Department: Mailbag
Mailbag: Knee Pain?
Dear Hooping.org:
I have been hooping since summer, but need some advice and am hoping you and your readers might be able to help. No matter what I do to avoid it, hooping seems to hurt my left knee. It's breaking my heart because hooping is so much fun and such a great workout, but every time I do it, I can't bend my knee afterwards without having extreme pain that lasts until I stop hooping all together. It does clear it up within a few weeks, but who wants to stop hooping?. Does anyone else have this kind of problem? What have you done to avoid injury? Or am I just doomed because I hurt my knee playing sand volleyball many years ago? - Aimee
Dear Aimee: I have a problem with knee pain from hooping sometimes, but I do a lot of knee level hooping and there's a little spot at your knee that "bruises" really easily. My guess is this isn't what you're talking about though. If it's happening all the time even if you're keeping it waist level, it's probably something bigger than hooping and more a result of being on your feet and that type of movement. One solution I would recommend you check out though would be trying an elastic support knee brace similar to this cheap one. Maybe with some additional compression and support to the knee you'll be good as new, and maybe our readers have other ideas to share. Good luck!
Philo Hagen, Editor
Hooping.org Magazine
On Jan 25, 2008, at 7:43 AM, Aimee Gertsch wrote:
No worries! Thanks for getting back with me. It happens when I hoop in general... like above the waist, or on the hips. I could see how it would make sense if it happened while knee hooping, but it's all the time.
~Aimee
http://4theloveofanimals.com/blog
http://aimeeroo.com
On Jan 25, 2008, at 8:31 AM, Philo Hagen wrote:
Aimee,
Sorry it's taken me awhile to get back to you. I was swamped with the Hoopies and the redesign and somehow missed this along the way.
Published on January 28, 2008 | LINK | Comments (3)Help! My Hoops Aren't Turning Out Right
"Dear Hooping.org, I am having a problem making hoops and I can not find an answer for this anywhere. I ordered 160 pvc piping and the connectors that fit them. I followed Jason’s instructions, cut and heated the pipe and inserted the connectors. However, no matter how much I heat it I can not get the connector in all the way. My second problem is that the tube will not lay flat on the floor once it is connected. I have pushed and bent it but it just will not make a nice circle. I don’t know if the connectors are too long and they are warping the hoop or if it just the hoop material that is no good. If you could please help me that would be great.
Thanks,
Ammy in Virgnia
Ammy,
Something that doesn't get talked about enough is that there are a number of different manufacturers making connectors and looking in my hoop making supply box I have three that are different, even though they all do the same thing. Some are more or less made to connect simply and easily, while others have a lip in the middle of the connector that will not fit under the piping, and others have little plastic barbs that create obstacles. When I find connectors I take what I can get, but sometimes that means getting out the sander and sanding the obstacles away. With the case of the middle lip ring it's not going to go over that so don't worry about it and add some tape over it, providing you're getting the hoop connected on both sides right up to the ring.
Boiling water makes connecting hoops much easier, and while there are those who will tell you that 10 seconds in warm water will do the job, the hotter you get the hoop, thus the longer you keep it in, the easier it will be to add connectors. I typically stick an end into a boiling pot of water on the stove for about thirty seconds on 160psi pipe. If I'm making quite a few hoops there's no sense wearing myself out when I don't have to.
As for the hoops not laying flat, the tubing comes in coils and it's rather sensitive to heat. Every now and then I seem to get a batch that's a little warped. Perhaps it was sitting at a bad angle in the back of a hot truck, who knows, but the good news is that the polyethylene is just as sensitive to heat finished as it was before you made it. Wait for a sunny day and throw the hoop out in the grass in the sun where it can warm up. Once it's warm you can bend it back into shape and as it cools it'll be fixed. In the winter I've been known to use the blowdryer.
Another thing that can happen is that we forget that warm pvc pipe is really pretty moldable while it's warm and once it cools it maintains its shape. My guess is with your problem of adding the connector that you're leveling the pipe out while inserting the connector and it's cooling a little too much while you're trying to add it, so that when you're done you have a flat spot. It happens, but it isn't really due to the connector in my experience. It's usually due to me holding the hoop in a flat line too long while connecting the two ends together.
Perhaps our readers have other ideas for you as well. In any case, good luck and happy hooping!
Published on October 25, 2007 | LINK | Comments (3)Will Hooping Help Me?
Rhonda writes, "Dear Hooping.org. I'm just starting out. I have lower back problems - it's fused, but my tummy is huge after losing 70 lbs. and I can't find anything to help make it smaller. Will hooping help? Also I walk kind of hunched over because my muscles are all so weak and walking alone isn't enough. Can hooping help me?"
- Rhonda T., Imperial, CA
Hooping.org isn't really qualified to answer this question other than to simply say yes, but we know there are those of you out there with more health related expertise, as well as personal experience. So we ask you, dear hooping community, what do you think?
Amanda Gives Thanks
Dear Hooping.org!
I just wanted to thank you all. I'm 17 now and I've been hooping since elementary school. I just taught myself random things when I was a kid. I found this website, and now I can do so much more because of the inspiration it brought to me. I recently participated in my school talent show and I was a big hit, mostly because of the great information provided by hooping.org. So thank you to everyone who contributes to and runs hooping.org!
Always keep hooping,
Amanda
A Hoop Group Blooms in Connecticut
Hi Hooping.org!
Just checking in to let you know I listened to your advice. No instruction necessary. Just gather people and start hooping. Thats what I have done and now I have a group on Monday nights, Wednesday nights and Saturday morning. I am getting the Northeast community of Connecticut and Rhode Island hooping and spreading the joy. I'm even planning to gather everyone over the summer and have a great big HOOP day. Thanks for your encouragement!
JudiAnn, So. Killingly, Connecticut
Published on March 31, 2007 | LINK | Comments (4)Hooping with a herniated disc?
Laura writes:
Dear Hooping.org,
"Does anyone know if it's recommended or not to undertake hula hooping when you have a herniated disc in your lower back? I've searched and searched the web and can't find any info.
MUCH appreciated"
- Laura
Dear Laura,
I haven't run across any information about herniated discs, but it's possible one of our readers will know and/or has a personal experience to share. Hopefully we'll both learn something. Thanks for writing!
- Philo Hagen, Editor
Hooping.org Magazine
Gail Learns She Can Hoop After All
Gail writes: "I saw some hoops at the dollar store & bought the biggest one on a whim. I'm 48 & 5'11", so of course I couldn't keep the 33" hoop up at all. After I tried awhile & failed, I decided to check out the web & see if there were any hooping sites that could give me some tips. That's how I found y'all!
I went straight out the next morning & purchased my 3/4" poly tubing & connectors & got to work making a hoop that came to just above my naval when standing it up on it's diameter - and I was hooping in no time! Then I got some colored duct tape & vinyl tape & decorated it and another smaller one for one of the girls at work. That was 3 days ago & there is now a full-fledged hula hooping craze at work! I took in 2 more hoops today & everyone is trying it. Even the men are sneaking into the breakroom when no one is looking & giving my hoop a whirl. Most of the women are asking for a hoop to take home. In fact one went home with someone today!)
We're having the best time! Thanks so much for giving the instructions on what size hoop to use and how to make them. Thanks for all the smiles & laughter you've given to all of us at work! (Laughing while hooping really brings the heart rate up!) - Gail
Dear Gail -
Thanks for writing us Gail and Happy Hooping to you and everyone at work.
Philo Hagen, Editor
Hooping.org Magazine
A Couple of New Blogs
Jessie writes, "I have created some online resources which, I believe, are complimentary to hooping.org. Get Your Hoop Groove On: Resources For New Hoopers is, i believe, the incredible organized collection of hoop-specific videos
plus a number of new hooper basics covered, and The Business of Hooping, a blog for professional hoopers building businesses around their love of hooping. Thanks for spreading the word."
A Letter From Belgium
Luisa writes: "Hello, i'm writing you from Belgium. It makes many years i'm dancing with the hoop and i'm looking in belgium for other peoples doing the same things but i'm alone; I love this so much and i m happy to discover (since few time) this community of hoopers in United States. Then, i wanted so much to come in your country and meet you."
Luisa -
We hope that posting your letter will help you find other hoopers in Belgium. Thanks for writing!
Hooping.org
Published on October 05, 2006 | LINK | Comments (1)Mom hoops at stART in Worcester
Ashleigh writes, "I was lucky enough ... to take part in an art festival in Worcester, Massachusetts, called stART on the street. I've participated before as a vendor selling hemp and horns, but thanks to hooping.org and the hoop tribe I was able to bring along some hoops. I found a picture of my mom trying to drum up some business by hooping her heart out too! Thanks and keep up the good work!" To view Ashleigh's mom hooping go here and click on events.
Everything But The Kitchen Sink
Stuart in the UK writes: "Well is there anything that's not on the internet? I've been trying to hula hoop for a couple of days now with no success, and then I thought 'I wonder what Google would find?' and lo and behold there you are. I followed your instructions and made a big hoop and now I can hula! So many thanks!
Regards,
Stuart, UK
Thanks for letting us know Stuart! We wish years of Happy Hooping!
- Hooping.org
Dance Hoops vs Sport Hoops
I recently came across my old hula hoop and remembered how much fun it is! I'm interested in "hooping" for fitness purposes. I'm trying to figure out if I'd be better off with a sports hoop, or a dance hoop. Your site mainly discusses dance hoops, and it seems like an artistic form of expression, as well as a good workout. I'm not the graceful type, and can't see myself using it for dancing... You guys are the experts... Are there advantages/disadvantages in using one hoop or the other?
I notice the sports hoops (like on spoortshoops.com) are padded, and are wavy inside (waves seem awkward, but padding might be nice). The dance hoops seem thinner and look nicer. But for general toning purposes, which style would you recommend?
Thanks!
Susan K.
Dear Susan
The big difference between a dance hoop and a sport hoop is the price. Sports Hoops cost considerably more, and they don't do anything for you that a homemade dance hoop can't. Keeping the same basic instructions in mind, you can add more weight simply by going with a different grade of polyethylene tubing. Typically we make hoops with 160 psi 3/4" pipe, or 100 psi 1" pipe, but going with a 160 psi 1" pipe will make you a very heavy hoop. Want to add more weight? Add tape, multiple layers even. Tape not only adds weight, it adds traction which will help you keep the hoop going, and if you want an even more intense workout you can always try adding some water, sand, or beans to increase the weight even more. Another perk to making your own is that you can make your hoop look exactly the way you want to. Most sport hoops we've seen tend to be a little on the ugly side.
Happy Hooping!
Hooping.org
Published on August 21, 2006 | LINK | Comments (0)Learning To Hoop at 52
At 52 years of age Karen Lang-Ferrell writes:
"I've enjoyed reading all about hooping on your website. I was reading a recent "Prevention" magazine and an article mentioned the fact that hooping was a good core exercise. After two weeks of trying to keep the hoop going, I finally succeeded. Boy was I happy. I was just ecstatic at being able to keep the hoop going. As a child, I remember hooping and loving it.
I just turned 52, and it's a great way to get a mini-workout at home in a spare 15 minutes. I put on some groovy tunes and start hooping. I'm finding that with each session, I learn different techniques, get it to move at different speeds, and just have better over all control. It is getting me more in touch with my body and that can't be a bad thing!"
Dear Karen -
Getting in touch with our bodies is never a bad thing! Thanks so much for your letter Karen - and for the inspiration you're giving to others.
- Hooping.org
Published on July 20, 2006 | LINK | Comments (0)Performing Hoopdance in Nightclubs Part III: Using Imagination to Enhance Performance
Lately I have been playing with my imagination while performing hoopdance and noticing some awesome results. By imagination, I mean two things: visualizing detailed images while dancing, as well as generally imagining the greatest positive good that comes out of people watching me perform. I felt compelled to write this article to share some of the techniques I am using. Perhaps you will find them useful as well?
The power of visualizing specific images dramatically changes my facial expressions, body postures, degree of eye contact, the expansiveness and variety of arm gestures and dance steps I do and how much flow I have in transitions between tricks. These images include objects (i.e. the sun, diamonds, pearls, feathers, gold) substances (i.e. light, water, cream, chocolate, joy, love), types of weather (i.e. tornados, tidal waves, the wind) the essence of specific people (i.e. Buddha, Kuan-Yin, Marilyn Monroe, inspiring friends). For example, imagining my whole body covered with sticky honey immediately slows down my movements and makes me move as if in a sweet trance. It helps me connect to my breathe and move in a supple slow dance which has a rhythm all its own – a hidden rhythm inside the music. I also find that visualizing things allows me to grow into a much bigger persona which exudes a lot more confidence, radiance and joy. Visualizing expands my energetic body so that coming onto stage I can be more of a force than an individual. I realize that the images create feelings which effect the performance – basically performance transmits feelings.
Once I had trouble connecting with inspiration before going onstage, so I invoked the divine essence of sexiness – I imagined myself calling down a sparkling golden luminescent powder, sprinkled on my by a shining sexy radiant angel, and let the glowing stuff seep deep into my body. Suddenly, I felt so filled with an aura of beautiful energy that I went on to do one of the best performances of my life!
Many exercises I am providing for my students are largely inspired by a book called Dance Imagery, which provides about hundreds of exercises for imagery during movement. For example, when I swing my hips I think of long strings of glittering diamonds swaying. This visual immediately elicits luxurious, delicious feelings within me which saturate my dance with a wonderful energy. Using vivid, sensate images helps create fantastical , articulate ways of dancing that move past the physical and touch those who watch on a deeper level. It focuses my movement and gives it purpose. The purpose is transmitting the essence of something to the audience.
Of all the things I have visualized – the most profound has been light. The website, books and meditation tapes at www.orindaben.com have been very helpful in training me to work on this level. They provide many exercises on visualizing solar radiance and light infusing the very dna of our bodies to create profound changes. With practice, I have been able to remember some of these techniques so that when I make eye contact during performance, I can actually visualize lines of light transmitting from me directly into those who watch. For example, imagining my heart shining pink and white light into the hearts of everyone watching me somehow brings a sweet smile to my lips and a gentleness to my movements almost immediately, no matter what mental state I may have been in a moment before. I have tried this with an audience who looked bored and indifferent and suddenly they all began smiling and getting enthusiastic.
All this brings me to the second aspect of using imagination in performance: imagining how wildly important your performance is to those who watch. I have been trying out imagining that every audience member who watches me decides to do something in their own lives that makes them smile as widely as I am while I dance. I imagine them all trying something new the very next day. I imagine their outlook on life improving. I envision hundreds of women taking more time to nurture their bodies and do things which make them feel strong and sexy and alive. I imagine all these women empowering their friends to be spectacular and fabulous in every way and take risks – perhaps putting their art or creativity out there in a bigger way. I see minds expanding to imagine more and claim more success and vitality and health. I envision people touched by this brave art and that they are happier and more positive – abundance, inspiration and joy pouring into their lives.
For those of you who don’t know me, I have been performing for 4 years now and have found it to be a path of true self transformation. I feel performing hoopdance is a way we can choose to be a world server to transmit energy – light, joy and love – to those who watch us, so that they can activate profound changes in their own lives. I am always trying to imagine how I can help others by doing what I love – hoopdancing. I would love to hear your stories of how you use performance to “change the world” and your experiences using your imagination during performances…
Published on January 30, 2006 | LINK | Comments (5)
Advantages of indoor hooping
It has been quiet on hooping.org. One of the reasons is that there generally isn't as much hooping going on during the winter as in the warmer months. That's unless you have a winter hoop space!
The Bay Area Hoopers for the third time this year are renting the main room at CELLspace for hooping on Sunday afternoons during the cold months. I am reminded that although it's great to be hooping on the grass outdoors, the indoor winter hooping has its perks too.
- Mirrors: An indoor space might have tall mirrors all around, for instance if you rent a dance studio. The mirrors make some tricks easier to learn because you can see what you are doing and where the hoop is. And of course they are also great feedback if you have aspirations to perform - you can see what you look like when you're hooping.
- Even floors: If you are hooping indoors, you are most likely hooping on even floors. The grass at the park on the other hand is not so even. Some tricks are much easier to practice on an even floor, such as the Up-From-the-Floor trick, where the hoop is lying on the ground and over one of your feet, and you try to bring the hoop up to your knees without any hands. I'm sure there are other tricks that are facilitated by an even, solid floor.
- Better sound system: Chances are that if you are indoors there is a better sound system readily available. Or, even if the sound system is not better than the one you use outdoors, it is easier to maintain because you won't have to carry, assemble and disassemble it every time. Since you're in a confined space, the sound is definitely louder, and loud music always has a positive effect on your level of amusement while hooping.
- Community building: Through indoor hooping I find that hoopers develop a stronger sense of commitment to their practice. There is often a donation involved to go towards the indoor hoop space rental, so maybe people are trying to get more bang for their buck and sticking around for the whole session instead of just dropping in. All I know is that after the winter there is often a stronger sense of who really wants to be a part of the hooping movement and who doesn't.
- Hibernation effect: There is this energy that starts collecting and growing as you hibernate, i.e. hoop indoors, week after week. When hoopers hit the outdoors again after this period of hibernation and incubation, they often have a stronger desire to show others what they can do and what hooping can do for them. It's like coming out of the cocoon and emerging a butterfly with a hoop.
With these things in mind, I hope that many of you find yourselves hooping this winter.
How to Start a Hoop Group
At hooping.org we receive quite a few emails that say something like "I live in Wichita, Kansas and nobody hoops here. What can I do?" The answer is very simple: It's up to you to start the revolution in your community! It's time to stop waiting for somebody else to take the initiative and start taking matters into your own hands.
A hoopless community doesn't turn into a hoopful community from nothing. Somebody needs to do something. Philo and I realized this in April 2003 when we felt the urge to start hooping regularly. At the time the only hoopers we knew were Ariel, who lived in Los Angeles at the time, and Jason, still in the Boston area. But we were in the San Francisco Bay Area and we really wanted to hoop. So we got together at a park one Sunday and told some friends. There were about eight of us that showed up that first Sunday. The Bay Area Hoopers have been meeting and hooping every weekend since then.
Here are some tips to help you get the hooping started in your area:
1. Have hoops to share
Chances are that if people don't hoop yet in your area, they don't have hoops either. But if you bring five or six hoops, you've got enough for a group. Now you just need people to start twirling those hoops. Many hoopers that we know started hooping by first trying out one of our hoops. They had so much fun that they decided to get their own. It's easy to inspire people to start hooping if you have hoops to share.
2. Hoop in public places
A great way to get the word out about your hoop group is to hoop in public places. Rather than trying to describe in words what hooping is all about, let them see you in action with their own eyes! The energy and motion that hooping displays will speak for itself and people will start to get really interested in what you're doing. Some might just stay and gawk for a few minutes, then go on with their hoopless lives, but you will find that many people will be curious enough to pick up a hoop. And as you know well, once you start, you can't stop! So go out and show people the joy of hooping.
3. Be open to meet people
Maybe you already have a few friends who are interested in hooping, but be ready to make some new friends as well. Almost everybody in my current circle of friends I met through hooping. Having a hoop around your waist is a great conversation starter, and if you want people to join your hoop group, you'll have to start having that conversation. And you'll probably find that you have more in common than just an interest in hooping with the people you meet.
4. Be ready to organize events
If there aren't any hoop events in your area, it is up to you to decide the where, when and how! Just bring some hoops and some music and invite other people. You might consider starting a mailing list or a tribe dedicated to your hoop group, where events and news will be posted. It really doesn't take much to organize hooping events, but the rewards are plentiful when people start showing up and enjoying themselves.
5. Don't be afraid of rejection or disapproval
You know you're doing a good thing. Even though they don't always know it yet, people love moving their bodies. It's good for them. And with hooping, people usually don't even realize that they're actually doing something good for their bodies - that's how much fun it is! I'm sure you will find that as you keep getting hoopers together, many of those who initially declined your invitation will start showing up.
Now get out there and start some hoop groups! It's time for you to take the hoop into your own hands and start showing the world what can be done with it.
Published on November 01, 2005 | LINK | Comments (7)Hoop Sounds
Last night after hooping in Dolores Park with some beautiful people, I came home, wandered into the backyard, cranked up the tunes and hooped some more. A few minutes later the Gadjo's So Many Times (Club Mix) came on and I found myself magically transported to that other dimension. I hit the groove and rode it and the beat just kept the world spinning and spinning until I became one with the hoop. God I love that feeling. It got me thinking about my favorite hooping songs, like Arranguez by Sol and Groovejet by DJ Spiller. And it got me thinking about your favorite hoop sounds too. While we may have different tastes, and we may even hoop at different speeds, I want to know - if we were to create the ultimate hooping music compilation right now, what songs would you insist be included on it? Please be specific.
My Experience Hoopdancing at Nightclubs: Part II
I have done 21 nightclub performances since part one of this article and have learned a LOT! (63 five minute sets in all .. wow) I am sharing this to open up a dialog about hoop performance, so I can also learn from you, too! I hope my experiences encourage you to think about hooping at a club near you as a way to activate your own practice or hooping career. I won't repeat anything from part one of this article which was already published here, but you may want to read it first.
In this installment I'll speak to: booking gigs and contracts, rates, how to get club gigs, when you don't feel like performing but have to, dancing, photographers, led hoops, dealing with a crisis on stage, bad music, fans, presentation skills and tools to improve your shows. This is a long article, but worth it. Read on!
First and foremost, I have found it VERY important to have a written contract with your client. There are many free downloadable samples for performers online if you do a google search. It is important to take time crafting your own and add clauses such as, "performer is not responsible for crowd clearing and control", "artist requires at least 30 minutes break between sets", "artist will be provided with beverages and water during evening", "artist is entitled to one guest", "club is responsible for making sure dance area is dry and free of drinks, bottles and other debris", "performer cannot dance in a space smaller than ____ or higher than __ feet off the floor" and so on, according to your own policies.
People will treat you as if you are worth what you ask for, so think carefully about your rates. In some cases there may be bargaining and negotiating if you feel it is worth it, other times you may stand firm on your bottom line. If they offer you an amount less than what you want, you can always say yes, but note you will only be doing 2 sets instead of 3. No matter what, never take less than what you feel good about yourself recieving or you may regret it. Once you establish a rate with a client, it is hard to increase it very quickly.
Your written contract should clearly state how many performances you will do, how long they are and at what estimated times they will happen. Your payment method, if any deposit is required and when the balance will be paid and in what form should also be there. Honestly I have never gotten a deposit from a club gig unless it was out of country, but it is good to just have it in your general contract. If it is an out of country gig, it should clearly state your payment amount in US dollars as the total amount *after* any taxes, additional fees or currency exchange (I have been duped out of more than $400 by supposed "taxes" and exchange rate differences). Out of country gigs should always get a deposit before your leave the US, the client should always pay for all transport and lodging and hopefully a per deium.
I now avoid booking a performance after a long taxing experience, like after an 18 hour plane ride. After flying into Germany and driving 4 hours into Austria, I learned this the hard way when I had to perform within a few hours. I also avoid eating 3 hours prior to a gig or I tend to be sluggish. In general, the more I perform, the more I realize actually need to book "down time" which has no teaching, rehersals or performances involved so I can get back to my center. It is very easy to let yourself get booked up back to back for weeks.. and the quality of what I offer drops and the sweet spirit that should be motiviating it is tired and maybe even cranky.
I would encourage you to never, ever ever under any circumstances reveal to another performer hired to perform at your gig how much you are paid to be there. I did this once and it had the potential to create huge drama for me with the manager, who had asked me to keep it confidential. I let it slip carelessly and many other dancers there who work for many more hours than me per evening but get paid less seemed pissed. It could have put my entire relationship with the club at risk and lost me a great ongoing gig! Thank gosh nothing happened, but I learned a good lesson -- when it comes to money, mum's the word.
Club gigs don't pay as much as other gigs.. but the vast exposure, performance experience and opportunity to get club footage and photos of yourself is worth the compromise in pay. My deal gives the club a break in how much they pay me based on increased bookings per month -- so they often end up having me there 2-6 times. So obviously you should have different rates for nightclubs, private parties, corporate and commercial gigs.
How do you get club gigs? Every club gig I have gotten has been from a personal contact from someone who worked there who referred me to them based on seeing me perform in the past somewhere in the community - at a paid private party gig or just at a festival or something. None of the dozens of club solicitations I have done have ever panned out to a gig. Many people ask why I don't bring my hoop out with me to nightclubs like I used to -- in the past I used to hoop in the back of clubs and have a blast! But the cold reality is that a club will never pay you to do something you are willing to give away for free. This is why I am often hired at more swanky places which frown on freestyle jam artists hanging out in back, and was turned away when applying to a location where hoopers perform constantly for free (Club 1015 for those who know SF). Another interesting ancedote: When my boyfriend was hired to dj in Cancun I brought my hoop and a full costume and met with the club owner prior to the evening and explained that I was a professional performer and would give him a sample of my work. He was baffled, but excited. I did a high energy fully decked out 5 minute demo -- and stopped. The crowd was screaming for more and everyone kept asking me to p-l-e-a-s-e do more, but I was firm and said it was just a demonstration for the manager. That self restraint created such a hunger in the club that I have been hired back with my hoop partner twice since then. When you decide to go pro, you make choices about when and how much you will hoop at venues which require self restraint. Unbridled fun happens for me in other settings, but everytime I perform in a club, I have to stay on pointe.
Anyways, I was speaking of other dancers before that digression. I always go out and watch the go go dancers performing before I perform. Their slow sultry and super sexy high energy moves ramp up my energy and I often try copying their movements in the corner to get my body limber and in the mood. Their elegant grace, elongated limbs, sucked in tummies, dramatic use of their arms, attitude, and arched backs model for me what I need to remember. And their slow movements, even when the music is pumpin, reminds me to slow down instead of letting my adrenaline run away with me. They are wonderful teachers, and even behind the scenes offer lots of makeup and costumery tips, just from watching them prepare.
I don't always feel 100% on nights I am booked to perform. That is just the reality of life! If it is a really low energy night where I feel down or depressed or anything like that, I make it a point to choose the the flashiest, blingiest, most fabulous costume out of my closet. This creates a great "smoke and mirrors" to distract people from any potential deficiency in my performance. It also can actually totally shift my energy and make me feel great to be wearing such an awesome costume.
It also helps me to take a moment and think about feeling beautiful, graceful, angelic, sexy or whatever feelings are pleasurable and to think of just exuding these vibes while I dance. I remind myself to smile when I exhale and often engage my imagination to visualize things like swimming though honey, having long strings of diamonds swinging from my hips or something else wonderful and sensual. It kind of puts me in the mood so I have something to really share. In short, I practice a very important performance premise- fake it till you make it. It works.
Have a mentally rehersed series of moves to go through before performing, even if you review it only minutes before you go on -- it will lend cohesion. I like to add variety to my sets by doing a single hoop set, a double hoop set then another single. I also have a distinct floorwork component I add to every set ( I look to bellydance, erotic dance and yoga traditions for inspiration). I have discovered too that having character transitions, at least one or two, really helps the crowd connect with you and looks very dynamic. Eye contact is KEY. To help with this I have created a catalog of personas in my hoop journal and I try to practice them when I am in the studio with mirrors.
I try to avoid what I call "octopus syndrome", just wildly doing many moves strung together of varying planes and angles which are random. Instead, I try to do all my moves on specific planes which show the best angle to the audience(poi training is very useful in this regard -- they so emphasize planes). I often use a box shape to guide my right-left, forward-back series of dance steps. Spotting with some object or some mark on the floor really helps with this. No matter what, I focus on performing three dimensionally (all angles, all sides, varying heights) and embedding moves within an already complete dance which shows the best angle to the audience.
It is so important to be aware of cameras and videotapers and to play to them. I didn't used to have any awareness of them - and then I kept seeing terrible shots of me published. Yech! Then watching Anah perform one day, I realized she practically has a camera sonar in place where she instantly moves to perform in the best angle to any photographer who is there snapping away. I now know who the main magazine and e-zine photographers are now at the club -- you can tell from tags around their necks and large fancy looking cameras. I maintain awareness of them while I perform and also have a series of stock hooping poses that I can jump into very quickly which look great -- always remembering to suck in my tummy and arch my back. This may seem egoic or odd, but if you go pro, it is important to know how to work with the media in a way which shows your best side.
Although it can be tempting, I avoid mouthing the words to a song while performing. I watched a video of myself doing it. It looked terrible! And on the subject of mouths, I avoid what Anah playfully calls, "porno mouth", where I keep my mouth somewhat open in a slightly pornographic manner because I am so into whatever I am doing. It can be unconscious when you are doing it, but if you watch yourself on video it looks downright cheap.
If using a PSI hoop I try to remember when batteries were last inserted and replace if there is *any* chance they could be going out. Also, remember to tape over the switch, as I have switched my hoop off mid performance! It is hard to stay in flow when trying to locate the switch again to turn it back on. When using any LED hoop, I always bring a back up hoop which is placed within arms reach of where I am performing in case the other one blinks out (which has happened to me several times). Plus, the reality is that no LED hoop on the market performs like a regularly balanced hoop. I force myself to practice with the same hoop I will perform with so I won't be caught off guard by weight or balance differences. This is especially true for ones with large battery packs on one side which make tosses and rolls and duck outs and things wobbly.
I have found the best approach in dealing with any crisis while performing (such as a hoop blinking out, music stopping or any such thing) is TOTALLY staying in character and keeping on performing. For example, when I drop the hoop I put a hand to a pouty mouth and turn my head to the side in exagerated girlie-style embarassment, which people seem to love as part of the whole show. Another example- my legwarmers occasionally seem to sag, so now I make pulling them up while hooping part of the show by doing it in a slow sexy way with a long extended leg and a coy head lean. It is good to prepare how you will handle your crisis in a mirror during a rehearsal so you jump into your theatricality quickly and well.
I am never in control of the music at a club, but I must perform to it. So I play a game with myself -- even if it is the worst music I have ever heard in my life, completely frenetic, crass, bizzare, boring or utterly uninspiring, I convince myself it is the best music I have ever heard in my life, and that it may be the last. This shifts my energy so the quality of my dance is independent from the music quality. It is pretty liberating, actually.
If there are other hoopers performing, I find it important not to compare myself to them. My comparing mind is very critical and can often say things to me which are mean and insensitive, and not always true. So I try to remember that my performance is my business, and other performers performance is their business -- though I can choose to be inspired. My job is just to shine and share my energy and light.
Finally, fans. There will be fans and lots of them. They are so wonderful and such a gift -- so affirming that you are on the right path! However, they may also run at you, touch you without permission and completely surround you so you cannot escape. It can be overwhelming and hard to stay in a light, playful, open and receptive place when this happens! At least for me. So if people try to touch me without asking and I don't feel like experiencing that, I change my stance to have one foot forward and I actually intercept their hands or wrists with mine and hold them away from my skin. Not in an aggressive way, but just in a friendly setting boundaries kind of way. A lot of guys also think it is okay to touch or leave a hand on my waist or butt (what are they thinking?) I step away and turn to face them fully when I see it about to happen. They often understand immediately - I have never had anyone react badly to it. It helps to smile while you do it. When people say, "wow you are amazing, how did you learn that?" over and over, I often say, "it is easy with practice... I teach classes!" and slip them a business card. This shifts the energy from me to them and often results in a lot of fans becoming great hoopers! Plus their attention moves from me to the card and it often allows me to move to the dressing room and dry off faster.
It is important if you are self critical (like me) to always receive praise when given. Sometimes I feel badly about a performance and think of only what could have made it better, so I leave stage a bit sour. When someone wholeheartedly tells me how astounding and earth moving my performance was for them, I avoid saying anything or using body language that contradicts that. For example, I have actually responded to praise with, "well actually it was an off night for me", "you should see me when I perform with my dance partner - it is so much better", and "thanks but I felt a bit out of it tonight". Or by shaking my head a bit, looking disbelieving, having a tight lipped smile or shifty downward eyes. Now it is part of my hoop practice to receive compliments wether I feel worthy of them or not. It feels disrespectful not to.
To close, here are some nitty gritty presentation tips: When wearing wigs, don't forget to completely bobby pin them to your head so they are completely secure even with mad head tossing! I had a wig fly off at a gig and it was quite embarrassing. I also find that white or blond wigs show up in the dim lights much more than darker colors. I choose the largest sparkles from craft stores to apply on top of body lotion on my skin because they reflect the most light, instead of the super fine glitter. I bring a towel to wipe off sweat afterwards (instead of using tissues on site which can leave clumps of paper on your face) and translucent powder to absorb shine after each set.
Also, the one time I wore pasties, I realized how important it is to make sure all sides are firmly glued down with spirit gum! Halfway through one performance, a hoop lift started to peel one pastie off so I had to exit gracefully and quickly to recover it. Re-apply glue after each set to prevent this... I also use saftey pins to secure everything together that can possible migrate while I am hooping -- like dancer tights to underwear to pants to belt -- I have had an elastic sparkle belt migrate halfway up to my chest from hooping and it doesn't look so great.
I wear flesh colored fishnets (with the hip elastic and feet cut off for comfort) with any outfit which shows my legs as it contains and firms. Even if you think you are buff, a camera can do weird things to your thighs. It is a good practice hooping in any new outfit once before going on stage with it because you never know what weirdness may occur, especially if it is skimpy. I now always double knot bikini tops after one behind the neck pass resulted in me untying my top on stage!
Speaking of tops, the go-go dancers taught me a cool trick. They get cheap nude push-up bras and cut the two straps which go over your shoulders, where they attach on your back and tie it behind their necks so your whole back is open, and cut out the fabric between the two straps that go back from the cup and clasp in back. This makes it look just like two thin nude straps going across your back, which people often don't see from far away. It is finally a way I can get some support with the skimpy tops and not risk flying out as well.
A final note... the two most precious tools I have which help me improve my performance skills are my video camera and journal. I video tape every single gig I have (I randomly ask someone there to hold the machine or place it on a nearby surface). If it is a gig where I go to a dressing room between sets, I actually watch my performance between sets and can discover big things -- slouching, something weird about my costume, something to tell the lighting guy, how I can expand my dance more, etc. Then my next set is that much better.
At the end of every evening, even if I get home at 4 am, I watch the entire video and do an entry in my journal. Each entry includes: gig name, costume, general impressions of my performance, moves, what I forgot or could have improved, and what I liked about what I did the most. I cherish my performance journals! They teach me so much.
More than anything I just want to say --- have fun and enjoy yourself and shine your light bright! I would love to hear about your performances learnings or thoughts... there are so few hoop performers who actually dialog about these things! I hope my experiences are helpful and inspire you to take your performing to the next level!
Published on September 27, 2005 | LINK | Comments (9)My Experience Hoopdancing at Nightclubs: Part I
The more I perform hoopdance at nightclubs, the more amazing realizations I have. Perhaps my experiences would be helpful for other budding performers? I decided to create a 2 part series on this topic for anyone interested. My hope is to share what my experience has been like, share my tips on preparation, energy conservation and performance technique, and create a forum where we can all learn more from eachother!
Because I am naturally a day-person who falls asleep at 10pm, I regularly make myself a STRONG cup of Yerba Mate tea before leaving my house to perform at Ruby Skye in San Francisco – where I hoopdance about 3 nights per month. I drink my tea while spending about an hour and a half getting my costume and make-up together at home. I used to be a hippie who didn’t believe in make-up. Over the years, I have opened my mind more and more to the fun artistry of make-up, especially with the help of books like “Making Facing” by Keyvn Aucoin, which show how to transform your entire person. I am usually covered in glitter! I have taken to using fake eyelashes, though I used to turn my nose up at them before, because I realize it allows eyelashes to be seen when they otherwise would not be. So I spend a lot of time creating a look. I have lots o ffun using jewels and making my eyes dramatic. I also spend time on my hair… I used to mostly perform with colorful braided extensions, but now I am stretching my boundaries by playing with outrageous wigs – long blond hair, curly white afros, and more. Lately I have been adding really big circular earrings.
I have a whole closet of costumes. I am trying to create a whole menu of personas which require different costumes – they are all very sexy and small, allowing a lot of skin contact, but each definitely works a theme. When performing at a nightclub, I find the smallest and sexiest costumes are the most well received. At first I wore a lot of my circus pants and fuzzy legwarmers, layered fishnet tops and stuff like that. But I am realizing that less is more in these places, so I am shifting over to more of a 5th Element strappy style bodysuit, more burlesque costumes and some more racy Bettie Paige style outfits. I realize that club dancing isn’t always about being the persona who you may feel you are naturally.
I used to play loud house music to get in the mood, but found often it would up my adrenaline, which was kind of a waste. So now I am experimenting with listening to a meditation tape while getting ready. I use tapes from orindaben.com. I find it really centers me because the club environment can be so overwhelming – lots of men and people who want to touch you, lots of alcohol, lots of chaotic energy. These tapes help me focus on my breathing, so I can enter the club and mediate all the energies there as if in a walking meditation – keeping me in my heart but also clear about setting boundaries. I grab a taxi so I will arrive 25 minutes before my first performance and not stress out over going on immediately. I always wear a coverall so that you can’t see my costume upon arrival.
A club environment is unlike any other performance space I have experienced. While there is a lot of freedom to show up when I want, perform and then leave for private events, a club requires me to perform in short 5 minute bursts 3 times over a three hour period from 11:45pm-1:45am. I cannot choose the music -- it has to be to whatever is being played. This means that I erupt out onto stage at a *peak* hoop moment to thrill and dazzle the audience and then retreat back to the upper recesses of the club to hang out with the go go dancers as they primp, gossip, and change into their latest g-strings and platforms. Kind of a bizarre sequence for hoopdance since one tends to gain precision and flow with continued dancing – with a “peak” moment often arriving much longer after one starts dancing.
I spend the bulk of my time sitting in a disheveled room with broken mirrors and bare lightbulbs which passes for a dressing room. The guy dancers often playfully hit on me, and many of the girl dancers are a bit tipsy and are often telling jokes and chatting. It can be fun sometime to join in, but sometimes annoying. I have found that bringing a fun sexy little book, such as "The Strippers Guide to Looking Great Naked" helps me focus my energy on something other than just watching the mayham in the dressing room. It also gets me feeling a bit frisky and flirtatious as opposed to nervous and stiff. Since I arrive dressed and ready to go, and they are constantly changing costumes and make-up, I have a lot of time on my hands. I drink a bit of Red Bull while there. I always fix my makeup and pee before going down into the club to perform. Finally, I also make sure all my safety pins are in place which are securing potentially embarrassing locations on my costume. There is no space to warm up actually hooping upstairs, so I stretch a bit.
For me, a peak hoop moment assumes I have already acheived an aerobic heartrate (for my body mass this means 114-169 heartbeats per minute) so I can sustain extreme bpms that match my hoop rotation to the dj playing that night. To prepare, I descend from the dressing room 15 minutes prior to my set, slip onto stage and then dance in a dark corner to the music until the go-go dancers go off stage and bouncers move aside the podiums so I can dance onstage. I refuse to hoopdance on a podium as it seems much too unsafe for me (the drop from the podium, past the stage and to the floor is over 10 feet). Dancing for this time beforehand also puts me totally in touch with the music so that I am already moving in a call and response relationship with the dj. That way, when I walk out onto stage, my heart is already beating briskly, my body is warm and moving in a very liquid way, and I feel ready.
I always use illumination on my hoop. Whether it is a blinking hoop or one with glowsticks or other blinkies attached to it. This allows the people who do projections on the screen behind me to create cool trailers and shapes with the hoop rotations.
Sometimes I use a slightly smaller hoop so it will move faster to keep up with the dj.
I realize that the best performance has a fantastic entrance and exit containing the dance. It just doesn’t do to slink on or off stage, or try to be casual, especially when you have a totally glamorous outfit on and they are shining all the house lights on you! So I have taken to striking and dramatic pose when I walk in, and often doing the same when I exit. I like to be playful and seductive in the club environment, because that is usually what they want. I have tried the distant and mysterious persona there as well, but they usually don’t clap as loudly afterwards.
Anah, my hoop partner, taught me a wonderful “blueprint” for stage performances. She suggested performing in “sections”… first off body, then hips, then upper torso, then legs, then off body ...any combination will do .. and you can add more (like elbows, feet, neck, etc) each segment lasting at least a whole minute. This seems to create a more dramatic and intense stage presence because all the focus stays on one part of you for an extended period of time, and then it looks like you shift that location with intention, as opposed to just wildly hooping all over your body in a haphazard way the whole time. Doing the same move at least twice also makes for great photo opportunities ... camera people see you do something and then manage to take the picture by the second or third time you do it.
I usually prepare for a gig by thinking of at least 2-3 cool and advanced “tricks” I will include. Otherwise, it would be easy for me to just dance while hooping the whole time. It is important to add a few amazing tricks, and to carry them off in harmony with the dance – as opposed to stopping dancing to do a “trick”.
I always focus on dancing with the music more than anything, bringing my head turns and arm extensions, bent limbs and footwork into rhythmic continuity with the dj. I try to work three dimensionally, exploring space above me, behind me, below and on every side with limbs and my hoop. I also try to be a character, who is not always “Christabel” but sometimes a persona that may be more challenging for me to relate to.
I try to make eye contact with at least five different people when I perform, and I usually try to touch one person when reaching out my hand while hooping vertically. This always seems to thrill the audience, to feel so involved and a part of what is happening.
There is so much more to say! But I don’t want to make this too long. I will write more in part two of this performance series. I am curious to know … what have your club performances been like? Do you have any advice for me or others?
Published on June 24, 2005 | LINK | Comments (7)Hoop Surgery
For the second time now I have performed a surgery on one of my hoops. What do I mean by surgery? Opening up the hoop after it's already been put together, cutting out a piece somewhere and then putting in a new connector.
The first time I did it was because I had run out of yellow tape while making a hoop and had made the last five or so inches pink. I then decided to take out the pink chunk to keep the hoop consistently yellow. I remember that people were very concerned that I was going to cut into my finished hoop, but if the surgery results in a hoop you're going to like much better, why not go for it?
I did the second surgery last night. Remember when I made that gigantic fluorescent hoop for my friend Starrie's birthday?
I ended up having to order her one online instead because the post office wouldn't ship it. The hoop, which is too big to fit into my car, has been sitting on my wall unused ever since. So last night I decided to cut it open.
The moral of the story? When in doubt, go for the surgery. The hoop really doesn't get hurt that much, and it may just become a better companion in the long run.
Published on May 14, 2004 | LINK | Comments (4)Tips For Close Quarters
It's not every day that you can take your hoop to the park, and hooping inside takes up a lot of space. Here are a few tips (mostly common sense) for hooping in close quarters like clubs or homes:
1. Always do a pre-spin
Hold your hoop around your waist and slowly step in a circle. Is there at least a foot or two between your hoop and all furniture, people, and walls? If not, you're prone to bumping, breaking, or bonking something. Might not be a good place to hoop. Doing a hoop-held pre-spin also gives people around you a visual cue that they might want to watch out.
2. Start slow
Start with a cautious waist-only spin. Check all around you to make sure you're not too close to anything. Don't pitch into the tricks right away — you will break something. TIP: Be sure to check ceiling height before you take your hoop overhead! Hitting a lamp with a hoop is a bad way to introduce yourself.
3. Watch for pedestrians
Keep your eyes constantly peeled for people who may need to pass through the space you're in. Constant vigilance, hoopers! As good as it feels to those of us in the loop, there's nothing more frustrating than an eyes-closed blissed-out hooper blocking the way to a bathroom. People really appreciate a hooper who, unprompted, stops hooping and lets them pass.
4. Share the space
Be hyper-considerate of those around you — you're taking up WAY more space than most dancers, and whatever you do: DO NOT assume that everyone wants to stand aside and watch you do your thang. In other words, no hogging the dance floor! If several hoopers are present, and there's limited space, be sure to graciously offer the space up every few minutes.
5. Collisions
If you bump someone with your hoop, stop hooping! Check in with them to make sure they're ok, maybe offer them a chance to give the hoop a spin as an apology. If your hoop hits other bodies more than once, it's time to seriously re-asses whether the space can really accommodate hooping. Remember, you can dance without the hoop. It's fun, actually. Give it a try! The last thing you want is to be a dancefloor hog, so if there's really not room — put the hoop down!
...Any one else have any "close quarters" tips, learned in the school of hard hoop knocks?
Published on March 16, 2004 | LINK | Comments (2)Hoops on planes
My sister has left San Francisco today to return to Germany. While she was here, we made a hoop for her. Today at the airport, she checked in the hoop as her second piece of luggage. British Airways didn't mind at all. The hoop got its own address tag and baggage claim ticket.
To all the hoopers out there who think that the only way to travel with a hoop is to get a collapsible one: Think again! I'm sure British Airways isn't the online airline who will accept a hoop as luggage. I don't know what the size restrictions are though. My sister's hoop is about three feet in diameter.
[Please excuse the bad quality photo taken with my camera phone.]
Published on October 06, 2003 | LINK | Comments (7)Ode to getting it
Here's how it usually works.
Hey, can I try?, someone asks, pointing at hoop on ground.
Of course!, I say, that's what they're here for!
And five minutes later, either they've moved on...or I have the great pleasure of seeing that same person positively transformed into a radiant being with a Saturn-sized smile so genuine and so full of joy, all thanks to this ring that makes them a real swinging Saturn spinning round and round and round again.
I know what the hoop does for me, but it's still so validating to see a newbie pick one up & spin themselves into ecstacy. And that's why I always bring extras!
How To Hula Hoop
Here's an easy two-step lesson on how to hula hoop.
1. Make sure you have the right size of hula hoop!
If you're using a kid-sized hoop, forget it! Most hula hoops that you can buy at stores like Target or Toys R Us are kid-sized. Unless you're the size a child, a child-sized hoop is not going to work for you — especially not if you're a beginner! You'll save yourself a lot of heartache (and gain a lot of fun) if you make or buy a hoop that's the right size for you.
What's the right size? Try this: Stand with your hoop in front of you. The general rule of thumb is that a hoop should be between stomach and nipple height, although some compensation should be made for your waist size, too. General rule of thumb: The bigger you are, the bigger the hoop should be. Larger hoops will rotate slower, making getting started easier. Smaller than that will make the hoop rotate faster, which is more challenging, but also better for doing tricks and exercizing.
2. Put one foot in front of the other, and shift your weight
Hold the hoop against your back. You can start it a little above your waist. Then, push the hoop around your waist, and shift your weight back and forth on your feet to keep the hoop moving.
Easier said than done? Having trouble "keeping it up"? Here are some more tips:
Many people try to move their hips in a circle with the hoop. This actually makes hooping much harder. Try this: put one foot in front of the other and just shift your weight back and forth from foot to foot. It's less of a circular hip motion and more of just a rocking or pumping motion.
In terms of which direction to hoop in, try 'em both! You'll know right away which one is right for you. I've found that right handed people generally hoop counter-clockwise, while lefties go clockwise, but many people are exceptions to this rule.
Most of all: be patient! It can take a while to get the hang of it — don't give up! If you get frustrated trying to get the hoop going around your waist, try hooping with your hands!
Frequent Asked Questions:
How can I make a hoop?
How can I start a hoop group?
Ow, What about these bruises?
What's this about collapsible hoops?
Can I take a hoop on an airplane with me?
Collapsible vs. Standard
There's been a lot of buzz in the hooper community about collapsible hoops — hoops that are actually four or six segments connected by a ring of bungee cord inside. They're similar to tent poles, with the bungee cord helping to snap the segments into place. With all the buzz, the question remains: how does a collapsible compare to a standard hoop?
Advantages of collapsible
The biggest advantage of collapsible hoops is that they're portable. They fit in backpacks and suitcases and are easy to travel with...whether that's flying, biking, or riding a bus. They're also nicer if you're dealing with navigating a crowd, like at a concert or other large gathering.
There's also a certain undeniable coolness of having an stealth hoop. One minute you look like you've just got a quiver of arrows on your back, and then next minute you're a hooping hero!
Disadvantages of collapsible
Most obviously, they're more expensive because they're much more time consuming to make. You can get a nicely wrapped standard hoop for $25 to $30, but a collapsible is going to set you back at LEAST $50. Or you can try making your own — but it's tough.
Also, some (but not all) collapsibles have joints prone to disconnecting while you hoop. It sucks to be really building up some speed and heading into a really cool trick only to find that your hoop is suddenly an oval — and those joints can pinch that delicate belly-skin! OUCH!
And! The bungee cords inside collapsible hoops doesn't last forever. Eventually you'll have to restring the hoop. That's not a big deal, but when was the last time you had to restring a standard hoop?
My personal opinion?
Unless you need a collapsible for traveling, standard hoops are usually a better choice. They're less expensive, more durable, and more stable for tricking. Don't get lured by simple hooper gear-lust: for most purposes, a standard hoop is still the best hoop.
A Hoop Group Blooms in Connecticut
Hooping with a herniated disc?
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