For the past couple months, I’ve been experimenting with an unwrapped versus wrapped bar on the two lyra. Wrapping aids grip and softens the blow from the metal, and it protects the apparatus from wear. It also requires upkeep, can sometimes stick to clothing and makes the bar significantly wider (which affects the grip).

As an aside: also while playing with the wrapped/unwrapped equipment, I’ve been trying to eschew grip aids. The thinking with this being that there won’t always be access to chalk or rosin, so it’s better to generally go without. This has been working out but I have noticed myself shying from some of the more grip-tricky moves/poses in which I may be a little less trustful of my ol’ sweaty hands. So, yeah, I’m making chalk, rosin and silica grip aid available to my students again in all classes, and when performing I’ll use rosin or chalk if I’m feeling a little psyched out by humidity or whatever.

I’ve found the padding/tape combo that works best for me, which is cork or gel bicycle handlebar grip tape underneath cheap cloth gaffer’s tape. Sport tape, which I know many folks use on trapeze, was disastrously over-sticky. I’ve got the technique down… but I’m not convinced if there’s a right or wrong or standard when it comes to wrapping. My students seem to be fairly split in their preference, possibly skewing toward unwrapped. I’m not sure which I actually prefer. It may, actually, depend on how strong/bruised/confident I’m feeling on any given day.

In researching, it does seem that most lyras are indeed wrapped. I’m probably going to continue with one wrapped lyra in the stable, with the others likely remaining unwrapped. From what I can tell in watching videos and searching photos, the aerial frame usually isn’t wrapped. Thus, I’m going to start with it unwrapped. Mine is aluminum, so I’m curious to see how it feels compared to the steel of my lyras.

The point, here, I suppose: I’m eager to learn other aerialists’ preferences and experiences in relation to wrapping (and grip aids).

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Eyedrum
Eyedrum is an art gallery, music venue, community space, and theater hosting over 300 shows annually. Established in 1998, Eyedrum is a non-profit organization developing an interdisciplinary approach to the arts by incorporating a wide range of contemporary art, music and new media in its gallery space. Centrally located downtown at 290 M.L.K Jr. Drive SE, this unique gallery continues to intrigue the community here and abroad, remaining critics’ choice for the best venue for emerging artists in town. Eyedrum serves over 3,000 artists and over 20,000 patrons annually. (I’m on the board…) You can be a member for as little as $40.

The Plaza Theatre
Designed by architect George Harwell Bond, this theatre opened its doors in 1939 as a 1000 seat art deco cinema & live theatre. In the 70s, the cinema operated as an X-rated adult cinema and live burlesque theatre until 1983 when it was purchased by George Lefont. Mr. Lefont renovated the theatre and the balcony was enclosed to create a second screen. The theatre underwent renovations again when purchased by longtime Atlanta residents Jonathan & Gayle Rej in August of 2006. The Plaza Theatre is the last cinema of its kind in Atlanta, as well as the oldest continuously operating cinema in the city. The Silver Scream Spook Show is every month – on the last Saturday – and is just a small part of the awesomeness that’s happening at the Plaza. Plaza Theatre memberships also start at $40.

Vote for Eyedrum and the Plaza on Facebook
Also, both are participating in the Chase Community Giving project/app on Facebook. You can vote for the Plaza here, and for Eyedrum here. Chase is awarding $5 million — but only to nonprofit organizations that operate on less than $10 million a year in several increments: $25,000 goes to every organization that is in the top 100 list for votes received from November 15 until December 11. Another $100,000 will go to the top 5 and $1 million to the organization with the most votes. And they are reserving an extra $1 million for yet another charity.

2009 is a double-digit birthday for me, so I figured I’d pull this together to centralize my aerial and burlesque performance stuff. Here goes.