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POM BASICS

ARM MOTIONS

Break
A pass through daggers or a half-T position to the next position.

Lasso
A circular motion of the fists using bent elbows to emphasize a forward whip of the wrists, usually done above the head.

Swing/Slice
Keeping the arms straight while changing from one position to the other. 

Scoop
A circular motion of the fists using bent elbows to either pass from one position to the other or back to the original position.

Arm Motions
Arm Positions

ARM POSITIONS

Bow and Arrow
Arms parallel with the ground, with one arm in a T and the other in a half T/broken T. 

Broken Cheerio
Arms create a circle, typically above the head. Both wrists/palms face forward, and fists are close to each other but not touching, usually about 6 inches apart.

Checkmark/Check
One arm bent with the elbow near or attached to the ribcage and wrist out to the side and facing the ceiling, with the other arm in a different position, usually in a high or low V/diagonal.

Cheerio
Arms create a circle, typically above the head. Both wrists/palms face forward, and one close fist overlaps with the other. When doing a low cheerio, wrists face the body.

Clean
Arms straight and flush with the side of the body. You can either break or swing from a position to a clean.

Daggers
Arms bent and close to the body, with elbows tucked near the ribcage and fists at chin level. 

Diagonal
Both arms straight and out to the side, with one arm in a high V position and the other in a low V position. When the right arm is up, it is a right diagonal. When the left arm is up, it is a left diagonal. The position should be slightly in front of the body, so that the hands can be seen with your peripheral vision.

Genie
Both arms bent and forearms stacked at shoulder level, with the wrists in buckets at the other arm's elbow. 

Goalposts/Touchdown
Arms straight and pointing up, with wrists facing each other and parallel to each other. Little circles/cinnamon rolls should be facing forward. References the position that referees use to signal a score in football. A low touchdown is a variation with the arms pointing down and parallel, with big circles/cinnamon rolls facing forward.

Half T/Broken T
Arms bent with elbows pointing out to the sides of the body and fists pointing in toward each other, with wrists in buckets.

High V
Arms at high diagonals out to the side of the body with big cinnamon rolls facing forward. Hands should be in tight fists, wrists straight, with big circles/cinnamon rolls facing the front. The position should be slightly in front of the body, so that the hands can be seen with your peripheral vision.

Low V
Arms at low diagonals out to the side of the body with big cinnamon rolls facing forward. Hands should be in tight fists, wrists straight, with big circles/cinnamon rolls facing the front. The position should be slightly in front of the body, so that the hands can be seen with your peripheral vision.

K
One arm in a front high diagonal/V, and the other in a front low diagonal/V. This position is usually aimed to the side. 

L
Both arms straight and creating an "L" with one arm pointing up and little cinnamon roll facing forward, and the other arm straight out to the side and wrist in a bucket. This arm position can vary right and left, and high and low.

Muscle/Box
Arms bent at a ninety degree angle out to the sides of the body, with wrists facing in toward each other.

Nine
One arm straight and the other arm bent at a ninety degree angle with the fist of the bent arm attached at the inside of where the elbow is on the straight arm. Wrists are typically in buckets but can also be in candlesticks. Position can vary based on which direction the straight arm is pointed.

Pencil
Arms straight and above the head, similar to goalposts but with fists connected.

T
Arms straight out to the sides of the body with wrists in buckets, creating a T with the arms perpendicular to the body. The position should be slightly in front of the body, so that the hands can be seen with your peripheral vision.

W
Both arms bent with the elbows near or attached the ribcage and wrists out to the sides and facing the ceiling. 

X/Cross
Both arms bent and overlapping at the middle of the forearms, with the little cinnamon rolls facing forward. The wrists are usually at chin level.

Wrist Placements

WRIST PLACEMENTS

Buckets
Wrists facing the floor, as if holding buckets.

Broken Wrists
The incorrect technique of bending the wrist to break the straight line from the shoulder or elbow to the end of the fist. This is a common technique error among teams who are new to the pom style.

Candlesticks
Wrists facing forward or each other, as if holding candlesticks.

Cheerleader/Peter Pan
Fists attached at the hips and facing behind the body, with elbows pointing out to the sides. Wrists should not bend forward or backward.

Circle/Cinnamon Roll
The "big" cinnamon roll refers to the side of the fist closest to the thumb. The "little" cinnamon roll refers to the side of the fist closest to the pinky. Wrists should be turned to show the correct side of the fist depending on the position, and we often refer to these as the big and little cinnamon rolls.

Karate
Wrists attached at the hips and facing up, with elbows tucked in and pointing behind the body.

Pockets
Wrists attached at the hips near where pant pockets would be, with elbows pointing out to the sides.

Technique

TECHNIQUE

Motion Technique

  • Not only is technique of actual placement important, but the pathway an arm takes to get to the next placement is important. Varying pathways have different visual effects. 
     

  • A common technical error in the pom style is misplacement of wrists. 

    • Watch for breaking of the wrists. Your fist should be centered with your arm. Your line should be straight from your shoulder to the center of your knuckles.

    • Pay close attention to the orientation of the big and little circles/cinnamon rolls. Every position has a specified wrist placement. 

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  • Within most straight-arm positions, the angles of the arms should be clear. For example, when in a high V position, both arms should be at a 45 degree angle. When in a T position,  both arms should be parallel to the ground. In traditional, fully extended positions, fists should be visible in dancers' peripheral vision.

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  • The entire body should be engaged while doing pom, with emphasis on the core from the shoulders to the hips, including the back muscles. Shoulders should be pressed down, chin should be lifted, and the core should be engaged at all times. Without proper control, there is a risk of injury.

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  • Every count and/or beat has an exact placement. Nothing should be left for interpretation. Motions must stop and squeeze into place in order to create the overall picture with the team. 

    • A common issue among teams is blending arm positions together, which often leads to losing the musicality and visuals. ​

 


Lower Body

  • Lower half should also be very precise in levels, footwork, and angles. The lack of lower body technique can affect the upper half and the intended pictures/visuals. 

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  • Weight shifts are a frequent element in pom choreography. Proper technique involves pressing the balls of the feet firmly into the ground. To achieve clean visuals, it is essential for all dancers to step with the same foot.

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  • Competition pom is very grounded and precise, differing from game day pom which is bouncy and spirited.

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  • The pom style often includes technical elements such as jumps, turns, and leaps. The arm placement during these skills typically changes to match a traditional pom motion.

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