Studio choice matters. Instructor choice matters more. A guide to the awkward art of finding the teacher you'll actually progress with.
Most polers think they're choosing a studio. They're not. They're choosing an instructor. The studio sets the room, the music, and the timetable; the instructor sets whether you progress, stagnate, or quietly drift away after eight weeks. Every studio you'll book through Pole Club has multiple instructors, and the gap between two of them in the same building can be larger than the gap between two studios in the same city.
This is a guide to finding the right one for you — and what to do, politely, if the first one isn't.
Good pole instructors talk about your body more than theirs. They watch what you're doing rather than demonstrating what they can do. They give you one or two cues per move, not seven. They notice when you're tired before you do. And they spend time on the boring foundational stuff — the grip, the scapular set, the standing position before the spin — because they know that's where the safety and the long-term progression actually lives.
Bad pole instructors run their class like a showcase. They demo the full move at speed three times in a row. They give corrections in a way that makes the room defensive. They skip warm-ups. They have favourites in the class. They get distracted by their phones. These are flags. Not always dealbreakers — some brilliant instructors have terrible class-management instincts — but flags.
You'll know in the first thirty minutes. Three signals to watch for: do they remember your name by the end of the warm-up? Do they offer at least one personal correction to you specifically? Do you feel like you understood something at the end that you didn't at the start? Two yeses, you're in good hands. Zero, look elsewhere.
“The best teacher I ever had was the third one I tried at the same studio. The first two were fine. The third changed how I thought about my own body.”
Almost every UK studio is small. Switching instructors usually means switching to a different slot — same studio, different timetable. Tell the studio at reception or by email: "I'd love to try [other instructor]'s Wednesday class." You don't need to explain why. They will not be offended. They allocate instructors by availability, not by what's best for you, and they expect students to gravitate.
If the instructor is the studio owner, switching is more delicate. Most owner-instructors handle it well — they would rather you stay at the studio with a different teacher than leave. A few don't, and that tells you something about the studio's broader culture.
Then it's the studio. Either the teaching philosophy isn't a match (heavy on inversions early when you wanted slower progression; or vice versa), or the room culture isn't right for you (too competitive, too social, too performance-focused, too fitness-focused). This is fine and it happens.
Most UK cities have at least three studios. Try them. Pole Club exists precisely so you can. Don't stay at a studio out of habit when it isn't working — the pole community in the UK is small enough that you'll see people again, but big enough that you can switch without it being awkward.
Arrive a few minutes early. Tell the instructor anything they need to know (an injury, a flare-up, a tough week). Ask one good question per class — not five. Take corrections without explaining yourself; the instructor is correcting your form, not your judgement. Thank them once at the end. Don't film their class without asking. Pay your bills on time.
Instructors notice the students who do this, and you'll get more out of every class for it. That's not a transaction — it's just a small room of people, and the room works better when everyone shows up like that.
You will outgrow instructors. Sometimes you'll outgrow them at month three; sometimes at year three. That's not betrayal, it's progression. When it happens, the best instructors are the ones who'll tell you where to go next. The worst will try to hold you. You'll know the difference when it happens.

Classes & Costs
The unwritten rules of pole class etiquette — wiping the pole down, sharing fairly, phones, hygiene and why you should never teach the person next to you. Fit in from class one.

Classes & Costs
Practical ways to do pole dancing on a budget — blocks over drop-ins, taster deals, minimal kit, off-pole practice at home and buying second-hand without cutting safety corners.

Classes & Costs
What pole really costs in year one — classes, kit, grip aids and an optional home pole — broken down into casual, committed and keen budgets so you know what you're signing up for.