Does the flow of pole dancing celebrate freedom, or is its constant need for a grip a sign of dependency?
Does Maro willfully choose to be part of this flow, or does the pole dictate her every move? Is it a modern tool that her body uses to perform dancing the like of which escapes other styles, or is it something that our minds – like the remnants of another age that they are – poorly translate as a phallic symbol?
Maybe the fact that she alone can answer all these questions is a sign of freedom. The ancient portrayal of woman as a beast/priestess, the epic ordeal that is to be one, maybe can only be manifested through a medium that illustrates a perfect duality. The effeminate clinged onto the virile, yet only to prove that it can dance with it, perform miracles when used in tandem.
Always suggesting that sexuality will not escape her grip, Maro appears longing for a partner, not needing one. This, more than anything else, depicted the power that Maro’s dancing emanated in all its sexual duality. Did she flaunt it? Not once. Was it omnipresent? Definitely. She was not a silhouette, but the true form of a strong, able woman reminding us that this is not just a man’s world. We utterly loved her and we hope you’ll do to.