Why only counting down swings will confuse you

Counting only the downswings in poi can feel natural early on because gravity emphasises the bottom of each circle, but it becomes a limiting rhythmic crutch once you add turning, whirling, and dance-like flow. Nick Woolsey reframes the beat away from “bottom of the circle” and towards clearer reference points in the movement cycle.

Using a single crossing pattern as an example, you’ll compare counting at the cross point versus counting downswings, then see why a turn can shift where the downswing appears relative to the viewer. The drill moves towards a down–up (ground–sky) pulse so you can keep timing consistent and make intentional stops or holds without breaking rhythm.