What’s working for me right now? Systems. Not fancy ones. Not perfect ones. Just simple, repeatable systems I actually stick to. It’s wild how much smoother class runs when you’re not reinventing the wheel every week. Expectations are clear. Corrections land faster. The room feels calmer — because you’re not in scramble mode. That’s how you run a solid acro program: Dial it in. Stick with it. Adjust only when needed. So my question for you today is: "What’s worked for you in class this week?" Drop one thing below that made your week smoother, stronger, or more successful. And don’t forget to comment on the person above you — rising tides raise all ships. Show your support. Show up for each other. I’ll go first — mine’s in the comments. 👇 __________________________________________________________________________ 📅 What’s New: If you were in today’s Acro Foundation Fix workshop — loved seeing you in there.The replay is now live inside the classroom: 👉 https://www.skool.com/acrodanceschool/classroom Have a great weekend, everyone!

Ok, we’ve got members rolling into Acro Dance School of all levels, ages, and stages — and I want to know: - Where do your strengths lie as an Acro teacher? - Where do you really shine? - What’s your zone of genius — doesn’t matter if you’re brand new or been teaching for 20 years… I want to know which “zone” you feel most at home in. 🗳️ Vote below — and if you’re really feeling brave, share your specifics in the comments! (Your superpower might just be someone else’s missing piece.)

This week reminded me that rest is part of the work. After a long push, I noticed what looked like struggle in one student was actually just fatigue. A parent shared that her child was simply looking forward to the break. Not giving up. Not falling behind. Just ready for downtime. It landed quietly but clearly: our students need space to pause and recover just as much as we do. Sometimes what’s working isn’t another correction or push forward — it’s allowing the nervous system to settle so growth can continue. If you’re at the end of a full sprinting season, this might be your reminder that nothing is broken. What realization did you have this week that showed you that 'it's still working"? -------------------------------------------------------------------- 📅 Coming Up: - We’ve launched a new student Skool group called the "Safe & Successful Acro Dancer". - Over the Christmas break, the group is hosting a free student challenge called the "Flip the Switch" Challenge. - Teachers are welcome to refer students. If referred students join any paid offerings in the future, teachers receive 40% commissions monthly. - Learn more or share with your students here:https://www.skool.com/thesafeandsuccessfulacrodancer/about?ref=d5aed3ab43784c16812934ec8955c45c

Halfway through the week, classes are moving, plans may be working —or need a little improving. Pause for a moment. Notice what’s there. Not to fix it yet — just name it with care. What’s showing up in your teaching right now? • mixed levels • pacing or flow • student readiness • ready for the break and it's getting a little cray cray... Share one observation or question you’re sitting with. Short notes are welcome. If someone else’s comment resonates, feel free to reply and support them.

Hey everyone! 👋 I’m so glad to be a part of this group and to learn from so many experienced Acro teachers and artists. Apologies in advance for the long post, but I'm excited to share a major realization I had during my own training and research, and I’d love to start a discussion! Like many of us, my initial understanding of the "Acro World" was built entirely on Gymnastics and local studio classes, which often reduced Acro Dance to segmented tricks. The question constantly lingered: Where is the dance aspect of "Acrodance" classes if the acrobatics are taught as individual, disconnected stunts? My perspective radically shifted in college. I was exposed to the responsive connection of Contact Improvisation, the low, continuous flow of Capoeira, and the methodical structure of Flow Acrobatics. I even learned partner tricks while taking a swing dance course. This journey was galvanized by interning at the boundary-pushing STREB Extreme Action Company (where I took trapeze!) and witnessing a truly integrated performance, Corps Extrême, by Chaillot National Dance Theatre, which fluidly combined tightrope walking, rock climbing, acrobatics, and dance. I realized the barrier wasn't physical skill; it was a limited framework for the art form I had held prior. This spurred my capstone project to explore the true origins of Acro Dance, revealing a profound global lineage. I learned that the discipline’s tumbling, flexibility, and balancing have roots in cultural practices like Mongolian Contortion and ancient rituals, proving they are a universal language of trust and expression, not just spectacle. Acro Dance is not merely rooted to Vaudeville and gymnastics; it is a global synthesis designed for narrative, efficiency, and profound flow. I want to challenge our understanding: How can we truly weave the acrobatics into the dance, utilizing global foundations, to honor a richer, more integrated history? My goal is to shift Acro Dance from a collection of tricks to an integrated movement philosophy. I am looking for ways to blend the following techniques, which I have encountered through workshops and research, into a seamless curriculum: