Introduction to Poi Spinning | Ben Drexler | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

13 Lessons (1h 39m)
    • 1. 00 The Parts of Poi

      5:55
    • 2. 01 Planes and Plane Control

      7:32
    • 3. 02 Tic tacs and Extensions

      5:19
    • 4. 03 Timing and Direction

      6:12
    • 5. 04 Reel Turns

      7:46
    • 6. 05 Tuck Turns

      12:35
    • 7. 06 Butterflies and Thread the Needle (TTN)

      7:05
    • 8. 07 2-beat weaves

      4:41
    • 9. 08 3-beat weaves

      8:10
    • 10. 09 Waistwraps

      8:23
    • 11. 10 Stalls

      7:00
    • 12. 11 Inspin Flowers

      8:42
    • 13. 12 Antispin Flowers

      9:31
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About This Class

Learn to create art with your body! Here I cover the fundamental concepts you'll need to spin including plane control and timing and direction, plus several of the most popular tricks including weaves, butterflies, and flowers. You'll walk away from this class with enough tricks to begin to explore flow for yourself!

Meet Your Teacher

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Ben Drexler

Flow Arts, Circus, Poi, and more!

Teacher

World-renowned poi spinner, flow artist, and YouTube personality. I've taught tens of thousands of people all over the world the joy of expressing creativity through their bodies with poi spinning.

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Transcripts

1. 00 The Parts of Poi: Hi, I'm Drax. And this is introduction of Poi pois, a beautiful in innovative movement art that has its roots in the tribal traditions of the Maori peoples of New Zealand. Through the years, it's assimilated elements of everything from club swinging to juggling, glow, stringing and many, many others to create a very modern and diverse movement. Art point can be practised by the individual or in groups up on a stage or just as a private, meditative pursuit. You're gonna begin to learn point today, starting with the parts of the poi and then how to move with, um, we're going to start off by talking a little bit about the components of poi and the different types of poi that are available out there. No matter what set up or you're using, they're gonna consist of the same three basic components. These components are the head, which is the weighted end that is usually furthest away from the body and that swings around and then geometric patterns that we associate with poi. There's the tether, which is a flexible material that connects together the head and the handle. Finally, there is the handle itself, which is like an anchor holding the point to your hand as you move it around. Handles themselves come in one of three different styles. The first style is a single loop handle, which consists of a strip of fabric that is looped around and is meant to be tied around the hand in a slip knot. How this is done is you pinch the handle between two fingers and then turn the rest of the loop inside out and reach it around the same two fingers, creating a slip knot if you pull it tight. This is actually the most secure option that you can have for a handle and the one that is least likely to result and you losing control the poi or letting it go. Another possible option is a double loop handle. Double loop handles are very, very similar to single. Loop consists of two strips of fabric rather than one. These are meant to go around to neighbouring fingers and likewise are relatively secure. Handle. The final options was called a ball handle. Ball handles consist of a solid object that is usually roughly spherical in shape, and it's been to act as a stopper. Ball handles air used. When you want to be able to let go, the poi deliberately say, if you're going to do contact rolls or throws and are usually the least secure option in terms of how you can hold the poi poi are used in one of three primary tasks, either for practice, glow or fire and the construction of them condition dramatically, depending upon what use your using them for when it comes to practice. Boy the most common option or what it called sock or sometimes fabric boy, which consists of some kind of a weight that's been dropped into a fabric sleeve or a sock . These are the most common option out there, and they're usually a person's first set of poi. Next we have flag or Zuni poi that have a strip of fabric that is attached to the head. He's allow you, in some respects to see the trail of the poise it's spinning around. They also can get in each other's way if you're just starting off and your planes are not necessarily that clean yet. Finally, there are contact. Poi, which consist of a contact juggling ball, has been joined by a rope or chain to what's usually a ball handle and are used for creating tricks with the ball rolls around in different parts of your body. There are also glow poi, which are used primarily in dark environments such as clubs or late at night. They'll have a battery and an led set inside of the head so that it's visible in the darkness. Finally, there are Fire Point, which consists of head that is, a Kevlar not connected either via chain or a techno rope tow, a handle of a variety of different types. Now, of course, the obvious question is, what is the correct way to hold the poi? And the answer is there is no one right way. The most important thing with poi is that you practice with them, so find a grip that feels comfortable to you and makes you want to pick up the point work with. Um, here are a few suggestions based upon grips that I've seen other boys spinners use. Regardless of the type of poi that you're using, your grip is gonna come down to which two fingers you want to use to anchor the point to your hand. For example, I can anchor my tether between my index and middle fingers. Like so, this is actually the most common grip that I see people who use single or double loop handles using and note the tether is coming out towards the knuckle side of my hand. Another great, similar grip would be between my middle finger and my ring finger. Like so. Another option would be to actually have the tether going inward towards my palm side in anchoring it between May Pinky and my ring fingers, holding onto the tether to get even better and more secure. Grip on it. The most common grip I see what these ball handles is actually toe. Hold the ball between the index finger and the thumb. You want to pinch the tether between the second joint of your index finger and the thumb itself almost as though you're pushing a button on a remote control. Another great option would be to have the ball down near the edge of the hand where the pinky meets the flesh. You then hold on to the tether itself and pinched the end of it, using the same method we just outlined. There is some point tricks that gets slightly easier if you use shorter tethers rather than having to trim down your tethers and thus have to keep the poise short. No matter what trick you're using, there is a way to temporarily make them shorter so you can lengthen them again if you'd like to. Here's how. Drape the tether across the back side of your hand, the side with the knuckles on it, and then wrap it all the way around underneath your palm as though you're gonna try and tie it around your hand. You're then going to pinch the tether between your thumb and index finger to complete the same ball grip we just talked about in the last section. This will allow you to keep your tether short if you want to, but still lengthen them later if that be your preference. This is very useful for tricks like this. The buzz saw where you keep the poi relatively close to your body, but you want to make sure that you're not actually hitting yourself. When you do wrap the poi around your hands, try and make sure that they still come out to the same length in the end. Now that you know the basics of how Pointer constructed and how to hold them. It's time to start learning how to move with, um, and how to perform different point tricks will be covering that in the rest of the Siri's. Thanks for watching and enjoy the flow peace. 2. 01 Planes and Plane Control: Hi, I'm directs and this is introduction of poi spinning. Today we're gonna be talking about planes. One of the most fundamental concepts in all of poi spinning you can think of planes is being broad flat surfaces like a sheet of paper or a notebook when we talk about it in Relation to point, however, is usually more of an implied concept. Let me show you what I mean as I spend the poi. There's only one point it can never occupy in time, but over time it occupies a series of points that can be thought of as a flat surface similar to the notebook. If I put the notebook in front of me, I can spend my poi in such a way that it appears to be Justus Flat is the notebook. I take the notebook away, and I think of the orientation that the notebook had is being similar to the orientation that the point has. There are a lot of different orientations that these planes can have in relation to our body. Let's take a look at a few of thumb now. Technically, there are an infinite number of ways that we could orient a plane relative to the human body. But his poise, spinners, we tend to focus on just 2 to 3 of these. The first is if I would replace the notebook in such a way that I was looking straight at the cover in front of May and orient the poi plane in the same way so that I was seeing the full profile of the circles. We would refer to this as Wall Plane next if I would look straight down the spine of the notebook and oriented point playing the same way. So the point would appear to go straight up and down along the line that was vertical. We would refer to this as wheel plane. Next, a special case of wheel plane would be if we place the notebook between my hands. This is sometimes referred to as buzzsaw or inside plane. Finally, if we were to place the notebook flat in my hands like this, we would refer to this as being a horizontal or floor plane. Now that we've talked about poi planes, we're gonna talk a little bit about plane control. This is the ability of your hands to maintain whatever plane they happen to be spending the poi in its one of the most important and fundamental concepts in all of poi spinning, because it ensures that the poi actually arrives where you intended to, that you can avoid collisions and thus bodily injury, and finally, that it presents the best possible version of your trick to your audience. Here are three exercises that are going to help you begin to develop your plane control techniques. The first thing, easiest, is to find a section of wall that you can spend your poi against. Try and maintain the plane so that it's parallel with the wall at all times and walk back and forth, switching between wheel and wall plane orientations. Next, put a line down in the ground or find one that already exists and practice keeping your poi plane directly above that line. Now walk in a circle both forwards and backwards around the line. You should find that again. You're passing through both wheel and well plain orientations, but now you'll also find that the direction of the poi is going to seem to shift depending upon which side of the line that you're on. Sometimes it will appear to be clockwise, and sometimes it will appear to be counterclockwise. We refer to this as the plane facing that is which side of the plane that you happen to be on to make a successful transition. Wait until the poi is pointed as far away from you as possible before you attempt to change which side of your body it's on. This next exercise is called or being or globe ing, and it's going to require that we had one more concept here plate today, the idea of native versus non native side. Now I'm holding my poi in my right hand, so anything that I do on the right side of my body, I would consider to be an action on my native side. Any action I do on the left side of my body is going to be non native side, for example. Currently, I'm swinging my poi on my native side, but I can easily switch it over to swing it on my non native side and back to native. To start this exercise, we're going to wrap up our poise so it is no longer than elbow length and begins swinging it forwards in wheel plane now you're gonna think of the plane is a poi is being something like an arrow that you can point different spots in the room. Currently, my arrow is pointed straight across to the wall in front of me. Now I'm gonna try pointing it slightly off to my non native side and it's gonna come in a bit of a diagonal. Next, I'm gonna try pointing it completely off to my non native side so that it is flat against me in Wall Plain and you'll note from my perspective, this looks like it's going counterclockwise. Now I'm going to try and pull the poi plane back to point at my non native shoulder again at a bit of a diagonal and finally pointed all the way back at myself, going reverse in buzzsaw plane. I'm going to switch it back to the outside of my wrist and thus into wheel plane By waiting for the moment at which the poise pointed furthest away from May and switching from palm down to palm up. It should now be back in wheel plain and turning reverse. We're gonna do a complete circle like that again to finish out this exercise again, I'm going to point my point plane towards the corner of the room on my non native side. So it's had a bit of a diagonal and then completely a rich my non native side. So it's in wall plain and you'll note now it looks like it's going clockwise relative to May. Finally, I'm going to point it back at my non native shoulder and completely back at myself in buzzsaw plane, where it now feels like it's going forwards rather than reverse, like last time. Again, I'm gonna wait for the moment at which the poi is pointed furthest away from May, and I'm gonna switch from palm down to palm up to bring it around to the outside of my wrist back into wheel plane. We would consider this to be one rep of this exercise. Here's a pro tip for getting the most out of this exercise. You can get twice the practice in the same amount of time by practicing with each of your hands together. This will also help you begin to coordinate your two hands together as well. Begin by rotating each point in real plain forwards and begin pointing the planes diagonally towards each other. Next, bring them all the way around in front of you in wall plane, making sure that your hands are separated out enough, but the point won't run into each other. Here, you'll note that the two poi are coming down through the middle. Continue to allow the poi planes to come back at you as though they're fooling doors coming inward towards your belly. Eventually you wind up with two of them, rotating backwards in between your arms and buzzsaw playing. Switch them around to the outsides and you'll now be in wheel plane. But the point will be training reverse again. Begin turning the poi planes towards each other at a diagonal and then bring them all the way around into wall plane. So they're now coming up through the middle rather than down through the middle. Again. Think of the two point planes is being folding doors that we're gonna open towards your belly and bring them all the way around into bus. Stop playing, going forwards between your arms. Bring them around the outside of your arms and we'll call that one rep of this exercise. Try and do this exercise. 5 to 10 times every single time you pick up your poi and you'll note an immediate improvement in your playing control. One way you can think of this exercise is that the plane of the poise tracing out lines of longitude along the globe with your hand at the core or center of that globe. This will teach your hand to maintain a stable plane in absolutely any orientation relative to your body. Use one or more of these exercises every time you pick up your point for at least 5 to 10 minutes when you're first starting off. Doing so will ensure that you'll have proper technique that will last your entire spinning career. Thank you for joining me and enjoy the flow piece. 3. 02 Tic tacs and Extensions: Hi, I'm Durex and this is Introduction to Poi. Today we're gonna talk about two basic categories into which nearly all point tricks fall. They're called flat plane moves and plane bending moves. Flat plane moves were defined by having moves in which the plane of the poise stays rigid in relation to the body, never changing either in front behind or perhaps to the side of the performer. In plain bending moves, the poise shifts from a plane on one side of the body versus another, or between two different planes that perhaps are not parallel at all. Now, these two types of moves can frequently be combined together. But make a good starting point in thinking about the differences between different point tricks here. So you can begin to practice both techniques, starting with the flat plane moves. This is called static spin, and it consists of just having your hand stay as still as possible while the poi traces a circle around it. You can do this in wall plane like this in clockwise as well as counter clockwise directions, making sure that you do it with both hands to keep your body even. You'll also want to try this out in wheel plane going but forwards and reverse. Next, you're gonna want to play around with extensions, extensions, air like static spin but blown up to epic proportions. They started the shoulder and go all the way down to the point head, creating one large line in a gigantic circle. Nearly as tall is your body. When performing these again, you want to go in wall plane both clockwise as well as counterclockwise and in real plane but forwards as well as in reverse again with both hands. One thing to watch out for with extensions. You never want to get in a place where your hand is able to get behind your shoulder, because this can cause injuries. To avoid doing this, especially wheel plane with your extensions, you want to make sure that you're turning your upper body slightly as your hand is reaching back. This ensures that the hand can always be in front of your shoulder rather than behind, and thus avoid those injuries. We're gonna begin playing with plane bending with an exercise that I like to call a tick tack, although some people are calling it a to beat and involves to shifting the poi back and forth across your body like so here's how we can begin to learn this. Number one. You're gonna get the poi turning on your native side such that it is coming up when is going past your shoulders and down. When it is that the point that is furthest away from you, you're gonna stop the point from moving as it gets to the bottom of its arc. Move it over to your non native side and again start rotating it forwards. So it's coming up past your shoulder and down. When it's at the point that is furthest away from you, you're gonna stop. Go to Native Stop, go to non native stop Go to native Stop, go to non Native. Eventually, you're gonna try and work it up to the point where you can just switch automatically back and forth between these two on what you'll notice is that that point when the poise furthest away from you becomes the point at which you switch which side of your body the point happens to be rotating on? We would refer to this point as a cross point, and it occurs something like an X. If you look straight down your body, we can also perform this move going reverse, starting off on the non native side once again by going up when the poise furthest away from us and down is is passing by our shoulder again. We stopped the poi, move it over to non native side and begin rotating at reverse. So it's coming down past the shoulder and up. At that point, words for this away from us. Stop bringing to native stop bringing to non native stop bringing to native stop bringing to non native and eventually see if he can just sweep straight back and forth between the two. Just like with the Ford's version of this are cross point. That is the point where we're shifting. Which plane that were rotating in is at the point where the poise furthest away from us. If you're comfortable with your tic tacs, here's an exercise that will help you develop this skill at many different points around your body were going to start off just with our normal tick tack on the side of our body. With your hand slightly in front of you, you may find that your hand is having to put a lot of effort, and when you're just starting off, this will go away with time as you get more comfortable with the move and this exercise will help. Next try extending your hand out is far away from your body as you possibly can so that your elbow is not bent and that your hand is about it. Shoulder height again trying to maintain a constant tick tack back and forth. Next, you're gonna want to bend your elbow. Your elbow is still a shoulder height, and your hand is now high. This might be a little bit of a challenge at first, but eventually it'll feel natural. Finally, you're gonna want to draw your hand to your chest, being able to maintain that tick tack while keeping the poi in contact with your body. At first you'll probably have to keep your hand a few inches away from your chest, but as time goes on and you get more comfortable with the exercise, you'll eventually be able to touch your hand directly to your chest and control this movement from your body core rather than from your hands. Make sure that you try these exercises in both directions with both hands, you can think of both flat plane moves as well as plain vending moves is being something like flour and water and recipes, very basic ingredients that are used in nearly anything that you might want to cook. Keep on practicing these, and it'll help out your poise, spending many, many, many years down the road. Thank you for watching and enjoy the flow Peace. 4. 03 Timing and Direction: Hi, I'm drugs and this is introduction to Poi. Today we're gonna be talking about timing and direction, a concept that is so fundamental to poi. It's very, very difficult to find tricks that don't use it in some way, shape or form. Timing and direction is a method for classifying all of the different ways that two objects can move around a circle in relation to each other. We have two directions to choose from either same direction or opposite direction. The differences with same direction, both of the poi are either going clockwise or counterclockwise, just so long as they're both doing the exact same thing with opposites. One point will be going clockwise and the other point will be going counterclockwise. Timing refers to the phasing of the two objects. This is when we shift the beginning and end points of their journey so that they separate and then come back together at different points around the circle. You can think of this is being somewhat analogous to two runners doing a race where they can start at the same point around the track. Or we could start one runner at a different point around the track they may be running the same speed, but the appearance of that race will be vastly different, depending upon where they start an end. Now they're an infinite number of possible timings, but we tend to focus on just two of them because they're the most aesthetically pleasing as well as the most symmetrical thes. Two are together time in which we're trying to get the poi to reach the top and bottom of their journey at the same time. There's also split time where one poise up and one poised down. And essentially, the hands are doing opposite operations at all times, with two directions and two timings. That means that there are a total of four possible ways that we can combine together these properties. They are together sane, sometimes abbreviated, talk, same or even just ts. In this timing in direction, the two point are going around the same circle at the same time in the same direction, appearing neck and neck with each other. This results in patterns that appear to be doubled or echoed by second pattern just a few inches off. Next, we have together time opposite direction, which is sometimes abbreviated. Talk up or even just t o. In this timing in direction, the two poi are reaching the top and the bottom of their circles at the same time, but separating out to either side. This results in patterns that appear to reflect across a vertical axis of symmetry that passes through the center of the body. Next up, we have split time, same direction, which is sometimes abbreviated, split, same or even just S s. In this timing in direction, the two poi are traveling in the same direction, whether it be clockwise or counterclockwise. But they're always phased 180 degrees off of each other. That is their always pointing away from each other and this timing in direction. We create patterns that seem to constantly reflect across a shifting axis of symmetry that turns around a point that's essentially based between our shoulders. Finally, we have split time opposite direction, which is sometimes abbreviated, split up or even just eso. In this timing and direction, the poi are meeting together on the left and right hand sides of the performer. But separating top and bottom, this results in patterns that seem to reflect across the horizontal axis of symmetry that passes straight through the performer's shoulders. Timing in direction is important for most points, but especially so for flat plane moves. You'll find that is, you learn most flat plane moves. They'll each have four variations, one for each timing. Indirection combination. Now that you have a basic understanding of timing and direction, you want to practice it with all of the flat plane moves that we explored in the last video , namely, your static spends and your extensions. But there are a couple things that we should flag real quickly. Number one. When you're working in wall plane split time, same direction inevitably means that your arms are going to come into contact with each other. There are ways around this that will explore in later videos, but for right now, just get more comfortable with your static spins and doing that move in wheel plane. Next in wheel plane, you will find that both together, same and split opposite, require moments when both of your hands are behind your back. Be careful with this. If you feel any pain in your shoulder whatsoever as you're performing this, don't do it anymore. It's best to avoid injury and concentrate on the wall plane variations. One of the bigger challenges you're likely to have is you're exploring. Timing is figuring out how to get a clean split time. Feel going? This is the best way I found To be able to teach. This is to begin by counting off 121212 and assigning each poi a downbeat. So in this case, my right hand that is my orange one has a ones and my white hand, that is my left hand has all the twos. 12121212 This will also work in split time. Same direction the same way 12121212 Another way you can go about this is to actually try just doing them in sequence, doing the right hand on the left hand, the right hand and then the left hand and see if you can get it to the point where you can do this continuously and not let the poise stop. So when it comes to practicing static spin and especially when you're doing split time, same direction, you may find a bit of an issue, namely, that it should be that these two pointer get a tangle with each other, right? So how am I doing it without tangling? Well, the trick here is what the audience doesn't see. Namely, that my left hand is actually always about 2 to 3 inches further away from my body. That my right hand is. You still want to keep the two hands a poised length apart from each other. But this will ensure that there never actually in a position when they can tangle. And as far as the audience is concerned, it makes no difference whether they're a couple inches apart or right in the same place where they might tangle. So take advantage of that fact. Timing and direction is essential for understanding the way that point move and the transitions between the ways that they can move. We'll cover that in a later video. Thank you for watching and enjoy the flow. Peace 5. 04 Reel Turns: Hi, I'm drugs and this is introduction to Poi. We've covered a lot of the basic techniques and ideas behind poi spinning, so now it's finally time to learn your first point trick. Now, this move is called a real turn, and we're gonna begin it by starting off in wheel plane right here with our poi and together saying you'll note as I'm rotating them forwards here, they passed down past my ankles. At that point, I'm gonna go ahead and let them sweep past my ankles, turn my body 180 degrees and let the point come back at me and what feels like a reverse direction. Now, there are four things about this move I want to point out that's gonna help you guys get it down cleanly. The first is that while it appears from your perspective as though the pointer switching from going forwards to going reverse, this is only relative to you. As far as the audience is concerned, the point haven't shifted in direction at all. Next, when you're going forwards, you're gonna find that the poi are on each side of your body. One on your right, one on your left. When you turn again, you're gonna wind up in reverse with one point on your left side, one point on your right side in between. That is, as you're going through the turn, the poise switched over to being on the same side of your body. This is really important because it helps you prevent collisions. It prevents you from hitting yourself. Next. You're gonna want to make sure that you execute this turn when the poi are both pointed down. If you do to any other point, it's likely that poor you're gonna hit you in the middle of the turn. Finally, this is a complete turn. This is going from facing one side to facing the other side completely. You don't want to execute on Lee 1/2 turn because at that point, the planes of the Pointer working against you and you're gonna have a really, really hard time recovering. Try and make sure that you're going all the way from one side to the other. If it helps put one foot forward and another foot back and just rotate between them. So you're switching which foot is forward and which one is back. Now let's take the same move in turn back the other direction back to forwards. Here we're starting in reverse with the point coming back up at ourselves and at the top of the poise path, your hands, air coming up towards your eyes. Now we're gonna go ahead and let both of the hands pass by our eyes as we turn back the other direction and let the point drop down past our ankles back into forwards again. As we're going reverse here, I want to let both of my hands go past my eyes and come back down on the other side. Now I personally find that going from reverse to forwards is a little bit more of a challenge than going from Ford's to reverse. The reason for this, is is that gravity is a little bit less helpful here, a couple things that you might run into and how to fix them. First and foremost, you might find that you're turning not quite at the right moment. You want to make sure that you're turning with the poi are both pointing up. The key to this move is understanding that the turn always comes when the poi are coming towards you next, you might wind up in a position where one of the poi accidentally goes behind you. This can result in some uncomfortable collisions. Again, Make sure that is your completing that turn. Both of your hands are going past your eyes. This is another case where we're taking a position where the poi on either side of our body bringing them both to the same side and then ending it with the poi on either side of our body. Once again, we call this kind of move a hip rial that is a turn that is executed with your hands close to your hips. And we can also do it in the other three timing indirection combinations that we learned in the last video. Here's how we would go about doing that, breaking this apart piece by piece. First and foremost, I'm gonna be spinning in together. Same here forwards with my two poi in wheel plane. I'm then going to execute a tick tack with just my right hand that is going back and forth from my left side to my right side with just that right side poi and I'm going to stop with my right hand poi on my left hand side I'm going to turn so that both of my poi are now in wall plane. Next I'm gonna take my left hand and begin executing a tick tack on the other side of my body Again it is Onley my left hand that's doing the tick tack here. When my left hand arrives over on my left hand side, I'm going to stop turn my body into wheel plane and now find that my poison to be turning reverse. Next, I'm gonna go back to doing Tic Tacs with my right hand going back and forth from my left side to my right side in reverse before finally settling on my left hand side in turning so that my back is now facing the audience here. I'm back in wall plane in my poi are now turning counterclockwise relative to me. With my left hand, I'm going to begin doing a tick tack once again, just my left hand, not my right hand. Settle on my left side and complete my turn back to where I started going forwards. In real plain, you can use the same technique to learn how to do hip rials. In any timing and direction combination, the method and technique are exactly the same. You might have a bit of a challenge when you try doing these turns and split timings. That's because the timing of the turn works a little bit differently. You're still gonna execute that turn when you have a coy going past your ankles. But now you're gonna find that only one of the poise going past your ankles at a given point, which is totally fine. In this case, I'm gonna turn in my left hand side. So I'm gonna wait until my left hand coy is going down past my ankles. I'm going to follow it around and my right hand poi that is my orange one is just gonna trail behind it. It should automatically fall into place. Now if I'm turning back to my right, I'm gonna wait until my right hand poi is facing up and again my body's going to follow it around and my left hand poise should automatically trail just a little bit behind it. Totally fine. The rule of thumb to keep in mind is that any time you're making a turn from Ford's to reverse your making that turn when the poi goes past your ankles. Anytime when you're turning from reverse to forwards, you're turning. When the poise pointed up towards the sky, Please that when you're working in opposite directions, you want to make sure when you're turning in a given direction, check and see what hand is in that direction, whether it's turning forwards or reverse so you can keep straight whether you're meant to go up or whether you meant to go down. In order to complete that turn Justus their hip reels. You can execute these same turns at different points along your body. For example, you can execute these turns with your hands up near your shoulders. We would refer to these turns as being shoulder reels, but the technique toe learn them is exactly the same as hip reels, rials. Air absolutely integral to developing freedom of movement with your poi. In the next video, we'll cover some techniques that you can use to add a little bit of spice to your real turns. Thank you for watching and enjoy the flow. Peace 6. 05 Tuck Turns: Hi, I'm Durex and this is introduction of poi spinning. In the last video we covered riel turns and when she can turn from forwards two backwards with your poi But always keeping the poi in front of you in this video will cover an idea very similar to real turns called tuck turns. Where you do put the point behind you and they add just a little bit of extra styles, he returns. We call these tuck turns because, as returning, we get to tuck the poi behind the body. As we move back and forth to begin learning this technique, we're going to start off with the poi turning reverse in real plane like this. And as it's coming up towards you, you're going to let it drop back behind your shoulder, and I'm going to turn around to face the opposite direction 180 degrees away from where I started. Once I've done this, I'm going to let my hand come up and out and dragged the poi with it. You'll note the point is now turning forwards relative to me where it started off turning reverse. When I started this again, we let the point drop behind the shoulder. We turn 100 80 degrees and we pull the point back out. We want to try doing this turning both ways. I just turned to the native side both times since the poison. My right hand, I turned to my right. But I can just as easily turn to my left like so get comfortable with both directions and then start to speed this process up a little bit. You can reset, by the way, by just doing a standard riel. Turn in between each. You want to try and go faster through it, to the point where you're actually performing a loop behind your back. Rather than letting the poise stop like that eventually it should come to look like this. Or is your turnings Nani decide like this? See the little loop behind my back? One way you can think of this is almost like you're trying to tag your shoulder blade. But turning before you can get all the way there. Now that we know how to turn from reverse to forwards, we're gonna try learning how to turn the other way from forwards to reverse. This is a little tricky because gravity is going to be working against you. But I know a few tips to get us through the process. Now you're gonna start off with the poi turning forwards in wheel point like this and we're gonna practice turning toe are non native side that is, to our left. What you're looking to do is create a little loop behind your back and wind up with the poi turning reverse. Once you've completed the turn again we're gonna wind up doing a loop behind the back and switching to the poi turning reverse Let me show you that from the other angle It is a loop behind and coming out again is a loop behind and coming out Okay, so how do we get there? Here's one method You can try and imagine that there is someone standing behind you that you're gonna try and tag with the poi like so shooting the point out as if you're gonna touch them. When you do that, you're gonna turn away from the poi and let gravity do its work dragging the point down and switching its direction to reverse. Once you've completed the turn again, that is reaching back to tag and then just letting the point drop into reverses u turn. Now this can sometimes lead to problems in form in that people can shoot it past their elbow rather than underneath their armpit. And it's underneath the armpit that we're really looking to do here. But there are a couple ways that weaken really push ourselves towards that kind of orientation. First and foremost, we can try wrapping the tether up and around the shoulder like so, and you'll note, as I do this, it forces my elbow to bend in my hand to reach up in towards my armpit. That's exactly where we want it to be. As this happens, I turn 180 degrees and I pulled my hand out. The point should automatically wind up going reverse again. That is, I look the poi wrap around my shoulder. I turn 180 degrees, pulled my hand out, and the boys should automatically wind up going the right direction. Alternatively, I can also catch the tether in my armpit turn and let it drop straight out again. That is, I pinched the tether in my armpit. I turned 100 degrees and a letter drop back out with any one of these three techniques, which are ultimately looking to Dio, is just like going from reverse to forwards. We want to try and get this happening so quickly and smoothly that we get that little Lupin behind the back as we go through. You want to start this off, Of course, doing it in slow motion, whether it be your rap or whether it be your pinch for whether it be your tag but ultimately work to a place where you can do it is one smooth, continuous motion. You'll also want to try practicing this, turning in both the native direction in the non native direction. I've been turning the non native direction the entire time. That is, with my point, my right hand, I've been turning to my left. You should also try turning to You're right. This will be really important when we get to using both hands. With this move again, you want to imagine there's someone behind your back that you're trying to tag like so or wrapping the poi over your shoulder, turning, pulling your hand out or pinching the tether, turning and letting it drop either, which way again. The idea is that you want to try and get a loop in behind your back as you complete the turn. Here's what that looks like from the other angle. Now that you know how to perform this trick with each individual hand, we're gonna start putting the two hands together, showing off a tuck term with both poi. How we're going to start off with that is to have both of the poise spinning reverse and wheel plain and using the same techniques that used with one hand. Namely, we're gonna drop both of the poi back behind our shoulders, turn 180 degrees, pull them back out, going forwards again. Let's reset with the rial we dropped behind the shoulders, turn 100 80 degrees and pull the hands and poise straight back out. We want to keep on working on this until we can do this is one smooth, continuous motion, like so, creating two loops behind our back with the poi as we turn going from forced to reverse again. We're going to use the same tricks that we learned earlier in this video. Namely, we can either tag the person behind us or we can wrap the poi over our shoulders and pull our hands back out. Or we can catch the tethers, pinching them in our armpits before letting them go, either. Which way we want to try and get to the point where we can do a little loop back underneath our armpits as we complete this turn. Now, putting the two pieces together, we have a couple options available to us. We can either turn back and forth across the same side of the body so that when I'm going from reverse to forwards, I'm turning to my right. And when im going from force to reverse, I'm turning across my left. That way, my front side is always facing towards the audience. - Alternately , we could also do this as a 180 degree turn where I could turn to my left and then again to my left if I wanted to, thus turning my body completely around. As I execute this move, whichever one you choose to dio use the same method in order to get their being able to switch back and forth instantly between the two tucks, start by doing 1234 beats before talking behind the shoulder blades. 1234 beats before talking underneath the armpits. 12 three behind. Shoulders one, 23 behind the armpits and work your way down to 12 12 one one, and then try and see if you can go directly back and forth between them thinking armpits, shoulders, armpits, shoulders, armpits, shoulders. When you get to this point, it creates a very, very, very cool move for your audience, where you seem to be passing the point back and forth in front of yourself and behind yourself and again, you can either do it, turning completely around or keeping the same side of yourself facing the audience the entire time. We can also learn this trick in the other three timing indirection combinations, for example, in split time, same direction. This will, however, require that we change slightly how we're thinking about where the talks happen. Let me show you what I mean when going back and forth between the two sides, I have to pick one and then the other hand to do a tuck, for example, When going from reverse to forward, I go left first, then right the tour staggered. When I want to go back the other direction, the easiest way for me to do it is to go right. Then left. You'll note the directions that I'm turning in. I'm always choosing which ever poi is in the side that I'm turning away from to tuck first . For example, when I turned to my left, my right hand Coy talks first when I turned to my right. It's my left hand point that tux first. Now, if you want to for an added challenge, you could always make it the same poi that tux first, for example, I could always make it my left, and thus I can switch straight back and forth like so. The problem here is that both of the poi wind up behind my back at the same time as I'm going from Ford's to reverse should be very careful with your planes here to avoid any kind of tangles. Performing these turns and split time opposites is really fun because it allows you to do both the shoulder blade as well as the armpit tuck at the same time, for example, I'm starting off with my right hand going reverse my left hand forwards, and as I turn, my right hand is gonna tucked behind my shoulder blade. And my left hand is going to talk underneath my armpit, going to switch it up now so that my left hand goes shoulder blade, right hand armpit, going back and forth like so together Opposite actually presents us with a lot of the same challenges that split time, same direction did. Namely, it requires us to stagger our tux as we're going back and forth as I'm going from left to right its left rights as I'm going from right to left. It's right, left. One thing that we can do here that actually has really interesting results is weaken. Agree to not tuck. One of our hands is we're going across, say, Aiken, decide to Onley tuck the hand that's going over my shoulder like so, or one that I personally prefer. I can choose Onley to tuck the poi that's going under my shoulder in my armpit, like so. I personally think that this move looks really cool enough itself, especially when done straight back and forth like this. Whichever one you choose to do is completely up to you But just know all of these air potential options play tricks of this type that involved having the hand trace a line along the body as well as having the poise shift. Which side of the body it happens to be on are often called body tracers. Tuck turns are usually the first type of body tracers that most boy spinners learn. Thanks for watching and enjoy the flow. 7. 06 Butterflies and Thread the Needle (TTN): Hi, I'm Drexel and this is introduction to poise Spending. In this video, we'll cover your first wall plane, move the butterfly. Butterflies happen when we keep the poi spinning and together opposite in wall plane directly in front of us. Usually try and keep our hands as close together as possible, sometimes even touching. Now, butterflies are a relatively simple move, but they're going to teach us quite a lot about playing control and how to keep our poi in wall plane without them tangling. That'll come in very handy down the road. One way we can begin to learn this trick actually doesn't involve the poise spending at all . You want to wrap up the point completely in your hands and get your hands to start moving in together opposite directly in front of you in wall plane as you're doing. So at this point where they're crossing over each other, stop for a second and notice which hand is on top because your two hands can't be at the same place at the same time. Inevitably, one of them's gonna be on top and one of them is going to be on bottom. Know which one that is because it's going to become very, very important later on. Continue to work through this getting in 10 reps so that your body starts to understand what this feels like. Then let out a single coil of the poi and do the move again. Trying to keep your poi as extensions of your full arms again, you should find that one arm is on top of one arms on bottom. As this goes to feel more comfortable, let out the rest of the poi so that they become long, long extensions of your arms. You may find that you have to speed up or slow down your hands slightly in order to make sure the poi remain long extensions going straight out from your arms. Once here, at a place where comfortable with this, begin creating smaller and smaller circles with your hands until you can bring them down absolutely nothing and just keep your hands bouncing up and down in a very small area. While the poi continue to maintain that together opposite timing another way you can begin to learn this moves to actually shorten up your point no longer than elbow length and try and separate your arms by two point links to make sure that they can't possibly collider tangle with each other. From here, you're gonna let the planes of the point drift slightly out away from you, so they look kind of like a V as you're looking down in front of yourself. You then going to start bringing your hands closer and closer together inch by inch. If you find a place where they're uncomfortable, go back an inch, hold it, study for 10 beats and then try and go forward again. Eventually, you will get to a point where your hands in touch and when this happens, you can let out the full length of the poi, and the work that you've done should translate it to the full size move. Now it should be said there are three possible things that could go wrong is you're looking to learn this move. Here's how each of them work and how we can go about fixing them. First, it's likely that the poi heads will collide with each other at the top or bottom of this trick. Alternately, the point tethers might tangle with each other again and either the top of the bottom of this trick and become unusable. Finally, and this is a warning specifically for the men in the audience, it is inevitable that at some point, a tangle or a collision will involve the kind of injury that we tend to dread. I know that it's coming. Be ready to walk it off, whether it's collisions or tangles. Both problems are caused by the same underlying issue, namely your planes and how they're interacting with each other. But fear not. We have a way that we can fix them. First and foremost, let's go back to this exercise from the beginning of the video, do you remember which hand was on top? This is where it becomes important. We're gonna do a couple exercises with that top hand that we're gonna refer to as the lead hand that will clean up your butterflies first and foremost began just spinning that poi in wall plane and then begin tilting the plane slightly away from you so that the non native side is farther away from you than the native side is at a slight diagonal. Bring it back to a wall plane place and go back and forth between the two of them just a little bit to train your body. How both feel next from the wall plane place till the top of the plane back towards you. When the bottom of the plane is slightly away from you, it's going to feel a little bit wonky. But actually, the butter zone from this move is going to be slightly between these two orientations, with the top slightly towards you and the non native side slightly away from you. This will ensure that the two point are never rotating in the same plane at the same time, avoiding collisions and tangles. The good news is the audience is none the wiser. The butterfly is it beautiful in very visually dynamic move, but with a slight tweak, we can add a little bit more body movement into it and create this trick, called a thread. The needle. The good news is, is that if you've already learned your butterfly, you've done a lot of the groundwork to learn this trick. So what's put it together first and foremost, wrapped the poi all the way up in your hands once again and begin performing a butterfly with just your hands remember when we started off that there's always the same hand on top ? We're gonna change that now. Alternating between right hand, then left hand on top, right hand on top, left hand on top, right hand on top, left hand on top. As you do this, note that you're switching up Which hand is closer to you at the very, very top of this movement. Make sure again that you have a good two inches of clearance between your front hand and your backhand. When this feels comfortable, let out a single coil the poi and try doing the same. Move with the poi, acting as extensions of your arms, bringing down right hand on top, left hand on top, right hand on top, left hand on top again. Look towards the top of this move and make sure that you have a good two inches. Between the poise. They pass each other at the top. This will ensure that you avoid collisions. Next, let the poi out to full length again, treating them like they are long extensions of your arms. When this begins to feel comfortable, start drawing the circles into smaller and smaller areas, say from your elbows rather than from your shoulders. And at this point, congratulations. You're doing the thread. The needle. If you want to polish this trick a bit, see how small of circles you can make with your hands. Eventually, what you'll find is that you wind up moving your hands straight, back and forth rather than in those circles around each other. If you're running into problems with collisions on this, move here a couple of ways that we can fix it. The first is the check and see where the pointer at. At the top of the move. You want to have at least two inches of clearance between them and, if that's not happening, your hands or where you want to look for the problem. Namely, make sure that the hands have more of a separation between them on the player at the top of this pattern, where the hands go, the poise should follow. Next. You want to make sure that you are making the switch happen. That is, which hand is in front when the poi or out to the sides, rather than when their top bottom I know is counterintuitive. But this is actually the biggest window of time that you have to get their hands to switch position and not have the path of the poi be involved in it. Use it because it's very helpful. Make sure you're learning this. Move both forwards and reverse. Believe it or not, the technique for learning the reverse is exactly the same. You just want to focus on which hand is on bottom rather than which hand is on top. Each time, both butterflies and thread the needle make a great addition to any poisoners Arsenal tricks practice them and enjoy them because we're gonna be using them a lot more sin. Thanks for watching and enjoy the flow Peace. 8. 07 2-beat weaves: Hi, I'm directs. And this is introduction of poi spinning. In this video, we're gonna cover the to beat week, which is a fundamental building block, both of three beat weaves and many, many other moves that we're gonna cover down the road. So what exactly isn't to beat? We've Well, it starts off with the point split time, same direction here in wheel plane, and then we're gonna cross each point over so that it winds up on the opposite side of my body. In so doing were performing a tick tack and hands adopts something of a staggered timing that is one hand initiates this move and the other one is slightly behind it. They don't just cross directly over at the same time. You also know that isn't doing this. My right hand is always on top. I can just as easily perform this so that my left hand is on top. Instead, you will want to learn it both ways. So how do we begin to learn this trick? Well, we're going to start off with just a single poi in one hand, holding the head the other hand, holding the handle. We're gonna beginning cranking the two hands around almost as though the two ends of the poi are like pedals on a bicycle. And then we're going to start crossing the hands over each other. Namely, I'm going to start bringing my right hand above my left hand. Like so almost like I'm pulling it behind a plane or a boat from front. It looks something like this. What this does is it begins to train your hands into the idea that one is following the other. This is a staggered move. Now let's get both of the point involved. I'm going to start off here in wheel plane with my poi turning split time, same direction. Let me turn to face the camera. So this next step is gonna make more sense. At this point, I'm going to start off with my left hand reaching over to my right hip. As that happens, my right hand should cross over it and both of them should return to their native sides again. Left hand reaches for the right hip and the uncross. Let's go ahead and take a look at this in slow motion so we can understand all the different pieces on it. here in slow motion. We can see this moving a little bit. Greater detail. Note how the left hand initiates this. It sometimes feels as though the hand that's on top is the one that's in control. The move. But in this particular case, we really want to think about the hand that's going underneath as it reaches across to the opposite hip. Then that's about halfway there. We're going to start pulling the top hand over to its non native side, crossing over the hand that initiated this move. There will be one moment when the two hands across completely over each other, and then the bottom hand is going to start pulling back towards its side with the top hand pulling back towards its native side very shortly after. This is one of the more complex moves that we've learned, and there are a lot of things that can go wrong. Let's take a look at each one of them, and I'll give you some tips as to how you can get past them. First and foremost. A frequent problem is that timing falls back into together time rather than split time. One way that you can fix This is to find an old staff or a broom handle. Hold the staff of two hands about a foot apart, then practice spending the staff in such a way that you're crossing one hand over the other . This is actually the exact same move to beat. We've, but what it does is it forces your hands into the proper timing. Train this for about 10 to 20 reps, and then try picking back up the poi in doing the same. Move again. Hopefully, you should find that it helps you find the correct timing. Another possibility may find is that while one hand is having an easy time crossing over your body, the other one is having a difficult time getting the message. Here's one way that you can fix that. Start with your hands crossed and get the point turning and then return your hands to their native sides. This exercise is pretty difficult, but it will train your hands to find their places on either side of your body and to make the unwrapping part of it feel natural. If you find is you're doing this, that you're hitting yourself a lot there to major possibilities for what's going wrong. Let's look at each of them individually. First, it might be that your cross points are not in the right place. One way that we can fix this is by starting when the underhand coy is pointed as far away from the body is possible. This will ensure that the cross points are pointed away from the body and give your body proper clearance to avoid getting hit. Another possibility is that your hands are simply not getting far enough over to avoid hitting yourself. They should be reaching for the opposite side. Shoulder in hip. They should be stopping on your midline. If this is indeed the case, one possible fix for is actually to turn slightly towards the hand that is gonna be going below to gain a little bit of extra clearance. Your body will have a slimmer profile in the poi are less likely to hit you. Then it's super important to learn this. Move both with the right hand on top as well as the left hand on top. Both of these wind of coming in handy down the road for things like three beat weaves, windmills and a variety of other different tricks. Make sure that your training each side equally. Thanks for watching and enjoy the flow piece 9. 08 3-beat weaves: Hi, I'm Drax And this is Introduction to Poi spinning in this video, we're gonna cover the three beat we've This move is one of the most recognisable and popular moves in all of the poi world. Most people, when they first come to poi and want to learn how to do it, are thinking about this move on some level. So what makes a three beat weaves so special? Well, they're similar to to beat weaves, but with one major difference. You're constantly switching which hand is on top in the pattern. This results in a move that is constantly twisting and switching Which side of the body you happen to be turning on the three beat we've is actually a deceptively difficult trick to get down. But fortunately, I know three different techniques for getting it. Let's go through each and every one of them. To start with, we're only gonna need one poi I usually start this in my dominant hand. That is my right hand. All have it going forwards in real plane on my side, My left hand I'm gonna stick straight out in front of me and what I'm gonna do is I'm gonna start tick tacking my right hand back and forth making sure that it always stays above my left hand If you played around with your to beat weaves, this should actually feel very familiar to you. Once this starts to feel natural, I'm going to stop my right hand over here on my left hand side. And at this point at which the poise coming forwards past my shoulder I'm gonna let the movement of the poi carry it around underneath my left hand From here I'm gonna tick tack back and forth once again But this time always keep my right hand beneath my left hand Once this starts to feel natural I'm gonna start chaining all these pieces together Going over my left hand around under my left hand and back over my left hand Under my left hand and back I'm gonna try and get it in on Lee A single beat in each of these spots That is each time I go to one of these spots I'm gonna let the poi had go underneath my hand on Lee once so that I go over my left under my left and back over my left under my left and back. It's really important as you're doing this, that when going from over toe under you, keep that right hand and poi over on your left hand side. It's not over. Open under it is over under and then back. Say that to yourself, Is your doing so Because counting this off, it's really important that you get on Lee. Three beats out of this move. You have your over under back over under, back over under back. Once you've got that down on your dominant hand, it's trying its time to try and learn it on your non dominant hand. That is my left hand. I'm gonna stick my right hand straight out in front of me and once again, I'm gonna practice going over under, back over, under, back, over, under back. And in that way I'm gonna teach both of my hands had do this movement, which actually winds together and enter walks. When I try doing it with both hands at the same time, I'm gonna try getting my right hand to go over under and then back over under and then back , left hand, same story. It's gonna feel like it's going over under back, over under back. That feels natural. You've got the three beat me down. Another method we can use for luring the three beat we've is to actually bring back the to beat me from the last video to do this, we're gonna start off with the two meet. We've having the right hand on top doing three reps of it. We're going to stop, and we're gonna switch over to using the left hand on top one to three times. Were they going to try and do Onley one two times with the right on top and one two times with left hand on top? Once that feels pretty natural. Try just going straight back and forth between them. Say, doing right on top, Open left on top. Open. Right on top. Open left on top open. You're going to find that it takes about an extra half of a beat in order to reset so that you can switch up which hand is going to be on top. Once that feels comfortable, it's time to actually switch this into a full three beat. We've This is how that's gonna work. You're never gonna let your hands on cross again into wheel plane. Essentially, if I'm starting with my right hand going to the top, I'm reaching over. And I'm gonna let my right hand stay over on the left hand side until I can get my left hand around on top of it. Like so. This means that my right hand actually gets to have an extra beat right underneath my left armpit as my left hand is getting above and over it and leading back to the right hand side again. I have the right hand. Go over and wait while my left hand gets over it. Yeah, try the same thing on the other side, trying to get the left hand over and then the right hand over on top of it. As this happens, the left hand gets its own extra beat underneath your armpits. We want to go back and forth between these until they feel relatively natural. And then we should be able to just smoothly and continuously go back and forth between these two moves. Remember, you never want your hands to open back up into wheel plane. You want to keep them crossed over each other and just switch which hand is on top as you go from side to side. When you go to the left side, the left hand comes on top. When you go to the right side, the right hand comes on top thinking left, right, left, right. Our final technique for learning the three meat we've is going to involve turning the upper part of our bodies slightly to the left. Once we do this, we're gonna go ahead and splay out our arms to their individual sides. And then we're gonna go ahead and cross our arms by bringing left hand up and right hand down. We've got our arms crossed. We're gonna turn all the way over to our right hand side and we're gonna uncross and then re cross our arms with their left hand going over and then back around under the right hand going under and then background over. We'll go ahead and turn back to our left hand side and both unwrapping and rewrapped with the right hand going up and around and the left hand going down and around until we're back in a position where the left hand is on top. Go back to the right hand side and reverse. Essentially, every time you make a turn, your going to switch which of your hands is on top by having them go around in a nearly complete circle. As you do this, you're going to begin having whichever hand winds up on top performing an additional beat on the side of your body that it winds up on. By doing this, you're going to start being able transition easier back and forth between the two sides. Start off by counting. 123 beats switch channels on top 123 beats, which would chances on top and use those three beats to help yourself get around each time you make a turn, then start to work your way down toe 12 beats 12 beats, 12 beats, 12 beats and then down to just one meat. One meets one. Beat one beat when you can get it to the point where only performing a single beat on each side of your body. Congratulations. You're not performing the three beat. We've three beat weaves or one of the most beautiful and distinctive tricks in the poi world. In the next video, we'll cover how you can add a little bit more movement with, um, turning back and forth and being able to get a little bit more body movement into it. Thanks for watching and enjoy the float piece. 10. 09 Waistwraps: Hi, I'm drinks and this is introduction to Poi spinning. In this video, we're going to cover the idea of a waist strap, which is a fancy way of saying we're going to turn with the three beat we've from forwards to reverse and back again. We're gonna pass through positions in which the point or both in a real plane as well as wall plain. And it's going to require that we learned how to perform the three beat. We've both in forwards and reverse directions. We're going to start off by learning the reverse we've and we're gonna do so using the same exercises that we used on the forwards. We've begin with just a single poi and haven't turned in real plane going in reverse. Next stick your other hand forwards and practice bring the boy back and forth underneath that hand. When this feels relatively comfortable at that point, when the hand that is rotating the poise underneath your other hand bring it around above the hand before bringing it back. So we want to practice the motion under over, back, under, over, back, under, over back. If you want to see this from the front it looks like this. Under over. Back, Under. Over, Back, Under. Over back. Of course. You want to learn this with both hands, with your left hand going under over, back, under, over, back And then begin to practice with the two hands together meshing the two movements. Next, we're gonna try learning reverse two beats. So to start off with this, get your boy going in split time. Same direction. Going reverse to initiate this, we're gonna let one hand go above the other hand, in this case, my left hand. The one that's white as it goes to my right shoulder. My right hand is gonna wrap underneath it. Remember when we were going forwards? It was the hand that went under that initiated it. This time is the hand that goes over again. My left hand is going to reach for my right shoulder and my right hand is going to reach underneath it. We're gonna try and do that until it feels comfortable and then try learning it with the other hand on top, having the right hand reach for the left shoulder like so Eventually you want to get to the point where you can Dio, right hand under reset left hand under reset right hand under reset left hand under reset and then try and see if he can perform this without having to reset in between each one. Our final technique for learning a reverse we've is to turn the top of our bodies slightly to the left and splay or arms out from here. We want to have the right hand go above and the left hand go under wrapping around each other. We didn't want to turn all the way over to our right hand side and switch which hand is on top having the right hand go under and the left hand go over like so we'll turn all the way back to our left hand side and have the left hand go under right hand over unwrapping and then re wrapping our hands, turning again to the right hand side, bringing the right hand under the left hand over. As you do this, you want to practice having whichever hand is going under. Continue to rotate for a moment underneath your armpit as you turn. This will help you get around to the next position practice doing 1 to 3 beats before switching 123 beats before switching on each side and work your way down. 212 12 one Soon one one 11 By the time you get down to a single beat on each side, you should now be in a full reverse. We've Now that you have both the Fords in the reverse, we've down. It's time to learn how to begin turning between them. To begin this start with your feet and shoulders planted and squared towards the wall in front of you. You're going to start off by taking your left hand and bringing it over your right hand, turning your upper body to your right. This should initiate a three beat we've When you return back to the left hand side of your body, you're going to let your hands open back up, and thus the point come to a stop to switch to the other side. You're gonna bring your right hand underneath your left hand, like so into a reverse we've facing towards the left wall. You'll note my feet are not changing. As I'm doing this, I'm only changing which direction my upper body is facing again. When I come back to my right hand side, I'm going to open back up and let the point come to arrest. What I'm gonna do is I'm gonna practice having fewer, fewer moments between when I make those turns. So, for example, count off in my head 123 3000 and turned to my right 123 3000 and turned to my left. And then try 12 2000 Turn to my right 12 2000 turns my left, eventually working your way down to the point where you can just go straight back and forth between them. Like so, in which case you're performing a normal way. Strap Congratulations. Most people that they teach this trick to run into one of three major problems. Here's how to address each one of them. First and foremost, a lot of people when switching to either we've find that they're dropping into a true beat me for a second. This is perfectly natural because the three of you believe it's still something that's very new to us and may not feel completely natural to resolve this start off by drilling the three beat we've in each direction getting no fewer than 10 repetitions forward and 10 repetitions. Reverse in before attempting the way strap. When you do get to the way strapped, remember, the only place you're allowed to unwrap your arms is when you're in wall plane going between the two weaves. Otherwise, you should always be in a real plan place with your hands twisted around each other. Next. Ah, lot of people have problems remembering which is the lead hand when going from side to side , which is perfectly natural because it seems to be intuitive that if you're going to the right side, it should be a right hand that takes you there. Remember, when doing this, it's always the opposite hand that leads to a particular side. So if I'm turning to my right, it's always going to be my left hand that takes me there. But I'm going to my left will always be my right hand. That takes me there. Finally, many people find that they don't complete the turn in a normal way, that is, they start facing one direction and wind up facing 90 degrees off rather than 100 80 degrees off. The fix for this actually is to pick two spots to find on opposite walls. That would be the points at which you check in and shift focus whenever you make the turn. Walt's my left. I'll say. Have a little tape mark on the wall, Walter. My right. I'll have another tape mark and attempt to switch back and forth between those two tape marks, always checking in and making sure that my weaves are pointed to either of those spots. Another thing that could be helpful when getting down way straps is to try and keep the poi spinning in. Split time. Same direction. When you return to this wall plane, place in between your turns. So from here I can hang out for just a few beats before switching to the forwards we've on my right side. Come back to this split time, same direction, place in Wall Pine before going to the reverse. We've on the other side again. It's one of those things that you can use this to help you get through the turns. If this Way Strap is feeling pretty comfortable. Congratulations now it's time to learn it going the other way. I usually think of this is being the way strap going in clockwise because when I have the poi in while playing in front of me in between the two weaves, they appear to be moving in a clockwise direction. You can also learn this going counterclockwise, in which case it's going to be a right hand that goes over meeting into left into the forwards we've and it's gonna be your left hand that goes under leading you to the reverse we've on your right hand side. This is really important to get down because it opens up the possibility that you can do a complete 360 degree turn with your waist traps. It's also very helpful because it gives you access to more mobility, being able to turn back and forth as you see fit with your weaves. Way straps a really important concept for poi spinners to learn, because they begin taking you from a place where you're just performing tricks to a place where you can begin to get your body movement involved in it. We'll start to look at transitions between tricks in the next video. Thanks for watching and enjoy the flow. Peace 11. 10 Stalls: Hi, I'm drinks and this is introduction to poi spinning. In this video, we're going to cover the concept of a stall. Stalls occur whenever you arrest the momentum or acceleration of the poi, and we can use it in a variety of fashions. For example, we can change the direction of the poise they spend going from Ford's to reverse or from clockwise to counterclockwise. Stalls can also be used to punctuate a particular move if you want to draw out an individual piece of it and make it pop more for your audience. Finally, stalls are a great tool for doing transitions between tricks, especially tricks in which different timing and directions air involved. We're going to start off learning about stalls by talking about some of the theory behind them, namely, let's think of the path of the poise it goes around. The hand is being like a circle with the hand, of course, being the center of that circle. Now let's imagine that we're going to draw a box or a square around that circle, and it'll intersect with circle of four points the top, the right, the bottom and the left. There will also be four lines that will come in from each of these intersections, drawing back to the center of the circle. Now, if we want perform stall, we're going to start looking at those different intersections. And when the poi happens to pass by one of those intersections, the hand is going to follow it out by traveling along that line from the center. As this happens, the poi is going to travel straight along the edge of the box until it reaches the nearest corner, too. It when this happens, the point hand line up in a perfectly straight line, and it completely stops the momentum of the poi. From here we have a couple of options. Number one. We could pull the poise straight back by having the hand returned back to the center of the circle, and the point will seem to reverse direction. The other possibility is we could have the hand continue along that line further into a second imaginary circle that is right next to the 1st 1 When this happens, the point will appear to have taken a sharp dip into a very, very narrow loop, but fundamentally keep on rotating in the same direction I tend to think of there being four different types of stalls that correspond to the four different sides of the box. Namely, there are bottom stalls in which we get the point of stall out horizontally and the poor head is always passing beneath the hand right before goes into the stall. There are also down stalls where the poi winds up vertical and the poi head is always underneath the hand. There are also up stalls where again, the poise vertical, but it's now always above the hand. Finally, there are top stalls in which the poi once again winds up horizontal. But this time always goes to a point that slightly above the hand, the first almost people learn is the bottom stall, and you can think of it almost as though you're gonna throw the poi to a friend who might be several feet away on either side of you. Of course you're not gonna let go of the tether, but just thinking that you're trying to release the poi and send it off to your friend off to either side to perform a lot of the work of getting it to stop in either direction when it starts to feel comfortable, get both hands involved. Try pitching both of them to either side, almost as though you have a bucket of water that you're trying to pitch out to your left and to your right and so on and so forth. Once this starts to feel comfortable, there's another exercise. You canoe. That'll set you up for transitions later, namely, try and keep one hand rotating while the other hand does the pitches in either direction. That is trying. Keep your left hand going while you're right hand does the stalls in either direction. At first it'll feel a little bit like rubbing your belly and patting your head at the same time, but it will eventually make sense to you. One of the best ways I know to learn down stalls is actually just start against a wall like this. You're gonna have your poi turning forwards towards the wall and imagine that s it's on its way down. You're gonna try and keep it as close to the wall as possible without actually hitting it. This is actually going to involve your hand going out towards the wall in order to help the poi out with a little bit of practice. You'll be able to do this in such a way that the point completely stops moving when it reaches the bottom of its arc. Like so, and when that happens, you'll be able to pull your hands straight back into reverse to get down or up stalls. We're going to start off with our bottom stalls and as we're performing them there ourselves to get the point head just a little bit higher each time we perform the stall, see if you can get it to a good diagonal and then eventually work your way up to having the poi points straight up from your hand. When you get to this point, where you'll find is that your hand is actually sliding directly beneath the poi on either side, the last type is also the hardest. These air, the top stalls. Fortunately, there are a couple tips and tricks that I have for getting these down. First and foremost, try doing it with training wheels, take only one point and have the other hand ready to catch the poise. It comes up and over, see if you can get that hand to catch the poi every time it comes up in around and stop in this position when the tethers horizontal. When that starts to feel comfortable, think of it instead of your own to tag of that hand and then immediately pull the point back out. Like so Eventually. This will feel comfortable enough that you can remove the hand entirely, in which case you're starting to get to the point where that top stall is going to be working and looking really nice. Some things you want to shoot for and making that top stall even cleaner. Try and make sure that your hand is just slightly above the poi when it comes to a stop. That way you can actually pull your hand up and over as you're pulling out of the stall, giving yourself just a fraction of a second more and giving the stall and more clean feel. So now that we know these stalls, what are some of the uses for them? Well, if you start off in four words, we've like this. You can take your right hand and stall it out in front of you and in down stall. When this happens, Aiken, turn and face my left hand as it still turning in wall plane for me now and bring my right hand up in around to join it. Creating a butterfly. Pretty cool, huh? To get back to where I originally started. What I can do is take my right hand poi and stall it out to the sides and bottom stall and bring my left hand up in over it to reinitiate that three beat we've I could also say Take a tuck, turn like so and do a similar operation stolen my right point down and bring it back around into a thread. The needle. This is the first time that we've covered something that works. Is the transition between these two different types of moves. Stalls are incredibly helpful for transitions. Try using stalls to get back and forth between many of the different tricks that we've already covered in this Siri's stalls or a super important tool for any poise Spender. Not only do they look great, they're also your first exposure to something that can help you transition between two tricks that you already know. Keep on playing with these and see what worlds they open up for you. Thanks for watching and enjoy the float Peace 12. 11 Inspin Flowers: Hi, I'm drinks and this is introduction to poi spinning. In this video, we're going to cover the concept of flowers, flowers or a type of compound circle that are created when both the poi and hand or moving together in a circular fashion in the same plane frequently, though not always the pointer completing more beats. And of course, the move in the hand is, and this results in a number of enclosed loops. In the course of the pattern that we call pedals, it creates beautiful geometric shapes that are really reminiscent of what you could create with a spider graph. So let's dive in, usually to find two different types of flowers. The first are in spin flowers in spin flowers, air created when the hand and the poi are turning in the same direction. In the course of creating a pattern, this tends to result in very broad and round pedals, their appointed inward toward the performer. Alternatively, there are anti spin flowers in which the poi in the hand are spinning in opposite directions. In the course of the pattern, this tends to result in much more narrow and sharp pedals that are pointed outward away from the performer. We're going to begin our exploration of flowers by playing around with in spin flowers to do this. Give me an extension in the wall plane where your arm is turning around clockwise. I'm using my right for this what'll happen is when the arm gets to the very, very top of the arc right here. You're going to stop it just for one moment. And the poise should naturally complete a smaller circle around the hand before returning to this larger circle. It's very important. We only want to make sure that the point passes underneath the hand at the top here once right there before continuing around. Sometimes it feels natural to give it a couple of rotations before going around. Resist this temptation, see if you can make it arrive and then immediately depart, arrive and then immediately depart. We would refer to this as being a one pedal in spin flower, and again, you want to return to the extension immediately after you're done completing that pedal. We can also put that pedal at the bottom, say, about even with our bodies center at our hips again. You just want to stop your hand for one moment. Let the poi pass over your hand and then immediately return to the extension. We can also add a pedal on our native side that is on my right side, once again by bringing the poi around and up and then stopping it when it's straight out from my shoulder. Like so, we can also add a pedal on the non native side that is my left side, as in bringing it around. I just stop it when my arms crossed across and even with my shoulder and bring it up in around to complete the motion. It's very important that you make sure that you return to that extension motion in between every pedal. So now that we have the locations of all these pedals, we can start putting together flowers that have more than one pedal. For example, we can try doing a flower that will be two pedals having one pedal at the top and one pedal at the bottom. Let's see what that looks like. We would stop the hand, a top and a bottom at top end up bottom again. Make sure in between each pedal, he reaching as far to the left and as far to the right as you possibly can. It can sometimes be tempting to just pass straight back and forth between them. But it's not as pretty move. Similarly, Weaken. Try doing pedals on the right and left hand side is making sure that we reach up and over and down and around in between each pedal again. You want to check and make sure that the point is passing by your arm on Lee once before you switch sides. We can also start putting together these pairs of points into a four pedal in spend flower . Here's how we think Top rights. Bottom left top right bottom left. If you've completed the previous exercise, doing this should actually feel pretty natural. What we did was actually just train our hand to find each of these four positions and be able to stop and complete a rotation in each of them again. You want to make sure that you're reaching as far away from your body is possible in between each pedal to create the best possible pattern out of this. Now that we know the basics of flowers, it's time to start learning them in all the four timing indirection combinations we're going to start off with together saying together same is going to involve having the poi turn in wall plane and you're gonna want to keep your hands about a poised length apart. When they're directly in front of you. We'll go ahead, move over to the side right here And as you can see, I'm going to keep my right hand coy in between my arms and buzzsaw playing on my left hand Poi is slightly in front of me and wall plane I'm gonna reach down and around to my left hand side and switch to having my left hand poi in between my arms and buzzsaw plane and my right hand coy in front of me and wall plane I reached the two of them up and over to return them back to the right hand side and my right hand coy in between my arms. Imagine is your performing this that there is a bowl of water that you're holding in your hands. This will help to keep your hands parallel through this pattern and avoid tangles. Next we have together opposite Together. Opposite can be a bit of a challenge because for the first time, you're gonna have to keep your poi spinning when your arms are crossed. Let me show you what I mean. We're gonna begin with our arms in a butterfly extension and stop them out on either side of our body to create one pedal in spin flowers. We're then going to try and stop our hands when they're crossed over in the center to create a second set of pedals. This is a challenge because it's going to require that we have enough playing control with one of our hands that that boy can sit comfortably in between the front poi plane and the hand that's connected to it. If you look at it from the side here, what I'm doing is keeping my right hand coy, turning in the space in between my left arm and my left poi. It's a bit of a challenge, but with some training you can get it down with split time opposites. The biggest thing we're going to need to drill is just keeping the hands comfortable working in a split time butterfly. No matter where the hands happen to be, I'd recommend starting off just with the split time butterfly here on wall plane. This almost should feel like double Dutch jump roping in a way. Next, bring one of your hands up high to head level while the other one drops low. To maintain the timing here, you're gonna want to make sure that it appears the poi heads are coming together in the middle. One way you can go about doing this if it feels uncomfortable is you can actually tell your head to the side looking at the poi as though you were sideways. This will change the orientation of the butterfly such that it looks like it's a normal butterfly and the timing might feel more natural. Then you can straighten back up trying to maintain that feel that the poor heads air coming together in the center. Next you're going to reach your two hands out to the side to scissor past each other almost like jaws closing. And that switches which hand is on top again. You want to find that nice split time butterfly place and if need be, tilt your head over to the side in order to find the timing and return back to vertical maintaining it again. You want to scissor you two arms past each other and return to the first place that we started. Thus you're gonna go back and forth between having your arms scissor past each other and finding a split time butterfly place with one hand on top and hopefully the two point heads looking like they're gonna come together in the middle. If you need Teoh, stop for just a few beats in between each of these scissoring motions to find your bearings and then continue on your merry way throughout the pattern. Split time. Same direction is a little bit of a challenge, because for the first time, we're gonna be required to work in wheel plane. Start off with. We're gonna have one hand, reach forward and one hand reach backwards. Both are gonna begin spending the point forwards in split time. Same direction. Now the front hand is going to reach down and the backhand is going to reach up as we switch the position of the two hands again, we're gonna look for the backhand to reach up and the front hand to reach down as we switch the positions of the two hands make sure that every time you switch positions, you're reaching your hands as far up and as far down as you possibly can. In between each of the switches. Go ahead and stop for just a few beats to find your timing again and reach back around to switch. Eventually, you want to get to the point where you can perform on Lee a single rotation on each side and you'll find that your hands began performing emotion. That is something like the crawl stroke. And swimming flowers are an important cornerstone of point movement because they open up the possibilities for where your hands convey as you're spending with poi. In the next video, we'll cover anti spend flowers and be able to explore even more movement. Thanks for watching and enjoy the flow Peace. 13. 12 Antispin Flowers: Hi, I'm Drax And this is Introduction A boy spending in this video, we're going to cover the concept of an anti spin flower just to review an anti spin flower is a type of poor trick in which the hand and the poi are both moving in circular fashion in the same plane. But the hand in the poi are turning in opposite directions. This results in narrow, very sharp pedals that are pointed away from the performer. We're going to begin learning anti spend flowers by playing around with one that has four pedals to it. To do this start off by turning the poi clockwise in wall plane, you're gonna bring your hand all the way over to the left hand side of your body. And the next time the poi passes by your arm, you're gonna let it drop down your center line and pull your hand into the center with it. This is going to feel a lot like the down stalls that we played around with two videos ago . Next, you're gonna pull your hand out to the right hand side, and as you do so you're gonna pull the poi above your hand back into a clockwise direction from here. The next time the point passes by your arm, they're going to allow to pop straight up your central line in sneak your hand underneath it directly back to the left hand side as the poise falling back down to Earth, it should come back around your hand and wind up spending clockwise again. So when going from left to right, we dropped the point down our central line. And when going from right to left, we pop it up our central line. We want to learn how to go back and forth between these popping and dropping positions and get it to the point where we performance few beats as possible in between each one. Think of it as you're always arriving that as soon as you're popping, you're already thinking that you're gonna drop as soon as you're dropping. You're already thinking that you're gonna pop, but boy should go around your hand only once in between each of these. Once this feels fairly natural, you're gonna add the movement of the hand into it specifically up and down. How we're gonna do this is now that when the poise dropping the hand is gonna drop with it , both of them reaching straight down in between your legs. Next, when the poise popping up, you're gonna reach your hand up over your head to get it to the left hand side. Dropping and popping, dropping and popping. Trying to get comfortable. Just moving your hand around in a circle like this with the pop and the drop incorporated into it. When this happens. Congratulations. This is a four pedal, anti spend flower. The next anti spin pattern that we're going to learn has only three pedals in it instead of four, but will incorporate a lot of the knowledge that we picked up learning for peddling. I spent flowers. Here's where you begin. Have the point turn clockwise far over to your right hand side. And, just like with the four paddle, allow the point to pop up your central line and rush your hand underneath it. Now, however, we're gonna wait until the poi head is above the hand and drag it back across to the right hand side. This dragon be a little bit tricky at 1st 1 way to think of it is that when the poi head is above the hand. The hand of a boy head are having a race back to your right hand side and both want to win . So when going from right to left, we pop up central line and then going from left to right, we drag across, popping up, dragging, cross, popping up, dragging across, popping up, dragging across. Likewise, you want to get to the point week and go straight back and forth between the two popping and dragon popping and dragging, popping and dragging. Once that feels relatively comfortable, it's time to get the hand to start moving up and down. With this pattern, you're gonna have your hand pop up with the poi, just like we did in the four pedal anti spin. But drag it across your hips as we're doing the other part of it so popping up, dragging across, popping up, dragging across, popping up, dragging across. Once you can go straight back and forth between the two, adding the up and down motion into your hand. You're not performing that three pedal anti spin. This pattern is on occasion, called a trike ETRA, because it physically resembles a similar pattern that is often found in Celtic artwork. Now that we know, some basic anti spend patterns were going to try learning the four pedal anti spin in all the four time in the direction combinations, starting with together same together. Same is relatively straightforward. If you're already comfortable with doing four pedal anti spends its just a matter of getting your two hands to perform the same operation at the same time, dropping down together and popping up together If need be, go back to moving your hands straight back and forth across your body in order to get this motion down before trying to get your hands to go up and dropped down. One thing that also helps is to maintain the idea that your hands have to be parallel throughout this pattern, again imagining that there is a bowl of water in your hands that you can't let spills. You're moving your hands around. Next. We're gonna learn for pedal anti spins in together opposites. To do this, start with your hands splayed straight out to your sides, with the poi coming down through the middle together as they pass by your arms. I love them to drop straight down your central line and pull them back out with your arms crossed from here. The next time the poi passed by your arms you're gonna let them pop up to have your hands carry back out to the sides again dropping down to cross, popping up, toe out, dropping down to cross popping up, out, back and forth. Next, we're gonna learn these anti spends and split time opposites To do this, reach both of your hands over to the right hand side and have your right hand poi turned forwards in buzzsaw plane between your arms your left hand poise going to turn backwards out in more plain the two were gonna maintain a good split time feel so that each of them are passing by your arms at exactly the same time as this is happening. You're gonna wanna have your right hand coy pop up your center line and your left hand poi pop down Imagine that your hands are separating only to join back up again On the other side on this side we now have the left hand poi turning in between our arms and split time in our right hand poi turning backwards in wall plane. Now, the left hand poise going to be reaching up the right hand poise gonna be reaching down again. Imagine that you're reaching apart to bring them back together on the other side of your body. This is really a matter of doing the pop and drop at exactly the same time. But with different hands, pop and drop together, pop and drop together. Take a many pizzas you need to on either side to stabilize this move for yourself. Eventually be able to get it to the point where you can go straight back and forth between the two sides like this with split time, same direction. We again need to take this into a real plane place. To do this, you're gonna bring one hand forward in one hand back. But this time you're gonna have the two poi turning reverse in split time, same direction rather than forwards. Now, in order to make this switch of which hand is front in which hand is back, the front hand once again is gonna go down in the back hand, is gonna go up but imagine that you're doing the pop and the drop at the same time again with my right hand that is the orange one dropping and my left hand that is my white one popping up central line pop and drop and then bring them out to either side again, front and back with my left hand forward, My right hand back. Now it's gonna be my right hand that's gonna pop up in my left hand, is gonna be dropping down pop and drop and switch again. Take us many beats is you need to on each side in order to stabilize yourself before popping and dropping and switching sides popping and dropping and switching sides popping and dropping and switching sides. Eventually, hopefully getting to the point where you can just pop and drop pop and drop pop and drop pop and drop and keep the move going continuously. This is one of my very favorite moves in the poi world, and I think it looks absolutely beautiful. Congratulations, you know, have a basic vocabulary of poi under your belt. It's time to go out and start exploring on your own. Learn all the different transitions between the moves that we've talked about, learn how to do new things that we haven't mentioned in the course of these videos. Learn how to make up your own new tricks and contribute to the wider community either. Which way we want you to have fun with us. Go out, move and explore. Thank you for watching and enjoy the flow Peace.