Dr. Rosy Boa re-releases a vault episode on rest to coincide with her own offload week from pole, explaining what counts as rest, how often to schedule it, and why pole dancers often neglect it. She defines rest as a reduction in overall load that depends on an individual’s current training and life demands, notes gentle movement can still be rest, and advises avoiding pole-like pulling, leg-lifting, or intense mobility on rest days. General guidance includes at least one rest day per week and a lower-intensity deload week about once a month, with reduced load before major events. She outlines overtraining, citing sports medicine literature, with physical and mental warning signs (worsening soreness, performance decline, injuries, frequent illness, sleep disruption, appetite/weight/period changes, mood shifts, irritability, depression, fatigue). She describes the fitness-fatigue model, emphasizes sickness isn’t rest, recommends 6–8 hours sleep with consistent timing, and concludes that rest is essential for long-term pole health.

Are you a pole nerd interested in trying out online pole classes with Slink Through Strength? We’d love to have you! Use the code “podcast” for 10% off the Intro Pack and try out all of our unique online pole classes: https://app.acuityscheduling.com/catalog/25a67bd1/?productId=1828315&clearCart=true

Citations:

• Herring, S. A., Ben Kibler, W., Putukian, M., Berkoff, D. J., Bytomski, J., Carson, E., ... & Coppel, D. (2019). Load, overload, and recovery in the athlete: Select issues for the team physician-A consensus statement. Current Sports Medicine Reports, 18(4), 141-148. ⁠https://journals.lww.com/acsm-csmr/Fu…

• The Fitness-Fatigue Model Revisited Implications for Planning Short- and Long-Term Training Chiu, Loren Z.F. MS, CSCS; Barnes, Jacque L. Strength and Conditioning Journal 25(6):p 42-51, December 2003. ⁠https://journals.lww.com/nsca-scj/pag…

Chapters:

00:00 Welcome and Offload Week

01:41 Why Rest Matters in Pole

03:21 What Counts as Rest

06:41 How Often to Rest and Deload

07:59 Overtraining Warning Signs

19:59 Fitness Fatigue Model Explained

22:50 Quick Q and A on Rest

26:19 Key Takeaways and Wrap Up

Dr. Rosy Boa shares a previously unavailable talk outlining three research-based areas to help pole freestyling feel easier and more natural: a mastery mindset, moving to music, and reducing self-consciousness. Drawing on improvisation research (largely from jazz and musical improvisation), she explains that improvisation relies on generating and selecting familiar movement options, so dancers are more likely to access skills they can execute successfully about 90% of the time; mastery approaches are also linked to less perfectionism and better body appreciation. She then summarizes entrainment research showing dance training improves rhythmic synchronization, and that music with strong, predictable beats, some complexity, familiarity, and slower tempo is easier to move to, while metrically complex or unfamiliar music is harder. Finally, she notes that watching oneself (mirrors, filming, self-view on Zoom) increases self-consciousness and can worsen body image, so for flow she recommends avoiding visual self-monitoring and reflecting via journaling and feedback.

Are you a pole nerd interested in trying out online pole classes with Slink Through Strength? We’d love to have you! Use the code “podcast” for 10% off the Intro Pack and try out all of our unique online pole classes: https://app.acuityscheduling.com/catalog/25a67bd1/?productId=1828315&clearCart=true

Join my newsletter: https://slinkthroughstrength.us10.list-manage.com/subscribe?u=9abf68e29e749e7ee06f01364&id=3d02188de5

Try a free sample class: https://mailchi.mp/slinkthroughstrength.com/free-pole-flow-class

Chapters:

00:00 Welcome and Episode Setup

01:28 What You’ll Learn Today

03:18 Mastery Mindset for Freestyle

07:14 Moving to Music Entrainment

12:20 Pick Music That Helps Flow

13:21 Ditch Mirrors to Lose Self Focus

15:11 Three Tips and Wrap Up

15:55 Thanks and How to Connect

Citations

• Levin, R. (2009). Improvising Mozart. Musical improvisation: Art, education, and society, 143-149.

• Bloom, Benjamin S. (March 1968). "Learning for Mastery" (PDF). UCLA - CSEIP - Evaluation Comment. Vol. 1.

• Andrzejewski, C. E., Wilson, A. M., & Henry, D. J. (2013). Considering motivation, goals, and mastery orientation in dance technique. Research in Dance Education, 14(2), 162-175.

• Cary, G. (2023). Dancing like Everyone’s Watching: The Impact of Competition-Contingent Self-Worth and Belonging on Dancers’ Mental Well-Being (Doctoral dissertation).

• Brown, S., Martinez, M. J., & Parsons, L. M. (2006). The neural basis of human dance. Cerebral cortex, 16(8), 1157-1167.

• Washburn, A., DeMarco, M., de Vries, S., Ariyabuddhiphongs, K., Schmidt, R. C., Richardson, M. J., & Riley, M. A. (2014). Dancers entrain more effectively than non-dancers to another actor’s movements. Frontiers in human neuroscience, 8, 800.

• Madison, G., Gouyon, F., Ullén, F., & Hörnström, K. (2011). Modeling the tendency for music to induce movement in humans: first correlations with low-level audio descriptors across music genres.

• Weineck, K., Wen, O. X., & Henry, M. J. (2022). Neural synchronization is strongest to the spectral flux of slow music and depends on familiarity and beat salience. Elife, 11, e75515.

• Nakamura J, Csikszentmihályi M (20 December 2001). "Flow Theory and Research". In Snyder CR, Lopez SJ (eds.). Handbook of Positive Psychology. Oxford University Press. pp. 195–206. ISBN 978-0-19-803094-2. Retrieved 20 November 2013.

• Radell, S. A., Mandradjieff, M. P., Adame, D. D., & Cole, S. P. (2020). Impact of mirrors on body image of beginning modern and ballet students. Journal of Dance Medicine & Science, 24(3), 126-134.

In this episode Rosy Boa interviews dance psychology science communicator and West Coast swing teacher Clara Deiters about applying psychology to dance. They discuss how dance differs from other movement activities through artistic expression, and how dancers can balance self-expression with external validation by recognizing multiple reasons for dancing beyond judges’ approval. Clara suggests coping with post-competition disappointment by setting specific, measurable goals and evaluating them afterward to regain control in unpredictable competition settings like Jack and Jill. They cover the “glitter crash” after festivals, explaining it as a drop below baseline following high endorphin, oxytocin, and dopamine levels, and recommend gentle movement and light socializing. Clara shares implementation intentions/habit stacking for fitting short dance practice into daily transitions, and offers stepwise strategies to build improvisation comfort. They also address cautious science communication around claims about dance and depression, and mention research on synchrony increasing pain threshold as a proxy for endorphin release.

Follow Clara: https://www.instagram.com/clara.deiters.wcs

Try a sample class: https://mailchi.mp/slinkthroughstrength.com/free-pole-flow-class

Are you a pole nerd interested in trying out online pole classes with Slink Through Strength? We’d love to have you! Use the code “podcast” for 10% off the Intro Pack and try out all of our unique online pole classes: https://app.acuityscheduling.com/catalog/25a67bd1/?productId=1828315&clearCart=true

Chapters:

00:00 Welcome and Teaser

00:30 Membership and Free Class

01:24 Meet Clara Dieters

02:52 Dance as Art and Sport

05:48 Validation and Belonging

08:23 Post Competition Tools

11:53 Glitter Crash Explained

14:44 Habits When Life Is Hard

17:49 Improv Confidence Building

23:08 Dance and Depression Claims

25:30 Science Communication Challenges

28:09 Synchrony and Endorphins

29:56 One Big Takeaway

31:29 Where to Find Clara

32:23 Final Wrap Up

Citations:

Prudente, T. P., Mezaiko, E., Silveira, E. A., & Nogueira, T. E. (2024). Effect of dancing interventions on depression and anxiety symptoms in older adults: a systematic review and meta-analysis. Behavioral Sciences, 14(1), 43.

Tarr, B., Launay, J., & Dunbar, R. I. M. (2016). Silent disco: Dancing in synchrony leads to elevated pain thresholds and social closeness. Evolution and Human Behavior, 37(5), 343–349. https://doi.org/10.1016/j.evolhumbehav.2016.02.004

Teixeira-Machado, L., Arida, R. M., & de Jesus Mari, J. (2019). Dance for neuroplasticity: A descriptive systematic review. Neuroscience & Biobehavioral Reviews, 96, 232-240.

Mansfield, L., Kay, T., Meads, C., Grigsby-Duffy, L., Lane, J., John, A., ... & Victor, C. (2018). Sport and dance interventions for healthy young people (15–24 years) to promote subjective well-being: a systematic review. BMJ open, 8(7), e020959.

McKenzie K, Bowes R, Murray K (2021) Effects of dance on mood and potential of dance as a mental health intervention. Mental Health Practice. doi: 10.7748/mhp.2021.e1522