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Posted:You probably already are aware of this... but
Timing seems to be a reasonably big issue. (Its a pain to keep it right and really get lost in the movement at the same time)
Performance planes would really help you, keeping it all in the same set of planes, turning inside it, rather than turning your planes around you so much (So its side on to the camera) would help you with your fluidity.
Fluidity will come with more confidence with fire, as well.
Otherwise, keep at it, keep enjoying it. Maybe work on stalls a bit more? Stalls are pretty fun and simple once you grasp that its only an upward or downward stall with each hand that makes up all combinations, just depends on where they are in relation to your body, etc.
Apologies if this doesn't make sense. Had a big week. ^_^
Posted:I was in a Fire Tribe, went to about two meetings, didn't like the group setting (and the enormous drive to get there). What he did teach me, I wish I was able to learn on my own: Control. Its the reason my stalls are very subpar, and I can't do an isolation worth my life.
The reason the planes were akward was becuase I was spinning to an audience of a couple friends, and not neccasarily the camera.
In what way was timing a big issue? Please explain this.
My main focus right now is dancing while spinning, I find dancers spinning poi is just as epic as spinners doing one handed behind the back transfers.
Posted:Just watch it yourself and hit pause every now and then, If its supposed to be split time, check if they're opposite from one another, if its supposed to be even time, check if they're on the same side.
And yeah, I forgot about diagonals and horizontals because for some reason the way I do them is I just twist which way is up in my head, otherwise its sloppy. A horizontal stall is the same as an upward stall to me, but I'm horizontal myself... I guess theres a tip in that in itself, you can work out your own ways around certain issues.
Regarding control... I dunno, For stalls the thing that makes people click while I'm teaching them is that you can do a downward stall and have it stop, but if you want to keep it moving and never have it stop you have to apply just the right amount of opposite pressure.. once you experiment with it, you get the hang of it. Stalls area reasonably different feeling, so I guess its reasonable that it could take a little bit more for you to get the hang of it, just keep at em and it'll crack. I learned upward stalls while walking in a mall... I had one poi in each hand and was just walking with an exaggerated motion, arms swinging back and forth, refining the awkward motion until I was doing an upward stall each time.