Anyone who’s taken a dance class or two knows that there’s a structure to most dance classes. 1) Start with warm-up 2) move into technique practice and 3) finish with choreography. Meaning….you learn the teacher’s choreographed routine. (set to music!) This is one of the primary tools that dancers use when developing their craft.

It was ingrained in me early on that stepping into someone else’s choreography was an integral part of the artistic process. It wasn’t just about learning the moves—it was about learning how to move through someone else’s vision, and expanding your own creative style in the process.

So, when I found my way into the world of circus and aerial arts, I was actually a bit surprised to see the classes seemed to be missing this very important element. Of course it makes sense to be focused on building strength, skills and mastery of the apparatus, especially in the beginning. But once the student has developed enough skills and endurance to execute sequences that would be a ripe time to start learning aerial choreography, right? But when it comes to aerialists, the learning trajectory is often quite different.

It’s much more common to have the aerialist’s entry point into performance be… drum roll please….Act Creation! Usually in some form of student showcase event. A lot of attention (and pressure) is put on the student to create their own piece, and find their own unique style. Now don’t get me wrong, one of the things that I LOVE about aerial arts, that sets it apart from the path of the dancer or actor, is the permission to be your own artist and creator. Aerialists, by the nature of our art form, frequently create our own acts, embracing the freedom of personal style development. While this autonomy is fantastic, it leaves many aerialists with a gap in their education: learning other artists’ choreography.

Now I know I’m making a giant generalization, and there are some fantastic choreography classes out there that do exactly this…teach their students to learn aerial choreography. But I didn’t experience this in my own circus education at all. Then later, when traveling the world and visiting dozens upon dozens of studios I would say that this is the exception, not the rule.

Is it a sequence, or choreography?

Before we go any further, I think it’s important to distinguish the difference between an aerial sequence and a piece of choreography. An aerial sequence is the bones of the choreography. It’s the foundation that everything else will be layered upon. What are the layers? Musical cues, movement quality, gestures and dynamic tempo changes. Choreography also can introduce concept, story, and character work into the movement.

Ok, so what’s the benefit?

Why does this matter? Why should an aerialist spend time learning other people’s choreography? I see SO many benefits to this practice that are far-reaching and can transform your artistic practice in ways you might not expect.

1. Stepping Out of Your Comfort Zone

We all have certain moves, tricks, and sequences that we love to do. It’s what makes our style our style. But, sticking only to what you know can limit your growth. When you learn someone else’s choreography, you’re essentially stepping into their creative mind, pushing yourself to try movements you wouldn’t normally choose. This might mean learning new aerial transitions or even discovering unconventional ways of combining moves you already know.

I’ll be honest—there’s a vulnerability in learning choreography that’s different from creating your own. When you’re improvising or crafting a routine, you’re following your own creative impulses. It feels safe, familiar. But when you step into someone else’s choreography, you’re in unknown territory. You’re not just learning steps—you’re absorbing another person’s artistic vision, which can be uncomfortable at first.

Choreography, especially someone else’s, often requires you to move in ways that feel foreign. That’s a good thing. It stretches your movement vocabulary and shows you there’s more than one way to express the same idea in the air.

2. Expanding Your Movement Vocabulary

One of the best parts about learning choreography is gaining access to a completely different language of movement. Each choreographer brings their own life experience, body awareness, and creative vision into their work. When you learn choreography from someone else, you’re borrowing pieces of that language. Over time, this builds a rich movement vocabulary that you can draw on in your own work.

For aerialists, this is especially important because it helps break away from the common patterns and tricks we might get stuck in. Learning someone else’s choreography opens your eyes to different methods of storytelling, musicality, and spatial awareness. Bonus, it also challenges your body in ways that ultimately make you stronger and more versatile.

3. Finding Inspiration for Your Own Work

Ironically, one of the best ways to find your own voice as a performer is to dive into someone else’s. As you learn another’s choreography, you inevitably stumble upon moments that resonate with you—whether it’s a particular movement phrase, an emotional tone, or a way of transitioning between tricks. These moments plant seeds of inspiration that can later bloom into your own unique ideas.For aerialists, choreography can unlock new ideas for rigging, apparatus exploration, or even combining floor and aerial work in unexpected ways. By studying a variety of choreographic styles, you become more adept at crafting your own, developing a style that’s informed, rich, and distinctly yours.

4. It Opens Doors

Being able to learn and perform choreography is a skill that can set you apart. If you’re only accustomed to working solo, in your own style, you might miss out on group work, collaborative performances, or even the chance to tour with established companies.

Many choreographers and directors look for aerialists who are flexible not just physically but artistically—those who can adapt to different choreographic styles, learn material quickly, and bring a fresh perspective. If you’ve trained yourself to learn other people’s choreography, you’re giving yourself a valuable edge.

5. Cultivating Discipline and Focus

Learning choreography isn’t always easy. It requires discipline, attention to detail, and patience—all traits that are crucial for growth in the performing arts. You have to commit to remembering sequences, perfecting timing, and refining your technique. This focused practice helps build the discipline you need not just for aerial but for any creative endeavor.

For aerialists, this can be particularly challenging because the choreography may also involve timing your movements with rigging, understanding spatial awareness in the air. But with this challenge comes incredible reward, as you gain agility in both your mind and body.

Looking ahead – Work with us!

For aerialists who are used to flying solo in more ways than one, learning other people’s choreography might feel like a strange and unfamiliar path. But the benefits are undeniable (and it’s fun!) So, if your studio or instructor offers an opportunity to learn someone else’s choreography, take it! If you have a training group, try an exchange where each aerialist develops a short piece of choreography for the others to learn. You might just find that this practice unlocks new levels of artistry and creativity.

Many moons ago, I offered a choreography-based series at Kinetic Arts Center in Oakland, CA, and it was one of my favorite classes I’ve ever taught. Well, I’m getting back to it again, with a very special online workshop series with Saffron Van Rossem.Join us for a 3-part online workshop series, as we delve into concept-driven aerial choreography. Drawing from our current aerial theatre project, Homeostasis, which visually represents the human nervous system through rope and explores the “fight, flight, freeze, and fawn” responses, we’ll share our methods and discoveries.

Choreography Workshop on Aerial Silks | Surge: Fight Mode

With Rain Anya

Apparatus: Aerial Silks

Saturday, October 5th @ 2pm-4pm EST

Choreography Workshop on Aerial Sling | Soar: Flight Mode

With Saffron Van Rossem

Apparatus: Aerial Sling

Saturday, October 12th @ 2- 4pm EST

Creative Workshop on ANY apparatus | Somatic Theatre – The Stories of the Body

With Rain Anya & Saffron Van Rossem

Any Apparatus

Saturday, October 19th @ 2pm-4pm EST

Cost: $50 (live workshop or replay)

Only 8 slots available for each live workshop

These workshops are geared toward aerialists at an intermediate or advanced level.

All proceeds go towards the production costs of creating Homeostasis, an aerial theatre production currently in its development phase. In the United States, raising funds for the arts is an ongoing challenge, as creative projects often struggle to receive the financial backing they deserve. By supporting working artists, you help sustain the lifeblood of cultural innovation, ensuring that vital stories and unique perspectives continue to reach and inspire communities. For those who would like to donate additional funds toward the project, here’s a link to donate.

The post Borrowed Moves, Original Growth: The Art of Learning Choreography appeared first on Paper Doll Militia.

So many things come into play with this question, ego of course being one of them. The first question to ask is: WHO’S EGO IS AT STAKE? Followed by: HOW DO I DEAL WITH IT? It’s important to distinguish the difference between YOU thinking your student is seriously advancing in skill and YOUR STUDENT thinking they are advanced in skill. Sometimes you will agree, but not always.

STUDENT EGO

If your student thinks they are advanced it’s important to ask yourself if they really are or not. If truly not, then your job as an instructor is to continue to instill the safety, and foundations that they need as well as continue to challenge them in fun ways. Students can fall under the false impression that they are better than they are. Delusions of grandeur can commence. It may be because their understanding of the material, their proprioception and their general ability are better in their minds than in reality.

This is when we as teachers need to be our best and lovingly hold these beauties back. It’s not about stunting them, it’s about maturing them through giving them variations that stretch their understanding or extra challenges that increase their strength. It’s your job as a good aerial instructor to only give them tricks when they are ready.

Make sure they meet the prerequisites that you think are necessary, even if they think they are boring. The number of times I have walked into a private lesson and had an “improver” level student ask me to teach spiral drop to ankle hang or some other advanced drop is wildly frequent. It’s ok to say, “Great, we can work up to that, let’s start here . . . “ Again, it’s about being loving. Not saying “NO” or “You’re not good enough,” but instilling the concept that this is a journey and you are happy to be on it with them, but we need to start at the beginning together.

TEACHER EGO

So you’re a teacher, you’ve been doing this for a long time. You earned it the hard way, before Instagram or YouTube. You had to get the nuts and bolts first, you worked hard, you got injured and for some time you have not been working on yourself and your skills, but you’ve been teaching. And here comes this young student who has climbed to your level in a third of the time it took you to get there. They may or may not think or know they are advanced. But you know it, and you don’t want them to surpass you. Well, tough luck. It is not our job to hold people back when they are ACTUALLY READY. Even if they are going to get the next gig, or start teaching where you teach. If you are their teacher and you love teaching, then teach them what you know.

If they surpass you in skill but keep coming remember they are coming because you have something to offer, it might be nuance, it may be creative choreography, it may be character work, or they just may need some outside eyes and they respect you. If they ask you for a skill that is beyond your level think “IS THERE ANYTHING I KNOW THAT CAN HELP them with this skill?” You may have some excellent conditioning or pre-requisites that can get them ready. Do as much as you can as long as you can and then RECOGNIZE WHEN TO LET GO. The best way to do this is to send them to someone else you know. They might not even live where you live, but give options. This is the role of a real teacher, to have grace and acceptance of ourselves for who we are, where we are, and when we are; and to help the future flourish.

Dedicated to: Althea Young (17) and Ellie Rossi (13)Students of Paper Doll Militia who we’ve had the pleasure of watching grow from aerial fledglings. They now soar to impressive new heights and continue to take the aerial world by storm.

-Sarah Bebe Holmes of Paper Doll Militia

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The post When Your Students Surpass You appeared first on Paper Doll Militia.