Barely Visible: North West pole-dancer Rowena Gander taking on the patriarchy one dance at a time

Now examine the tableau that appears in response to the words ‘pole dancer’. Most synapse-quick connotations are lurid and prurient, sexualised leering and exploitative objectification under the cover of gloom. More than any other form of dancing, pole dancing connotes power play - a power play which Rowena Gander is upending.

A performer, choreographer, and dance instructor famed for her experimental and thought-provoking work, Rowena is the UK’s preeminent purveyor of pole dance fusion, subverting sexuality and power in her dynamic shows. With a PhD in dance practices, she’s an expert in how objects like a pole can reinforce or dissolve female subordination.

Dismantling the patriarchy, one pole dance at a time

“I’m really interested in the stigmatisation around pole dancing and the constant argument over whether it’s exploitative or empowering,” says Rowena, who started studying the cultural zeitgeist surrounding pole dancing in 2015. “I believe it’s empowering, especially when you play around with regards to intention.

“There’s an assumption that, if a woman’s dancing with a pole, she’s dancing to arouse men,” adds Rowena. “As a gay woman, I have no intention of doing that. It’s about reframing: the first piece of work I did when asking questions about lesbian identity in dance was called ‘Does This Pole Make Me Look Straight?’

“The biggest takeaway from my research and eight years of work is that you can make and create your own space for liberation,” Rowena continues. “That’s what the creative process does for me personally; it’s about taking control and having the initiative to do things yourself, which is very empowering. If you want to see something, you’ve got to make it.”

The science behind the pole

Since 2015, Rowena has performed at prestigious events across the globe including Secret Circus, Cirqadia Scratch, Physical Fest, Threshold Festival, Leap Dance Festival, Light Night Festival, Miss Pole Dance UK 2017, the Las Vegas Pole Expo, the Yorkshire Pole Dance Championships, and the Blackpool Pole Dance Championships.

She’s also worked as a lecturer in dance at Edge Hill University, developing and exploring a new and truly unique creative physical methodology which fluidly blends elements of pole dance, contemporary dance, and physical theatre. But dance wasn’t always destined to be the path she chose: a lack of representation initially pushed her away as a teenager.

“Performing and dance wasn’t always the plan for me,” says Rowena. “I engaged with it a little bit as a young girl and as a teenager - probably between the ages of about 10 and 14 - but I left because I didn’t see myself represented in that space. I stopped being a dancer, but I was always motivated to be part of the change I wanted to see.

“Eventually, I came back to dance at the age of 23 because I realised I needed that element of physical movement in my life as a form of expression - it was a fundamental way to speak through my body,” she adds. “But, when I came back, I saw that there had been no changes; there’s still not much representation [of gay women] even now.

Being the change she wanted to see

“But, this time, I was like ‘okay, I can start to be that change I want to see’ and, through that process, I’ve met a lot of other gay women in the arts,” Rowena continues. “It’s about having those conversations and bringing role models forward to inspire the younger generation. Then they don’t leave dance as I did because they couldn’t see themselves in that domain.

“The whole thing made me fall in love with dance all over again and, at the same time, I was introduced to the concept of physical theatre,” says Rowena. “I took a class and realised it wasn’t just dance technique and aesthetics, it was about physically communicating something to the audience, which isn’t always beautiful.

“Often, it can look quite ugly and grotesque, but there’s something engaging and interesting in the ugliness and grotesqueness of movement. From there, I started to work with different objects as well, just to see what themes, such as sexuality and power, I could work into my performance. That’s how I came to the pole and created Barely Visible.”

From Barely Visible to unashamedly unignorable

Barely Visible is Rowena’s latest powerful show, shining a spotlight on issues that queer women face on a daily basis via the medium of a physically impressive solo performance which explores topics such as agency, automatic sexualisation, the male gaze, and the experience of living in the shadows.

“The show was conceived out of a frustration at the lack of focus on lesbian identity in dance, in physical theatre, and on the stage in general,” Rowena says. “Back in 2016, I started asking questions about identity and there was no real conclusion as to why there wasn’t that visibility, so I decided to address it myself.

“In 2021, I started working with Elinor Randle [the show’s director], who’s also a gay woman, and the show came about organically from our conversations,” Rowena adds. “It’s been liberating because, on stage, you can control any scenario, so I’ve reframed incidents when I’ve been stigmatised or abused because I’m a gay woman as part of the show.

“Barely Visible is about power play and taking power back, and working with a pole that weighs 100 kilos means that, for audiences seeing me physically move it around, there’s a lot of metaphor for people to read into as well. I’d love for people to leave feeling empowered and to have reflected upon their own sexuality and experience just existing in the world.”

The never-ending journey of learning

As well as the impressive feat of seeing Rowena manhandle a 15-stone 7lb pole on stage, Barely Visible combines the playfulness contemporary dance with the comical elements of physical theatre and the boldness of her authentic message: that empowerment as a gay, ‘barely visible’ woman is entirely within reach.

“Every show is exciting,” says Rowena, who holds enlightening open pre- and post-show conversations with audiences at each show. “Even having done the same show last year during a national tour, doing another tour with Barely Visible this year just means that I’m constantly finding new things and moments in every rehearsal and performance.

“There’s always a sprinkle of something new, so I’ve really enjoyed everything about the work,” she adds. “I have a great time every time I perform the show and, although there are some heavy themes in it, it’s actually a really comical performance; when the audience is engaged and enjoying themselves, it only enhances my enjoyment, too.

“And it’s fantastic when people leave the show feeling like they’ve seen themselves represented on stage and inspired to be stronger,” Rowena continues. “Learning really is a never-ending journey, but that’s why I love it. I’m always chasing answers, but if I ever got those answers to the questions I’m asking through my work, I’d have nowhere else to go.”

Rowena will be performing Barely Visible at The Arts Centre in Ormskirk on February 9th, The Dukes in Lancaster on the 16th, and The Old Electric in Blackpool on the 24th.