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With no formal dance or acrobatic background, Ashley is what it means to be underground and underrated (mutable gemini, aries rising). From developing a sundry of pole dance tricks and techniques methodically under the direction and study of the best “OG’s” in the game during lockdown (Carolyn Hernandez, Carmine Black, Krystal Jackson, Tameah Gemini, Onyx, Jamilla Deville & Rachel Owl) emerged the call from the ‘outside’: a demand to teach. The same way she began, she continues to be that bitch—that is—to be without a traditional pole studio as a place to learn. This, in part, is how Performance Tempel evolved from online product retailer to virtual sanctuary for artistic development. It’s how she went from only being visually adored for her body by fans, to manifesting for others the vision for their own body to become artists.
With a distinct approach to designing the learning experience and acquisition of expertise, skill development classes are labeled by type. There are tenant classes that inhabit the Performance Tempel methodology.
These tenants are: “BodySculpt”, “BodyScan”, “BodyFlesh”, “Spicy Conditioning”, and “BodyView”. These are the headings for classes which indicate the conceptual learning mode.
Collections of these tenant classes are organized under the “BodySketch” heading that signals a series.
The Performance Tempel classroom experience progresses from isolating skills in breakdowns to threading concepts together as skillsets.
Levels of education groups are tiered alternatively to the traditional pole leveling system. Rather than using numbers, short phrases are used to better classify the measurement of skill a learner is capable of executing. Performance Tempel’s learning stages are:
In a “basic” class, learning is framed as “know-that” . These are introductions to must know functions that build foundational concept awareness, features, strength, context and the form the onset of practice experience.
In a “competent” class, learning is framed as “know-how” . These are classes that expand experience with the basics. As basic knowledge is expected while cueing and instruction include situational concepts, decision making and sense of meaning
In a “proficient” class, learning is framed as “know-to” . These are classes that expand competency with intuitive response sharpening , situation recognition and have a deeper involvement with inner-being and outward expression. Cues are more complex and ask learners to coordinate physical strength with metaphysical aspects of dance.
It’s important that skill education directs you into understanding how to practice and not just how to achieve a skill rapidly. Ashley believes in ritualizing the sessions so you can discover your own tone, mood and groove.