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Welcome to the Between the Lives Podcast.
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I'm your host, Sarah Kaiser, and today we are talking about trick chasing, what it is, when it's a problem, when it's not, and how to navigate it as an instructor if your students are doing it.
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And I created this podcast for the teachers who want to go deeper and who are thoughtful about their practice and want to show up the best they can for their students.
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And if you're here on this podcast listening to these episodes, or maybe this is your first one, this is for instructors and aerialists who want the fuller picture, who want to go deeper in their craft, in their profession, and especially for instructors who want to be able to show up the best they can for their students.
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And so for those of you who are listening today who are instructors or are interested in becoming one, I want you to know that the fall session for the Bloom Arial Teacher Training is launching on October 4th.
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So enrollment for fall session is live now.
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You can go and enroll straight on the website, and I've linked that below.
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I have also included a free training, the Arial Teacher Upgrade, that dives deeper into what differentiates excellent instruction and how to become the teacher who truly knows how to support every student who walks through your door.
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I really appreciate you being here and listening.
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I've received so much wonderful, thoughtful feedback from all of you, and it means so much to me.
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I love having a space to be able to talk more in depth about aerial practice and teaching.
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So thank you, thank you for being here, and let's dive into today's conversation.
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So trick chasing is basically this cycle of finding a really cool, usually trending trick, learning it, and then quickly moving on to the next one.
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And it is typically associated with some level of fear of missing out or some kind of internal or external pressure to do this cool thing and to be a part of it.
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That might not be your personal experience with trick chasing, but that is the general pattern that we see.
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And this is exacerbated by social media because the cool trick is so shareable.
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It is so legible.
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Even people who don't do Ariel can watch it and be like, oh, that's really cool.
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And there is nothing wrong with being inspired by something on Instagram by wanting to jump on the trend, by wanting to try that trick.
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As long as it is within your scope, it is safe for you to try.
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And novelty can be a very positive thing.
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Novelty triggers dopamine release in the brain and it can actually accelerate learning and memory.
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So having really cool, unusual, unique things in a lesson or in a curriculum can actually be incredibly beneficial for the learner.
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Novelty also promotes neural activity and it basically helps keep the brain healthy and learning.
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So novelty, not a bad thing, unless it is associated with more of a risk-taking behavior or compulsive behavior.
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That's a different story.
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Then you can start to see more of the shadow side of novelty.
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But all of this is to be completely clear that I am not demonizing tricks.
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I'm not even here to demonize trick chasing.
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I'm just here to shed a little bit more light on it and how we can understand it better and work with it more intentionally.
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Learning a new trick can feel very satisfying.
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It's like you go through the challenge of figuring it out and then you put it all together, you film it, you share it.
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That process can be tons of fun.
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The problem only really comes in when the pursuit of the tricks happens at the expense of other layers of the aerial practice.
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And especially when we start to think that progress is defined by skill acquisition, which is a common take.
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The aerial community has a tendency to define progress by how many skills you can do when progress has so much more dimensionality to it.
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And for students who don't get tricks quickly, it's especially important that we are having conversations about how progress is more layered than just what tricks you know.
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It's really encouraging for somebody to be in a culture and to be around conversations where people are saying things like, I feel way more comfortable in that skill than I did last week, or I noticed I'm not over-gripping or holding my breath in this skill anymore, or that doesn't hurt as much as it used to.
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Or I found a really interesting way from this skill to connect to a different one I know.
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Those are all different kinds of progress.
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These are the kinds of conversations that validate other parts of the learning process and progress that are very real but very easy to overlook.
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And especially in the early months, there is so much adaptation that is happening that doesn't get talked about.
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For example, muscles adapt faster than your tendons and your bones.
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So if somebody comes in really strong and they're like, I can do any skill you ask of me, that doesn't necessarily mean that their body can tolerate the loads and the forces of Ariel.
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If you're going to be hanging from your ankle, if you're going to be having a high impact drop, if you're going to be doing a one-arm hang and your shoulder is supporting the full weight of your body, your tissues, your joints, your bones need to be prepared for that.
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And that is something that takes time.
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That's a layer of progress that we don't notice if we don't know how to look for it.
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And we go way more into depth than it in the Bloom Arial Teacher training.
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There's all kinds of adaptation from pain to vestib tolerance for failure and way we respond to challenge.
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So there's a lot happening, and we tend to not give ourselves or our students enough credit or recognition for all that is happening.
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We stay focused on the tricks, we stay focused on the tricks skill acquisition, getting to the next level.
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But if you think about it, if you had one student who could do a hundred tricks pretty badly, and then you had another student who could do 20 tricks really, really well.
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They're really integrated in their body, they have beautiful movement quality, they use excellent technique, their movement mechanics, the efficiency, it's great.
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If somebody walked into the room and saw both of those students doing the same skill, then they would think that the student who knows fewer tricks is more advanced.
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And this isn't a contest, and advanced just isn't this straight linear thing, and that's not what I'm trying to say.
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But to point out and highlight that there are more layers of aerial practice and progress than getting those skills, and they tend to be overlooked and neglected.
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If we over-define progress as acquiring more tricks and we're not seeing those other layers of progress, the tissue adaptation, the technique cleanup, movement quality development, the deeper integration of skills so they're not forgotten as quickly, then we're kind of riding along on the surface of the skills when the skills have so much more to offer.
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And we aren't able to deeply internalize it in our brain and body.
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And essentially we're not making it to the third stage of motor learning where we get the automaticity and refinement.
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So not only are we missing out on the finesse of the skill, but we are also more likely, but we are also going to forget it.
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If you spend one month exploring a skill, let's say you're doing, let's just do you're doing a normal practice, but there's one skill that you are diving more deeply into.
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And this is actually one of the assignments in the Bloom Aerial Teacher training.
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It's called the Skills Super Expert Project, where you learn everything you possibly can about the skill to highlight how much depth there really is beyond the obvious things.
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And then you let the skill teach you about aerial movement.
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It's really cool.
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But it's really common to just be seeing the surface level of what skills have to offer.
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And that's basically the problem with trick chasing, is it tends to do that.
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It basically has people overly focused on let me get the next trick.
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It's kind of like imbued with this anxiety to get to the next thing and get more tricks than someone else or find something cool to do for social media.
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And then we're not paying as close attention to our foundations, our embodiment, our movement quality, to all the things that really help an aerialist develop their intelligence in the air and bring together the practice and all the things that really help an aerialist develop their intelligence in the air and lead us to expression and innovation.
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And let's talk about the pressure because a lot of teachers express that they have students who are coming in with tricks from Instagram and saying, can we do this?
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Can we do that?
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This one's really cool.
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Can we try it?
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And when teachers are sharing this with me, usually it wasn't part of the plan.
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But the teacher feels like they want their students to have fun, they want to be able to say yes, but now they are chasing the trick and they're like, okay, let me figure this out.
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And often they're doing this on the spot, which I do not recommend because you want to understand a skill really well before you introduce it to others.
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You want to know the ins and outs, you want to know what can go wrong, the modifications, and what to anticipate to keep your students safe.
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You typically don't have all of that information just from watching a video a few times, especially because students tend to have a lot of different interpretations of how to do a skill.
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And so teachers often feel surprised, like, oh, I didn't, I didn't think they were gonna do that with their body.
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So we need to be mindful about how familiar we are with the skill before teaching it.
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So teachers feel this pressure to deliver cool tricks so their students stay interested, excited, engaged.
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They don't quit, they don't find another teacher.
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And I felt this pressure myself.
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Um, I think it was more self-imposed because I was I was cultivating an aerial community from scratch, and it just so happened that a really large percentage of my students like didn't really use social media.
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So they weren't getting the same influence.
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So most of the pressure was really just coming from me.
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They didn't know what to think or expect, so they were just following my lead.
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And I've already talked about this on the podcast.
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So if you want to hear more about my journey with that, I think it's in the episode The Retention Problem, what makes beginners stay or leave.
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So if you want to hear more about that, then go check out that episode.
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I'll tell you all about my evolution as a teacher and how I went from feeling pressured to teach cool things to feeling really comfortable with taking time with foundations and technique and whatnot.
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And so part of the dynamic is students are coming in, bringing in skills saying, Can we do this?
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Can we do that?
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But part of it is the teacher's own perceptions that if they don't give cool tricks, then they couldn't possibly be the favorite teacher, or the students are going to lose interest and quit, or whatever the anxiety is.
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This is where we get into the leadership layer of teaching.
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You, as the instructor, are shaping the expectations and values of your student.
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If you gloss over the foundations or don't know how to instruct the foundations, but you respond well to teaching new tricks or celebrating skill acquisition, then students are going to conclude that tricks are the thing.
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But if you're very intentional about the way you communicate what is important in our aerial practice, how to think about aerial in a more layered way, then you are guiding your students what to value and notice and where to put their time, energy, and attention.
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It's as simple as saying, we do this shoulder assessment to prevent injury and make sure that you're moving in a really healthy, supported way.
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In my experience, students are deeply appreciative of those moments of communicating why we're working on something, and then they know that you have their best interests at heart.
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They can see that you are bringing so much care and attention to their body and their aerial practice.
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And I'm always talking about this in the Bloom Aerial Teacher training, but framing is so powerful.
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If you say, this is the boring stuff, we just have to put up with it, that's a vibe that students are gonna have around it.
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If you say, oh my gosh, this little technical drill is so cool because when you do it right, you can literally feel how your hip flexors are connected in with your core.
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And they're like, what?
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What does that feel like?
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And now they're curious.
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So you see how you can get a completely different reaction based on how you present.
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Another example, if you tell someone, yeah, I teach Ariel on the side, it's like uh um just you know, a couple times a week, then people are going to interpret what you do as something that is not a priority, is not super important, and might not even be particularly interesting or impressive.
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But if you say something like, I'm a professional aerial instructor with a specialization in lira and trapeze, then whoever you're talking to is going to think pretty differently about it.
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And they're going to ask you a different follow-up question than if you said, I just do this on the side.
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So framing is absolutely critical and it can solve and prevent so many problems.
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So this is your prompt for the week to consider how you are presenting information to your students, what your messaging is telling them, how you are expressing values consciously or unconsciously.
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And I want you to think of one cool thing you can do to help them value the details more and give yourself that permission to take some time.
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If you normally feel pressured to show your students something complicated or exciting or dramatic, challenge yourself to give them a micro lesson.
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Have them focus on something that's more about transition that requires more attention to detail.
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And practice being really comfortable with that, walking and being like, I have the best lesson plan of the year in my hands today.
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This is gonna be so great.
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If you go in and say, I'm so excited to teach you this, it's gonna make such a big difference in your movement quality, they're going to follow your lead.
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And with all of this said, we don't need to sacrifice the joy and novelty of tricks to also include the important foundational details and the practices that help develop movement quality technique and all of that.
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All of it can go together.
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And then you can have them practice the skill, the trick they're really excited about with those lessons in mind.
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So it's a combination of a curriculum design problem and a bit of a values cultural problem.
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And if you're listening and you're like, that's nice, Sarah, but I have like five students who would quit tomorrow if I started doing this.
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I would caution you against assuming that.
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Let's find out if that's how they actually feel.
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Let's dig a little deeper there.
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And I would find a way to convey to that person that you're not taking something away, but that you're adding and integrating.
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You can let them know, yeah, we're going to keep doing cool tricks.
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Today we're just going to focus on this other thing.
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Like most aerial students will expect that.
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And they're not ready to bolt just because they're not getting 10 cool tricks today.
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If you don't want to be ruled by trick-chasing anxiety, you need to get comfortable taking time for the details, for the foundations, for the lessons about transitions and movement quality.
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And if you're dealing with a pretty severe trick chasing issue in your student body, then you need to help them also become comfortable with that.
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So if you're in a position right now as an instructor and your students keep bringing you skills from Instagram, and you did not explicitly sign on to that, you don't want it to continue.
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I want you to empower yourself to communicate with them what you want and need from them.
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Because I want you to not feel caught off guard and not feel pressured in your teaching.
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I want you to feel like you're in command of the room, you're dictating the lesson, and you don't have to accommodate the whims of your students' latest Instagram binge session.
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So at your next class, you're going to say, thank you so much, you guys.
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I love how you're finding all these incredible skills online and how excited you are.
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And I would love to work with you on some of these.
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To make sure these skills are safe for you to work on and make sure that I have what I need to teach them, please email them to me.
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And if they fit your skill level, I will be happy to incorporate them into some upcoming classes.
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Sidebar, if you never want to teach skills from Instagram, tell them that so that they stop bringing it to you.
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You are allowed to set that boundary.
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And honestly, even as I'm saying this right now, I'm thinking back to when I was teaching in my studio and I was teaching a lot of classes.
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And I was definitely getting to a point of like, I need more ideas.
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And now that I'm thinking about this, I'm like, oh, this would have been a great system to have.
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Just be like, hey, if you guys see something you want to learn, just email it to me.
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I'll figure out how to break it down, look it over, and we can work on it in some upcoming classes.
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And so if you are taking this route of allowing Instagram suggestions, if you are able to identify the originator of the sequence or the trick or whatever it is, it's great to include that in the lesson and say, hey, I found this from so-and-so.
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And uh we're gonna work on that today.
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That way you invite the students into the lineage of the skill that they are learning.
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All right, the last thing I want to touch on is if you are the problem, you're listening and you're like, Sarah, it's me.
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I can't stop trick chasing, feel this anxiety to learn the next thing.
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I have FOMO, I just need to keep up.
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I'm going to share a strategy with you that I implemented into my life a very long time ago.
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And that is to completely stop caring.
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I saw this in a caption once.
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It was actually an aerialist, like in 2020, probably.
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And I never forgot.
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It said, don't worry about anybody else's journey except yours.
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Essentially, don't look at anyone else's paper.
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Keep your eyes on your own.
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This is really sound advice.
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It will help you get a lot of clarity about what you actually want to work on.
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When you are responding to feelings of pressure, and I need to do that, I have to keep up, then all your decisions of how you shape your practice are coming from a place of anxiety.
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And that is just not the best place for decisions to come from.
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And again, absolutely nothing wrong with getting excited about tricks, seeing something trending on Instagram, wanting to jump on.
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Literally nothing wrong with that.
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But can it come from that place of curiosity and being excited to learn and not a feeling of pressure and I gotta post that and it's gotta do this or that for my following, and just instead let it be fun.
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Not living with that ambient anxiety frees up a lot of bandwidth and it helps you to focus on what is truly exciting and meaningful for you.
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And if what is meaningful for you is I want to learn 100 new skills this year, more power to you.
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I 100% support you.
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I just want that process to light you up and not stress you out.
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All right, actually, last thing, and then I'm gonna wrap this up.
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I just want to take you back to my origins in Ariel, where I've told you before, I could do everything so flexible, so strong, coordinated, could do anything the teacher asked me except make it look good.
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I was definitely trick chasing.
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I was mesmerized by skills.
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I was like, candy cane?
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That's the most incredible thing in the world.
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Coffin hang?
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Amazing.
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Stardrop, oh my god, yeah, I must do that.
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And wheel down, don't even get me started, which is actually really funny because I do not enjoy wheel down and I do not typically do it.
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But anyway, all of these skills and shapes were really stimulating and engaging for my brain, but it really did claim the focus of my training.
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And so as a result, it took me a lot longer to develop the movement quality and the technique that I am known for and sought after for today.
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And I don't regret it at all.
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I love my aerial journey for what it has been, and I love being able to share these stories with you.
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But if I was going to go back in time and do it again with the knowledge that I have now, I would definitely be obsessing over foundations and technique in detail from day one, especially now knowing how fascinating it all is and how incredibly good it feels to embody really immaculate technique.
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Maybe we need a phrase that represents a counterculture of trick chasing, the culture that prioritizes the many layers of learning, isn't afraid to slow down and go in depth and be more detailed in our training and instruction while still loving, celebrating, and participating in all of the tricks, just not doing it at the expense of these other parts and letting that anxiety kind of creep in.
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We could call it something like the slow aerial movement.
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But it might be helpful for us to think together as a community like, what are we doing if we're not trick chasing?
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Do we have a way to concisely describe that and communicate that that is our value system?
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That's how we approach the art form.
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So much more we could talk about, but we'll leave it at that for today.
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Remember to scroll down to take a look at the Bloom Aerial Teacher training, take a look at the free aerial teacher upgrade.
00:20:49.920 --> 00:20:54.160
This is where you can dig deeper into what excellent teaching really is and what's at stake.
00:20:54.240 --> 00:21:01.359
And through Bloom, get you feeling like a true professional who is ready to support every student who walks through your door.
00:21:01.519 --> 00:21:04.640
I hope you've enjoyed our conversation about trick chasing today.
00:21:04.799 --> 00:21:09.200
Thanks for listening, and I'll catch you on the next episode of Between the Lions.
00:00:08.640 --> 00:00:10.800
Welcome to the Between the Lives Podcast.
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I'm your host, Sarah Kaiser, and today we are talking about trick chasing, what it is, when it's a problem, when it's not, and how to navigate it as an instructor if your students are doing it.
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And I created this podcast for the teachers who want to go deeper and who are thoughtful about their practice and want to show up the best they can for their students.
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And if you're here on this podcast listening to these episodes, or maybe this is your first one, this is for instructors and aerialists who want the fuller picture, who want to go deeper in their craft, in their profession, and especially for instructors who want to be able to show up the best they can for their students.
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And so for those of you who are listening today who are instructors or are interested in becoming one, I want you to know that the fall session for the Bloom Arial Teacher Training is launching on October 4th.
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So enrollment for fall session is live now.
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You can go and enroll straight on the website, and I've linked that below.
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I have also included a free training, the Arial Teacher Upgrade, that dives deeper into what differentiates excellent instruction and how to become the teacher who truly knows how to support every student who walks through your door.
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I really appreciate you being here and listening.
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I've received so much wonderful, thoughtful feedback from all of you, and it means so much to me.
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I love having a space to be able to talk more in depth about aerial practice and teaching.
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So thank you, thank you for being here, and let's dive into today's conversation.
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So trick chasing is basically this cycle of finding a really cool, usually trending trick, learning it, and then quickly moving on to the next one.
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And it is typically associated with some level of fear of missing out or some kind of internal or external pressure to do this cool thing and to be a part of it.
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That might not be your personal experience with trick chasing, but that is the general pattern that we see.
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And this is exacerbated by social media because the cool trick is so shareable.
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It is so legible.
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Even people who don't do Ariel can watch it and be like, oh, that's really cool.
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And there is nothing wrong with being inspired by something on Instagram by wanting to jump on the trend, by wanting to try that trick.
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As long as it is within your scope, it is safe for you to try.
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And novelty can be a very positive thing.
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Novelty triggers dopamine release in the brain and it can actually accelerate learning and memory.
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So having really cool, unusual, unique things in a lesson or in a curriculum can actually be incredibly beneficial for the learner.
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Novelty also promotes neural activity and it basically helps keep the brain healthy and learning.
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So novelty, not a bad thing, unless it is associated with more of a risk-taking behavior or compulsive behavior.
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That's a different story.
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Then you can start to see more of the shadow side of novelty.
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But all of this is to be completely clear that I am not demonizing tricks.
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I'm not even here to demonize trick chasing.
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I'm just here to shed a little bit more light on it and how we can understand it better and work with it more intentionally.
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Learning a new trick can feel very satisfying.
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It's like you go through the challenge of figuring it out and then you put it all together, you film it, you share it.
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That process can be tons of fun.
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The problem only really comes in when the pursuit of the tricks happens at the expense of other layers of the aerial practice.
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And especially when we start to think that progress is defined by skill acquisition, which is a common take.
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The aerial community has a tendency to define progress by how many skills you can do when progress has so much more dimensionality to it.
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And for students who don't get tricks quickly, it's especially important that we are having conversations about how progress is more layered than just what tricks you know.
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It's really encouraging for somebody to be in a culture and to be around conversations where people are saying things like, I feel way more comfortable in that skill than I did last week, or I noticed I'm not over-gripping or holding my breath in this skill anymore, or that doesn't hurt as much as it used to.
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Or I found a really interesting way from this skill to connect to a different one I know.
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Those are all different kinds of progress.
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These are the kinds of conversations that validate other parts of the learning process and progress that are very real but very easy to overlook.
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And especially in the early months, there is so much adaptation that is happening that doesn't get talked about.
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For example, muscles adapt faster than your tendons and your bones.
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So if somebody comes in really strong and they're like, I can do any skill you ask of me, that doesn't necessarily mean that their body can tolerate the loads and the forces of Ariel.
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If you're going to be hanging from your ankle, if you're going to be having a high impact drop, if you're going to be doing a one-arm hang and your shoulder is supporting the full weight of your body, your tissues, your joints, your bones need to be prepared for that.
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And that is something that takes time.
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That's a layer of progress that we don't notice if we don't know how to look for it.
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And we go way more into depth than it in the Bloom Arial Teacher training.
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There's all kinds of adaptation from pain to vestib tolerance for failure and way we respond to challenge.
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So there's a lot happening, and we tend to not give ourselves or our students enough credit or recognition for all that is happening.
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We stay focused on the tricks, we stay focused on the tricks skill acquisition, getting to the next level.
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But if you think about it, if you had one student who could do a hundred tricks pretty badly, and then you had another student who could do 20 tricks really, really well.
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They're really integrated in their body, they have beautiful movement quality, they use excellent technique, their movement mechanics, the efficiency, it's great.
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If somebody walked into the room and saw both of those students doing the same skill, then they would think that the student who knows fewer tricks is more advanced.
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And this isn't a contest, and advanced just isn't this straight linear thing, and that's not what I'm trying to say.
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But to point out and highlight that there are more layers of aerial practice and progress than getting those skills, and they tend to be overlooked and neglected.
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If we over-define progress as acquiring more tricks and we're not seeing those other layers of progress, the tissue adaptation, the technique cleanup, movement quality development, the deeper integration of skills so they're not forgotten as quickly, then we're kind of riding along on the surface of the skills when the skills have so much more to offer.
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And we aren't able to deeply internalize it in our brain and body.
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And essentially we're not making it to the third stage of motor learning where we get the automaticity and refinement.
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So not only are we missing out on the finesse of the skill, but we are also more likely, but we are also going to forget it.
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If you spend one month exploring a skill, let's say you're doing, let's just do you're doing a normal practice, but there's one skill that you are diving more deeply into.
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And this is actually one of the assignments in the Bloom Aerial Teacher training.
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It's called the Skills Super Expert Project, where you learn everything you possibly can about the skill to highlight how much depth there really is beyond the obvious things.
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And then you let the skill teach you about aerial movement.
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It's really cool.
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But it's really common to just be seeing the surface level of what skills have to offer.
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And that's basically the problem with trick chasing, is it tends to do that.
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It basically has people overly focused on let me get the next trick.
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It's kind of like imbued with this anxiety to get to the next thing and get more tricks than someone else or find something cool to do for social media.
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And then we're not paying as close attention to our foundations, our embodiment, our movement quality, to all the things that really help an aerialist develop their intelligence in the air and bring together the practice and all the things that really help an aerialist develop their intelligence in the air and lead us to expression and innovation.
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And let's talk about the pressure because a lot of teachers express that they have students who are coming in with tricks from Instagram and saying, can we do this?
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Can we do that?
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This one's really cool.
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Can we try it?
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And when teachers are sharing this with me, usually it wasn't part of the plan.
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But the teacher feels like they want their students to have fun, they want to be able to say yes, but now they are chasing the trick and they're like, okay, let me figure this out.
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And often they're doing this on the spot, which I do not recommend because you want to understand a skill really well before you introduce it to others.
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You want to know the ins and outs, you want to know what can go wrong, the modifications, and what to anticipate to keep your students safe.
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You typically don't have all of that information just from watching a video a few times, especially because students tend to have a lot of different interpretations of how to do a skill.
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And so teachers often feel surprised, like, oh, I didn't, I didn't think they were gonna do that with their body.
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So we need to be mindful about how familiar we are with the skill before teaching it.
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So teachers feel this pressure to deliver cool tricks so their students stay interested, excited, engaged.
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They don't quit, they don't find another teacher.
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And I felt this pressure myself.
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Um, I think it was more self-imposed because I was I was cultivating an aerial community from scratch, and it just so happened that a really large percentage of my students like didn't really use social media.
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So they weren't getting the same influence.
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So most of the pressure was really just coming from me.
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They didn't know what to think or expect, so they were just following my lead.
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And I've already talked about this on the podcast.
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So if you want to hear more about my journey with that, I think it's in the episode The Retention Problem, what makes beginners stay or leave.
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So if you want to hear more about that, then go check out that episode.
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I'll tell you all about my evolution as a teacher and how I went from feeling pressured to teach cool things to feeling really comfortable with taking time with foundations and technique and whatnot.
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And so part of the dynamic is students are coming in, bringing in skills saying, Can we do this?
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Can we do that?
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But part of it is the teacher's own perceptions that if they don't give cool tricks, then they couldn't possibly be the favorite teacher, or the students are going to lose interest and quit, or whatever the anxiety is.
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This is where we get into the leadership layer of teaching.
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You, as the instructor, are shaping the expectations and values of your student.
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If you gloss over the foundations or don't know how to instruct the foundations, but you respond well to teaching new tricks or celebrating skill acquisition, then students are going to conclude that tricks are the thing.
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But if you're very intentional about the way you communicate what is important in our aerial practice, how to think about aerial in a more layered way, then you are guiding your students what to value and notice and where to put their time, energy, and attention.
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It's as simple as saying, we do this shoulder assessment to prevent injury and make sure that you're moving in a really healthy, supported way.
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In my experience, students are deeply appreciative of those moments of communicating why we're working on something, and then they know that you have their best interests at heart.
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They can see that you are bringing so much care and attention to their body and their aerial practice.
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And I'm always talking about this in the Bloom Aerial Teacher training, but framing is so powerful.
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If you say, this is the boring stuff, we just have to put up with it, that's a vibe that students are gonna have around it.
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If you say, oh my gosh, this little technical drill is so cool because when you do it right, you can literally feel how your hip flexors are connected in with your core.
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And they're like, what?
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What does that feel like?
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And now they're curious.
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So you see how you can get a completely different reaction based on how you present.
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Another example, if you tell someone, yeah, I teach Ariel on the side, it's like uh um just you know, a couple times a week, then people are going to interpret what you do as something that is not a priority, is not super important, and might not even be particularly interesting or impressive.
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But if you say something like, I'm a professional aerial instructor with a specialization in lira and trapeze, then whoever you're talking to is going to think pretty differently about it.
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And they're going to ask you a different follow-up question than if you said, I just do this on the side.
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So framing is absolutely critical and it can solve and prevent so many problems.
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So this is your prompt for the week to consider how you are presenting information to your students, what your messaging is telling them, how you are expressing values consciously or unconsciously.
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And I want you to think of one cool thing you can do to help them value the details more and give yourself that permission to take some time.
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If you normally feel pressured to show your students something complicated or exciting or dramatic, challenge yourself to give them a micro lesson.
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Have them focus on something that's more about transition that requires more attention to detail.
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And practice being really comfortable with that, walking and being like, I have the best lesson plan of the year in my hands today.
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This is gonna be so great.
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If you go in and say, I'm so excited to teach you this, it's gonna make such a big difference in your movement quality, they're going to follow your lead.
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And with all of this said, we don't need to sacrifice the joy and novelty of tricks to also include the important foundational details and the practices that help develop movement quality technique and all of that.
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All of it can go together.
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And then you can have them practice the skill, the trick they're really excited about with those lessons in mind.
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So it's a combination of a curriculum design problem and a bit of a values cultural problem.
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And if you're listening and you're like, that's nice, Sarah, but I have like five students who would quit tomorrow if I started doing this.
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I would caution you against assuming that.
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Let's find out if that's how they actually feel.
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Let's dig a little deeper there.
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And I would find a way to convey to that person that you're not taking something away, but that you're adding and integrating.
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You can let them know, yeah, we're going to keep doing cool tricks.
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Today we're just going to focus on this other thing.
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Like most aerial students will expect that.
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And they're not ready to bolt just because they're not getting 10 cool tricks today.
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If you don't want to be ruled by trick-chasing anxiety, you need to get comfortable taking time for the details, for the foundations, for the lessons about transitions and movement quality.
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And if you're dealing with a pretty severe trick chasing issue in your student body, then you need to help them also become comfortable with that.
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So if you're in a position right now as an instructor and your students keep bringing you skills from Instagram, and you did not explicitly sign on to that, you don't want it to continue.
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I want you to empower yourself to communicate with them what you want and need from them.
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Because I want you to not feel caught off guard and not feel pressured in your teaching.
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I want you to feel like you're in command of the room, you're dictating the lesson, and you don't have to accommodate the whims of your students' latest Instagram binge session.
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So at your next class, you're going to say, thank you so much, you guys.
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I love how you're finding all these incredible skills online and how excited you are.
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And I would love to work with you on some of these.
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To make sure these skills are safe for you to work on and make sure that I have what I need to teach them, please email them to me.
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And if they fit your skill level, I will be happy to incorporate them into some upcoming classes.
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Sidebar, if you never want to teach skills from Instagram, tell them that so that they stop bringing it to you.
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You are allowed to set that boundary.
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And honestly, even as I'm saying this right now, I'm thinking back to when I was teaching in my studio and I was teaching a lot of classes.
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And I was definitely getting to a point of like, I need more ideas.
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And now that I'm thinking about this, I'm like, oh, this would have been a great system to have.
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Just be like, hey, if you guys see something you want to learn, just email it to me.
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I'll figure out how to break it down, look it over, and we can work on it in some upcoming classes.
00:16:42.080 --> 00:16:54.559
And so if you are taking this route of allowing Instagram suggestions, if you are able to identify the originator of the sequence or the trick or whatever it is, it's great to include that in the lesson and say, hey, I found this from so-and-so.
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And uh we're gonna work on that today.
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That way you invite the students into the lineage of the skill that they are learning.
00:17:01.519 --> 00:17:09.680
All right, the last thing I want to touch on is if you are the problem, you're listening and you're like, Sarah, it's me.
00:17:10.400 --> 00:17:14.880
I can't stop trick chasing, feel this anxiety to learn the next thing.
00:17:14.960 --> 00:17:17.039
I have FOMO, I just need to keep up.
00:17:17.200 --> 00:17:23.759
I'm going to share a strategy with you that I implemented into my life a very long time ago.
00:17:24.000 --> 00:17:27.680
And that is to completely stop caring.
00:17:28.240 --> 00:17:29.599
I saw this in a caption once.
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It was actually an aerialist, like in 2020, probably.
00:17:33.519 --> 00:17:34.799
And I never forgot.
00:17:34.960 --> 00:17:39.279
It said, don't worry about anybody else's journey except yours.
00:17:39.519 --> 00:17:41.759
Essentially, don't look at anyone else's paper.
00:17:41.920 --> 00:17:43.839
Keep your eyes on your own.
00:17:44.480 --> 00:17:46.319
This is really sound advice.
00:17:46.480 --> 00:17:50.799
It will help you get a lot of clarity about what you actually want to work on.
00:17:51.039 --> 00:18:00.480
When you are responding to feelings of pressure, and I need to do that, I have to keep up, then all your decisions of how you shape your practice are coming from a place of anxiety.
00:18:00.559 --> 00:18:04.160
And that is just not the best place for decisions to come from.
00:18:04.319 --> 00:18:11.039
And again, absolutely nothing wrong with getting excited about tricks, seeing something trending on Instagram, wanting to jump on.
00:18:11.279 --> 00:18:13.039
Literally nothing wrong with that.
00:18:13.279 --> 00:18:25.920
But can it come from that place of curiosity and being excited to learn and not a feeling of pressure and I gotta post that and it's gotta do this or that for my following, and just instead let it be fun.
00:18:26.079 --> 00:18:34.480
Not living with that ambient anxiety frees up a lot of bandwidth and it helps you to focus on what is truly exciting and meaningful for you.
00:18:34.720 --> 00:18:40.880
And if what is meaningful for you is I want to learn 100 new skills this year, more power to you.
00:18:41.039 --> 00:18:42.799
I 100% support you.
00:18:42.960 --> 00:18:47.119
I just want that process to light you up and not stress you out.
00:18:47.279 --> 00:18:49.519
All right, actually, last thing, and then I'm gonna wrap this up.
00:18:49.680 --> 00:18:59.920
I just want to take you back to my origins in Ariel, where I've told you before, I could do everything so flexible, so strong, coordinated, could do anything the teacher asked me except make it look good.
00:19:00.640 --> 00:19:02.960
I was definitely trick chasing.
00:19:03.039 --> 00:19:04.960
I was mesmerized by skills.
00:19:05.039 --> 00:19:06.400
I was like, candy cane?
00:19:06.559 --> 00:19:08.400
That's the most incredible thing in the world.
00:19:08.640 --> 00:19:09.440
Coffin hang?
00:19:09.920 --> 00:19:10.559
Amazing.
00:19:10.799 --> 00:19:13.519
Stardrop, oh my god, yeah, I must do that.
00:19:13.599 --> 00:19:21.680
And wheel down, don't even get me started, which is actually really funny because I do not enjoy wheel down and I do not typically do it.
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But anyway, all of these skills and shapes were really stimulating and engaging for my brain, but it really did claim the focus of my training.
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And so as a result, it took me a lot longer to develop the movement quality and the technique that I am known for and sought after for today.
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And I don't regret it at all.
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I love my aerial journey for what it has been, and I love being able to share these stories with you.
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But if I was going to go back in time and do it again with the knowledge that I have now, I would definitely be obsessing over foundations and technique in detail from day one, especially now knowing how fascinating it all is and how incredibly good it feels to embody really immaculate technique.
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Maybe we need a phrase that represents a counterculture of trick chasing, the culture that prioritizes the many layers of learning, isn't afraid to slow down and go in depth and be more detailed in our training and instruction while still loving, celebrating, and participating in all of the tricks, just not doing it at the expense of these other parts and letting that anxiety kind of creep in.
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We could call it something like the slow aerial movement.
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But it might be helpful for us to think together as a community like, what are we doing if we're not trick chasing?
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Do we have a way to concisely describe that and communicate that that is our value system?
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That's how we approach the art form.
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So much more we could talk about, but we'll leave it at that for today.
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Remember to scroll down to take a look at the Bloom Aerial Teacher training, take a look at the free aerial teacher upgrade.
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This is where you can dig deeper into what excellent teaching really is and what's at stake.
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And through Bloom, get you feeling like a true professional who is ready to support every student who walks through your door.
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I hope you've enjoyed our conversation about trick chasing today.
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Thanks for listening, and I'll catch you on the next episode of Between the Lions.
