical reasons for correct preparation have been explained many times and whilst
this is not always listened to there are also sound psychological reasons for preparing
your performer correctly.
Evaluate the skill first in terms of its physical requirements and if your student is lacking
make sure that the appropriate conditioning is done first. There is nothing more de-
motivating for a performer than being pushed into a skill which he or she is not ready
for. Being physically prepared will help to overcome any psychological doubts as well.
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2

The old saying “success breeds success” was never truer than when learning physical
skills. The teacher must design a series of ‘steps’ to learning each skill, and the student
must become successful at each of these steps. This doesn’t mean that once he or she
has achieved it once then it’s time to go onto the next step. Each step must be completely
mastered and repeated hundreds of times. Each time the student achieves a new step
it takes some time for him or her to become ‘comfortable’ at that stage. Imagine a series
of platforms, each time the individual scales a platform it is further from the ground.
It takes time to become accustomed to that level.
If a student moves on to the next level and is not happy then they can come back to
the earlier level and regain confidence. In this way, if somebody learns a skill and then
loses it there is always a platform underneath where they can start to build it again.
From day to day the teacher must ensure that the demands he or she is making of the
student are within that individuals physical and mental capabilities. Therefore the student
must be prepared physically and mentally for the tasks ahead. It is no use starting him
or her off on a skill which is beyond his or her strength and range of movement to
achieve.
Hence the reasons for this type of preparation are two-fold:

1) Success at each stage breeds confidence to carry on to the next level without fear
2) If the skill breaks down at a later date the student has a history of success at lower
levels of that skill and can go back to the appropriate level to relearn it.
When a skill has been achieved once the learning process is far from over. There are
hundreds of reasons why it could break down during a performance with the stress of
an audience. The only way to ensure maximum stability is to repeat it hundreds of times
before including it in a number.
Remember, confidence is built on the back of success, success is only achieved through
good preparation.
3/ Safety
The safety of performers is obviously of the highest importance when teaching aerial
skills. In order to make sure students are safe a number of conditions must be met.
1. Is the student physically and mentally prepared for the task?

This has already been covered above. Generally if a student has been prepared physically
and with the correct pre-requisite skills there should not be a problem with fear. If there
is still a problem then the teacher must discuss this problem with the student and seek
to find ways to overcome it. If a student is fearful of a skill then this can lead to
accidents arising from lack of commitment .
2. Is the teacher knowledgeable and experienced enough to teach the skill correctly
and in a safe manner?
Any teacher should only teach to a standard at which they are competent. If a student
rises above that level then the teacher must seek assistance from somebody more
experienced and qualified.
3. Is the apparatus to be used suitable for the task and in good condition?
The use of inappropriate equipment or equipment in bad condition can lead to accidents.
Rigging points should be checked regularly, ropes and wires also. Most professional
facilities have a regular checklist for equipment safety.
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4. Have all the possible means of ensuring safety been considered?

Many skills require a student to be lunged in the early stages. The teacher must be
competent in using a lunge or make sure that the lunge is held by somebody who is.
Safety mats should be used whenever possible and skills should be taught at a safe
height until the student is competent to progress higher. Other safeguards such as resin
or chalk for the hands must also be considered.
To protect themselves teachers should be aware of the basic laws of Health and Safety,
make sure they are covered with public liability insurance, understand correct procedures
and know their own limitations.
There are inherent risks in performing aerial circus skills but these can be reduced to
a minimum by following the guidelines above. Any teacher is obliged to show that ‘best
possible practice’ has been applied in the teaching of any student.
4/ Methods of stimulating the creative process
All the skills learned on trapeze, rope or silks are useless without a creative framework
to put them in. This is a very personal area and not something which can be quantified.
Performers can work with a choreographer, but from the earliest stages of learning they
should be encouraged to place the skills they have learned into a performance.
For the teacher there are a number of ways in which they can help to stimulate this
process, using games, drills, musical devices and so on. Following are just a few ways
in which this can be done. This is by no means exhaustive, the ways in which this can
be done are only limited by your own imagination.
The use of speed and tempo:

As the student progresses through a series of movements of his or her own creation,
the series is stopped with a clap or call. The student must stop in whatever position
they are in at that time. Afterwards, following another clap or call they continue but at
a completely different tempo. They can start fast or slow, but they must change each
time after they are stopped.
Changes in direction:
As above, the student progresses through a sequence of their own making, when the
clap or call comes they stop and then must continue afterwards in a different direction.
This can be combined with the above to include changes in direction and tempo.
Continuing in the same direction:

This time, after the stop the student must continue in the same direction with the same
body part leading the movement. You can alter this so that a different body part must
lead.
Set movements with voluntary linkage:

The student is given a number of skills which must be included in a sequence. The way
he or she gets from one to the next is up to them. This is a useful exercise when you
have a class which includes performers of different levels, because they can each interpret
the instructions at their own level.
This can be given a new meaning by using different types of music and making the
students interpret the same series of movements to these differing pieces.
25
2

Two on a rope:
One student is asked to perform a short series of movements on the rope or silk, a
second student then climbs up to take over but the take over must include a physical
dialogue between the two as the lower student replaces the higher one. This can be
made into a complete series with a whole class of students as each one takes over from
the one before.
Remember:
1. These aerial activities are personal by nature and such the student should be given
the chance to express themselves artistically at every level. So even when learning from
the beginning, time should be given for individual expression. The student needs to be
given the autonomy to create his or her own performance within the parameters of the
available skills.
2 The quality of movement at each level is of great importance, and even skills I that
are being learned can be performed with different ‘qualities’ of movement and different
expression.
Ezra Groenen in her notes regarding the artistic expression of aerial movements says:
“Link up with what has been dealt with in dance (intention, quality of movement etc),
when possible operate the various elements in several ways:
- dynamic
- static
- varying speeds
Carry out research on yourself. always try to bear in mind the artistic components,
especially concerning simple elements such as climbing. Apply them even during warm-
ups. Avoid purely gymnastic routines even ‘in series’(do them with a purpose or vary
the purpose whilst varying the body movements)”
26
Manual for Chinese Pole
Contents Page
Part1
Technical specifications
Part2
Physical conditioning
1.General conditioning
2.Specific conditioning for 1 pole
Part3
Basics of Chinese Pole
1.Climbs
1 Classic climb
2 Little monkey climb
3 Monkey Climb
4 Turning climb
5 Jump climb
6 Shoulder stand climb
7 Flag Climb
8 Handstand climb
10 Invert turning climb
2. Rest Positions
1 Held positions using the legs
(ii) Inverted leg holds and variations
3. Planches and flags
1 Superman
2 Shoulder planche
3 Tucked shoulder planche
4 Planche 1 leg bent
5 Full planche
6 Handstands
7 Classic flag
4. Descents on the pole (slides)
1 Inverted leg slide
2 Hip lock slide
5. Other descents
1 Hip lock slide changes
2 Leg change descent
3 Variation on leg change descent
4 Back turn to hip lock
5 Star drop to hip lock
6. Simple skills
1 Walkabout
2 Back full turn
7. More advanced skills
1 Swing pirouette
2 Drop pirouette to donut
3 Cartwheel
4 Pirouette
8. Using 2 poles
1 Jump •'5f turn to catch hands and feet
2 Prep stage 1
3 Prep stage 2
4 Prep stage 3
5 Jump to leg catch
6 Preparation for leg catch
5
Part1 / Technical Specifications
Technical Specifications
Figure 1
Pole measurements:
Height: This is usually 6metres but can differ depending on

personal preference
Diameter: Range from 52mm – 60mm, thinner is easier to grip
Rigging points: Poles are normally held by three cables spaced equally
in a circle at 120º. The ideal downward angle for the
cables is 45º so for a 6m pole the rigging points need to
be 6m from the pole
Cable tension: Strap ratchets should be used on each cable, normally it is

best to tighten to 120kgs pressure. The cables should be
attached to the top of the rope. The bottom must be secure
and not slipping. Slings on the cables should be short. If they
are too long there is too much elasticity and therefore too
much movement on the pole.
Materials:
The pole This should be made of minimum 5mm gauge (thickness)

steel tube preferably with no welding
Cables: These should be minimum 6mm in diameter
Floor points: If the pole is to be permanently set up then it is best to put

plates in the floor with four bolts into concrete.
Pole Covering: Modern poles are usually covered with neoprene, the same
as for a wind-surfers grip bar. It is possible to use tape but
1
5
Part1 / Technical Specifications

this is far more abrasive.
Setting up two or more poles:
For two poles it is normal to have two floor fixings for each pole and connect the two
poles at the top. This can be achieved with fixed poles or (as in the picture) a cable
between the two. The advantage of this as shown in the example (figure 1) from Rosny
is that a travelling lunge can be attached to it for movements between the poles.
2
5
part2/ Physical Conditioning
1/ GENERAL CONDITIONING FOR CHINESE POLE

Obviously, the pole requires a great deal of strength in the upper body to perform. If
we look at the nature of the movements performed on it we can see that there are certain
types which occur frequently and require the same muscle groups. The biceps is nearly
always involved in climbing as are the abdominal muscles. The action of closing the
shoulders is much used requiring strength in the triceps, posterior deltoid and pectoral
muscles. There is also a fair amount of static work performed on the pole and so any
conditioning programme should include isometric exercises. Apart from specific actions
performing a number on the pole requires a great deal of local muscular endurance, so
this should also be taken into account when formulating a conditioning schedule.
Following is a general conditioning programme designed to increase endurance and

general strength for the pole. This is followed by a number of specific exercises.
1. Leg lifts on bar or trapeze 2. Chins on bar or trapeze
3. V-sits 4. Lift up and down in shoulder stand
5. Adductor lifts 6. Dorsal lifts
7. Skin the cat, on bar or trapeze 8. Side lifts
3
5
part2/ Physical Conditioning

9. Roll to stand 1 leg alternating 10. Dish rocks, front and back
11. Press ups 12. Abdominal crunches
2/ Specific exercises for pole
Obviously working on the pole is a conditioning exercise in itself and each training
session should begin with basic work which will help to strengthen the student. Ascending
the pole is particularly good for strengthening. The climb shown below is possibly the
most physically demanding on the arms but very good for strengthening.
For further strength and range of movement training the reader is directed to the Training
theory manual from this series.
4
5
part3/ Basics of Chinese Pole
1/ CLIMBS
Classic Climb
- Shoulders should be lifted so that the
back is vertical
- Hips should be rotated inwards to
maintain a flat back
- Don’t over-reach
- The same – side arm and leg reaches
at the same time
- Feet can be parallel or turned out
Little Monkey Climb

- Move the body weight from side to
side
- The hand moves at the same side as
the leg swinging out.
- Try to maintain a rhythm
Monkey Climb
- This is basically a bigger version of
the swing climb
- Use a pendulum action with the leg
swinging out straight
Turning climb
- The grip of the support hand must be
changed before turning (see pic. 1)
- Reach high behind the back
- At point 3 it is important to lean out
with arms straight
5
5

Jump climb
- The body must be kept vertical as in
classic climb
- The start position for the hands is
around eye level
- Swing the leg out, straightening the
arms
- Use the leg swing to take the weight
off the body whilst the arms pull
Shoulder Stand climb

- The tempo of the legs and the upper
body creates the impetus to climb
- As the legs are straightened and the
upper body pulled in towards the pole,
the arms pull to create the lift.
Flag climb
- The lower shoulder must be locked
out strongly
- Time the pull with the leg extension
- The upper arm pulls and the lower
arm presses
Handstand climb part 1

- Keep the lower arm strong as the
body swings up to the handstand
- Don’t allow the shoulders to go too
far forwards
- One leg hooks around the pole
behind the knee the other leg extends
and the foot hooks around the pole
Handstand climb part 2

- Swing the body to invert
- Hook the right knee and left foot
(in this case)
- Once secure curl up to reach for
pole above
6
5
Figs 1 - 3
Practise swinging into this inverted position as a preliminary practice for the inverted
climb, notice the strong lower arm (1 & 2). The knee hooks around the pole before the
other leg is extended (2) and locked in. at this point (3) it is possible to release the
pole with the hands and curl up to re-grasp above the legs.
Invert turning climb part 1

- Half turn to hang with back to pole
- Curl up and hook the knee (right)
- Reach up with right arm, holding
with left

- Once the right hand is on bring the
left hand up and begin the half turn to
start again
7
5

2/ REST POSITIONS
held positions using the legs
Fig 4 Fig 5 Fig 6
Fig 7 Fig 8 Fig 9
In all these positions the body should be relaxed. Allow the weight to settle into the
pole and friction takes over to keep the position. In positions 7 and 8 the pole needs
to be locked into the hips.
inverted leg holds and variations
Lift into inverted 1 leg hock and

cross leg hang
8
5
These are variations on the basic one leg hock hang
3/ PLANCHES AND FLAGS
Fig 10 Fig 11 (Superman)
The ‘superman’ above is probably the simplest of the planches, but still requires strength
to maintain the straight body position and to lock in the pole under the arm. This is
achieved by keeping the hand by the top of the hip and pulling the elbow in hard towards
the body.
Shoulder Planche
The planche is considerably harder than the superman and will require a fair amount of
strength training. There are a number of intermediate steps that can be taken.
9
5

Tucked shoulder planche
- Training exercise for front planche
- Start from inverted planche and lower
to tuck
- As the student gets stronger the hips
are taken further from the pole
- Press back to invert, repeat, sets of
3 or 5
Shoulder planche I leg bent

- Lower to planche with one leg bent,
foot next to other knee
- Hold and return to tuck
- Press to invert
Horizontal planche
- It is easier with the arms slightly bent
- Make sure the hips are kept fully
extended
- It the hips start to drop then more
strengthening should take place.
* There are conditioning exercises for this exercise shown on the DVD
Handstands
- From the start, make sure the bottom

arm is strong and extended
- Squeeze the pole into the upper
armpit
- Lift the hips with the legs tucked,
when the hips are directly overhead,
extend the legs
- This requires a strong pull from both

arms and a strong contraction of the
abdominal muscles
- Make sure the hips are as high as
possible before extending the legs
10
5
- The bottom arm must press away as

hard as possible and the upper arm
pull in as hard as possible
- Keep the hips as close to the pole
as possible as this requires less
strength
Classic Flag
The flag can be reached from the same position as the handstand above and can be
done straddled as in the Fig 12 below or with legs together (the more difficult option)
Fig 12
To achieve this position the student must lock out and push hard with the lower arm
and pull with the top hand. The lower hand is turned so that the fingers are downwards
and the weight can be braced against the heel of the hand.
4/ DESCENTS ON THE POLE
Descents can be done in a number of positions but these are the most common..
A safety mat should always be used when learning these descents.
- To begin with the performer should be comfortable in maintaining the slide position
on the pole.
- Start close to the floor with safety mats under the pole, then gradually start higher
- The slide is initiated by relaxing the held position on the pole and reducing the friction
- Begin by descending slowly and build up the speed when the braking technique is
consistent
11
5

Inverted leg slide
- For this it is important to
maintain the tension in the back
extensors to prevent the chest from
hitting the pole
- The hand can be used to help
the body position when braking and to
assist with the slowing down
Wrap slide
- Hold the legs tight to maintain
the position
- Relax with the arms to begin
the slide
- Pull in tight again to brake
5/ OTHER DESCENTS
Hip Lock Slide Changes
Starting from 1 leg wrap the body and legs are extended and the chest is moved across
the pole to the opposite side to wrap again, as the body is extended the performer
releases pressure on the pole and slides into the next wrap.
Leg Change Descent
12
5
In this descent the body alternates from a position of chest facing the pole to back
against the pole. From the ‘stag’ position with the back to the pole the leg is brought
in and the foot wrapped. At this point the pressure is lessened and the performer slides
a little on the pole before braking and once again releasing with the same leg.
Variation on Leg Change Descent
This is similar to the descent above but the free leg is brought in and wraps the pole
releasing the other leg. The free leg is brought across the pole as in picture 4 causing
the body to rotate around the pole. The upper leg must wrap the pole before the other
leg is released.
Back Turn to Hip Lock
Turning to the left, the left arm is extended from a normal climb position and reaches
down to grasp the pole. The body is then turned, the right hand released and the left
leg wraps around the pole to end up in hip lock.
Star Drop to Hip Lock
13
5

From cross leg hand one arm is placed on the pole at arms length underneath the body.
The rear leg swings out whilst the front leg maintains the hold. When the free leg gets
to its maximum stretch the hooked leg is released from the ole but the upper hand
remains in place whilst the legs move in to wrap the pole. The upper hand is then
releases and the performer drops into hip lock.
6/ SIMPLE SKILLS
Walkabout
Turning right, the right hand is placed over the left hand with in over-grip as the right
leg is swung over the head. The left leg must push hard against the pole. As the right
leg completes the circle and comes near the pole again, the right hand is released and
the right foot placed on the pole. As soon as this happens the left leg is rotated above
the head and swung down to return to a normal climbing position.
Back full turn
Turning to the left, the releases with the left hand and turns his back to the pole, pushing
with the left leg. The left hand is placed on the pole, low down with the arm straight.
It is important to keep the pressure on the left leg, rotating the foot on the pole. Once
the body has rotated so that the chest is facing the pole the right hand is released and
replaced in normal grip to climb.
7/ MORE ADVANCED SKILLS
Swing Pirouette
14
5
This is a more advanced version of the back turn, rather than keeping the foot on the
pole the performer pushes away and completes the turn on one hand swinging back in
to wrap the pole with the legs. The upper hand must be placed in reverse grip first.
Pirouette to Donut
From a straddle planche position hand supporting the body underneath, the legs are
twisted to create the rotation and the performer pulls in with the upper hand to ensure
the body stays close to the pole. Once the body is facing downwards the left arm is put
in front of the pole and the knees are drawn in to wrap the pole ready for the braking
slide. As the full tuck is reached the other hand comes around the pole and both hands
grasp the knees.
Cartwheel
This is taken from a monkey climb. As the leg swings out (right in this case) the right
arm reaches down to grasp the bar underneath. As this happens the legs are swung over
the head as a continuation of the monkey climb. The upper hand remains on the pole
until the right foot makes contacts. Then the other leg swings in and the upper hand is
changed. This skill can be practised on the floor to learn the technique, as below.
Cartwheel Preparation
The skill can also be supported as below:

15
5

Supported Cartwheel
Pirouette
From a tempo swing downwards of the leg, the arms pull hard as the leg pushes. The
shoulders are turned as the push develops and the trailing hand remains on the pole
to help keep the body close to the pole. On re-grasp the right leg is hooked around the
pole. The leading hand will re-grasp the pole first. This should be practised as a dismount
first to land on a mat from a low position on the pole. Once the student can land on
the mat in the correct position for re-grasp then the correct technique can be taught,
but still at the same level.
8/ USING TWO POLES
Some Chinese pole acts use more than one pole. We will now look at a couple of ways
to transfer from one pole to another. The distance between the poles is obviously variable
and depends upon personal preference. For the purposes of the transfers shown here
the distance is 1.9m. This is so that the performer has to fly between the poles as it is
too far to reach.
Jump half turn to catch hands and feet:
This skill can be built in stages:
16
5
Preparations for Jump - turn
Stage 1 Jump and return to pole

- The arms must be pressed straight
and the direction is straight up
bringing the body into the pole
- Use the flex of the pole, especially in
the middle
- Try to land higher on the second pole
as this leads to a smoother catch
Stage 2 Jump to dismount

- This is to ensure that the body stays
upright and enough elevation is created
- A mark can be made on the mat
where the other pole should be
Stage 3 Jump - turn to dismount

- The performer should learn to land in
the correct position for catching the
other pole
Jump to leg catch (Advanced)
The performer uses the swing of the free leg to gain momentum but must push with the
arms. The head must be kept up and the chest high. The leg that hooks around the pole
first bends from the knee downwards, not tucking. As the second leg wraps the upper
body must resist the momentum taking it into the pole.
17
Preparation for jump to leg catch
5

Preparation for jump to leg catch
- The performer should land in the

position to catch the second pole
- A mark can be made on the mat to
give the distance to the pole
18

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Static Trapeze, Rope and Silks

Specific Strength Exercises for Aerial Skills

1.TRAPEZE BASED EXERCISES

Hanging Leg Lift

Skinning the Cat

Hang and Pull up in Shoulders

Front balance roll ups

Manual for Static Trapeze, Rope and Silks

Hanging on one arm

Catchers Hang Abdominal Curls

Ankle Hang Hip Flex

2.MORE ADVANCED TRAPEZE BASED EXERCISES

Leg Lift and Extend to Invert

Straight Body Lift (Bent arms)

Straight Body Lift (Straight arms)

One leg hocks hang

3.ROPE BASED EXERCISES

Manual for Static Trapeze, Rope and Silks

Curl ups (Straddled)

Hanging from one hand

4.FLOOR BASED EXERCISES

Dish on front and back

Rocks in Shoulder Stand

Lifts up and down in Shoulder Stand

Manual for Static Trapeze, Rope and Silks

Closing Shoulders (Straight arms)

BASIC SKILLS ON STATIC TRAPEZE

Basic Hang Position

Tuck through to pike

Pop-off (straight legs)

Beat in hocks hang to sit

Manual for Static Trapeze, Rope and Silks

Skinners from hocks beat

One leg pop-on

One leg skinners

Backward roll from sitting

Forward roll from stand to sit

Up and over from beat

Up and over without beat

Birds Nest (Under bar)

Birds Nest (On ropes)

Mermaid (Under bar)

Mermaid (above bar)

Half angel forwards

Manual for Static Trapeze, Rope and Silks

Amazon (with supporting hand)

Amazon (without support)

Manual for Static Trapeze, Rope and Silks

Drop to front angel

Sitting to ankle hang

Front balance to catchers

Front balance to 1 leg hocks

Manual for Static Trapeze, Rope and Silks

2/ ACCLIMATISING TO THE ROPE-REST POSITIONS

Basic Rest Position:

Manual for Static Trapeze, Rope and Silks

4/ Inverted Locks, Hip Locks (keys) and Variations

Catchers with double wrap

Hips Lock from Scissor

Swing the straightened leg downwards

Catchers Baby drop (Starfish)

Manual for Static Trapeze, Rope and Silks

Preparation for Hips Lock Salto

Start from hip lock