Cascade 005 - 1985

LOUVAIN LA NEUVE¶

Infrared vs. Ultraviolet¶

(Image 1: A person juggling three objects, possibly balls or clubs, high in the air. Another person is standing on a tall unicycle in the background.)

Tim Roberts, Rezé, France

The 8th European Juggling Convention came and went (already), few will forget the emotions and camaraderie that went with it. The others just thought it was a good party and hope to save enough money to go next year.

But for a keen observer like myself (I'm allowed to say that, it's my article), the last juggling convention opened up a completely new and unexplored field of juggling and object manipulation. Such an obvious discipline, so practical, so simple in its conception, that it's almost embarrassing to think that 4000 years have passed and this idea hasn't surfaced once. Honestly not, skeptics can write to Karl-Heinz. This revolutionary new idea, this thunderclap into the deepest part of our consciousness, that shook us to the very core of our silicone balls, was this: (are you ready?) You can do a whole act with NOTHING!

And people applaud anyway. Allan Jacobs' act with invisible balls was a sensation, questioned the entire juggling world and has the potential to liberate us all. I personally was very moved.

Imagine, no heavy equipment to lug around, no decoration material to renew, no knobs to replace. And perhaps most importantly - this liberation I spoke of - no hours and hours of fussing! We are free, who would have thought?!

And no one can ever say again: "I've seen it on TV before."

But this anti-technique is not limited to simple throw-and-catch juggling, as anyone who witnessed Allan's spontaneous ball-spinning workshop with the master of this discipline, M. Francois Chotard, can attest. Thirty curious spectators stood motionless with their mouths open like nutcrackers in a Christmas display, watching Allan perform a completely flawless 5-minute ball-spinning act. Complete, you understand, with poses, transitions, pauses for applause - WITHOUT A SINGLE BALL!! I took notes, it was too advanced for me.

But - to every Ying there is a Yang, to every Ping a Pong, to every King a Kong, and our activity is no different. Opposition and irony were personified by Grigory Popovitch. The first Russian ever to participate in a European meeting, he only needed to scratch his nose to bring the entire hall to a standstill.

Just in case you were in a coma: he juggled 9 rings on a freestanding ladder, on a table, smiling! "The Juggler" and just as much a genius as Allan Jacobs, although they come from two different schools. What was actually present at the 8th European Juggling Convention were the two conflicting theories and philosophies of juggling. The infrared and the ultraviolet, the "numbers versus style" confrontation. "The great mystery" and the "how?" and "why?" of what we do.

Now, if you're like me, you'll have noticed the futility of "why?". "Why" is clearly too difficult to ask, especially of oneself, hence the success of the bar in the sports hall. Many of us mere mortals thought it best to ask "what for?" and "who pays?", leaving the serious self-reflection to more capable brains than ours. We could barely manage the task of constructing the tallest plastic cup tower in human history, but in the end, we succeeded too. After all that, we were too tired to continue, and "why?" was postponed to the agenda of the organizational meeting.

As of yet, there is still no answer.

Perhaps next year?

(Image 2: A person juggling three objects, possibly balls.)

Gregor Popovich, Photo: Bill Giduz, Jugglers World

Allan Jacobs, Public Show, Photo: Werner Lüft, Berlin

What about the women?¶

(Image 3: Three people in a three-legged race, outdoors.)

Three-legged race on the Grand Place, Brussels, Photo: Hugo Rohde, Frankfurt

Sue Hunt, Nantes, France

In the evening, most jugglers even interrupted their training to eat, drink, and benefit from the diverse conversations that become possible when 15 different nationalities are bundled together into a large ball of energy for 3 days.

Some people just kept juggling.

What do all these jugglers talk about? As usual, there were the moral and philosophical problems: there is still no written professional ethos for jugglers.

Is it okay to steal other people's acts? What is the definition of stealing? Should we show tricks, or should everyone discover them for themselves? Should professionals perform in a show with non-professionals? What is a good juggler? What is a good juggling show? And what is the difference between the two?

And what about the women? Where do we stand among the 650 other jugglers? Right in the middle: we try out the latest tricks, look for the perfect passing partner, and admire the "experts" just like everyone else.

Admittedly, there are differences between female and male juggling specimens. Without going into physiognomic or ballistic details, the most obvious difference is style. Women tend to use their bodies and their relation to objects in space. Men tend to focus more on the objects themselves. This is obvious when one sees a performance. No matter how emancipated the spectator pretends to be, he or she will scrutinize the woman behind the juggling very closely. This is not a bad thing. A good performer will use it to her advantage.

The female Chinese contortionists have understood this: who pays attention to the ten teacups and teaspoons balanced on their toes... it's the woman tying herself in knots that captures our attention.

An inexplicable difference is that women are less drawn to "numbers juggling" (=juggling a high number of objects). Do we have less competitive spirit, are we lazy, or do we just want to have fun?

Although the number of amateur female jugglers is growing, there is a lack in the professional scene. In traditional juggling acts, women are more often found at the edge of the stage, catching their partner's props after his act and throwing him the next ones, rather than being in the spotlight themselves.

(Image 2: A person juggling, with a spotlight effect.)

States and probably started in the streets of San Francisco. It is spreading with alarming speed in the European juggling community: The "Street-Stage Identity Crisis" (SSIC).

Here are the most obvious symptoms by which one can recognize an SSIC-afflicted performer: Be loud, shout at your audience, insult them, then be shy as if you didn't know how to juggle. Keep stopping your audience to applaud, then act too cool to care. Tell non-stop jokes while doing insane tricks that no one can understand. Act friendly and neighborly, then flash a Las Vegas smile and do a pirouette and shout "Ho!" Wear suspenders, a silk shirt, wide trousers, dirty shoes, and a hat. Use the same phrases as other jugglers because they get a "laugh." The result is that there are now hundreds of "performing jugglers" who all look the same and no one looks like anyone specific. It's a strange mix of stage-sport-circus and student on vacation. The most amazing thing is that so many jugglers can find themselves in this character and so few try to find something of their own.

(Image 4: A woman juggling two diabolos.)

Karin Johnson and 2 Diabolos Photo: G.H.

Female street jugglers need enough courage to deal with suggestive remarks or being seen as a "freak." But all that is secondary to the real problem. The problem is the same for female and male jugglers, and there were clear signs at the last juggling convention. We are in the midst of an epidemic. It seems to have come from the

Female jugglers - to get back to the problem - may try the same image for their performances or not. Since the scene is already overcrowded with male SSIC jugglers, most women are forced to find their own character and style to stand out from the competition.

The easiest way out is, of course, to wear a shiny, tight costume and display many graceful juggling forms. Another solution is to have a neutral costume and perform an androgynous group juggling act. But there are so many other possibilities.

Perhaps it will be the female jugglers who break the established model and bring novelty - and who knows? - entertainment back to the stage.

Dear Astrid¶

Gérard Estrem Photo: G.H.

Charlie Holland, London

(Image 3: A person juggling three objects, possibly balls.)

Brussels, September 14th

I absolutely must tell you about the incredible events of the past few days. In my last letter, I told you that I had started working as a waitress in a large sports complex in Louvain La Neuve. A few weeks ago, I was told that the entire hall had been booked for the 8th European Juggling Convention. I thought the manager was pulling my leg! Really, there aren't enough jugglers to fill a squash court, let alone a hall that can hold 600 people. Or so I thought, but the members of "Ecole Sans Filet," who organized the convention, seemed serious. They told me the cafeteria would probably be needed between half-past nine and half-past three - it never occurred to me they meant 9:30 AM to 3:30 AM! The convention started on Thursday, yet the "Balls-up Jugglers" from Cardiff arrived on Wednesday, in honor of their name, I suppose. Thursday morning at 11 AM, people were queuing at registration, others were juggling and riding unicycles in the main hall. Prop vendors had set up their stalls, and I was so busy serving coffee, beer, and breakfast that I couldn't take it all in. I got a short break when loud applause erupted in the main hall, and everyone rushed to the window to see what was happening. I followed and saw a guy balancing on a freestanding ladder and juggling countless rings. Later, I heard he was called Popovich and came from the Moscow State Circus.

Speaking of skill, all sorts of workshops took place throughout the convention, from Devil Stick (Daniel le Bateleur) to Diabolo (Todd Strong) to balloon sculptures (Roy Woodgate). I would have liked to learn the latter, until someone told me that inflating balloons incorrectly could cause a hernia or worse. I decided to learn juggling instead - after all, there were many women who could do it, and some were excellent, like Kezia Tenenbaum from Airjazz (Airjazz had just finished filming for Paul Daniels' acclaimed magic show on English television - already their second invitation to perform there). I was embarrassed to admit I couldn't juggle, but the first person I asked showed me. And believe it or not, ten minutes later, I could almost juggle. Towards the end of the convention, I learned to juggle plates in the kitchen, until people complained about shards in their food.

Saturday afternoon, many buses arrived to take everyone to a parade in Brussels. Led by a band, followed by jugglers and costumed unicyclists, we walked to the famous Grand Place in Brussels. I liked Gégé (Gérard Estrem), who was smartly dressed - with a yellow clothes hanger around his head and a yellow ball in his mouth that kept reappearing between his lips. Poor Gégé had to lean on his two devil sticks while walking and got into an argument with a policeman who wanted him to cross the street faster. Later, Gégé played with both devil sticks simultaneously and was suddenly no longer lame.

In the center of the square, a stage was set up, and for the locals and tourists, it must have been an amazing sight as the procession streamed through a gateway onto the square. Many artists performed street shows, including Popovich, others juggled in various formations. Then it was time for games. "The Battle of the Jugglers" was one of them, where you had to knock others off their club juggling with a small rib nudge without losing your own. No wonder the winner was twice as wide as everyone else. He was also a good juggler; later I saw him juggling five fire clubs. The winners of the games received a corkscrew with the typical Brussels phallic design. The jugglers must have wondered about our state of mind as much as we wondered about theirs.

Finally, we all drove back to the sports hall to prepare for the public show that evening. A large stage was set up, and the lighting was professionally arranged. A 6-man band accompanied the show, where the amazing results of practice and ingenuity were displayed to a sold-out house. One of the highlights was Gustave Parking, who juggled fire with cocoa powder instead of conventional petroleum. Peter Shub had difficulties with a stubborn, invisible dog on a leash, showcasing his pantomime skills. Neil Robinson performed magic with rings and a dancing stick. Allan Jacobs, before his club juggling, presented a wonderful three- and five-ball routine, synchronized with a film of his own shadow copying his movements and sometimes correcting or challenging him. It was a brilliant mix of skill and acting. For many reasons, I liked the three-ball performances best, including Derek Scott, who ate an apple during his act and a peach as an encore - truly messy! The duo "High Fidelity" combined three-ball juggling with slapstick comedy, and Peter Davison of Airjazz performed a great technical routine with silicone balls. Finally, Popovich came on, showing amazing daring with the devil stick, juggling seven balls (with tricks and foot catches), and throwing seven rings on the ladder while balancing a tray with four full wine glasses on a stick on his forehead. He received huge applause, and the atmosphere was electric.

After the show, everyone went outside, where the braver jugglers tossed flaming torches, whirled fire devil sticks, and hurled fire diabolos into the night. The evening culminated in a magnificent fireworks display, which put most urban fireworks displays to shame. The Ecole Sans Filet organized this juggling convention excellently.

Astrid, I have actually taken a week's vacation for the 9th European Juggling Convention next September in the small village of Castellar de la Frontera in the southernmost part of Spain. I have never seen people celebrate and have so much fun for four days like these. I am fit for a week of sleep, so I will close here.

All my love,

Brigitte

Scott Houghton with Baby Ashley Photo: Bill Giduz Jugglers World

Congratulations¶

First of all, many thanks to everyone who participated in our convention competition. We are sorry that we could not print everything we received. And many thanks to the shops: "Die Jonglerie," "Pappnase & Co," "Keule & Co," "Nicky B," and "Spotlight," who spontaneously donated the prizes. In addition to these prizes and our Cascade Mannekin-Pis awards, each winner received a traditional German Christmas specialty: a gingerbread heart with their name immortalized in icing. Once again, the winners: the 1st prize for a story went to Tim Roberts' insightful trend analysis, the 2nd prize went to Sue Hunt, incidentally the only woman who sent us a contribution (think about it), and Charlie Holland, who solved this problem in his own way, earned the 3rd prize with his "letter." The 1st prize photo of Popovich was the best of a series by Bill Giduz, the 2nd prize went to Werner Lüft's study of Allan Jacobs, and Hugo Rohde won the 3rd prize for the three-legged jugglers. Legal recourse is excluded (we've already done it right).

We hope you will send us your letters, articles, and photos in the future, even without tempting prizes! We look forward to them.

Great! But Too Big¶

Impressions from the 8th European Juggling Festival

Mac (Manfred Härder), Bamberg
Oh, how long I had been looking forward to it. I had never been to a juggling festival before. As the four of us drove across the border into Belgium, we were already eager to be in Louvain La Neuve. We were getting nervous, wanting to juggle, wanting to see jugglers.

My first glance: a hall full of people, busy with balls and clubs. For a "real" juggler, that's drug enough.

My second glance: five-ball and five-club jugglers! I only saw such people; for a mediocre juggler, that's frustration enough.

At home, they marvel at any three-ball routine; here in Louvain La Neuve, you had to juggle three fireballs blind for anyone to notice.

A few minutes there, and the name "Popovich" was already being mentioned, which no one could pronounce correctly on Thursday.

His theoretical explanations on Thursday afternoon were cold coffee; they were inversely proportional to his skill. Although he wasn't the most impressive for me, because he's unreachable anyway. (I'm already older than eight, when he started.)

More impressive was an American (Peter Davison - Ed.) with three-ball routines on Saturday evening, who rolled the balls over his head and back.

More impressive was the audience favorite that same evening, whose name no one knows (Peter Shub - Ed.), who, with the imaginary dog, well. He made something out of nothing, and did it well, not so easy when we jugglers are initially blinded by technical skill.

Finally, more impressive was the group "Cirque du Trottoir," who performed on Friday in a close, pleasant atmosphere. Technically, it would have been feasible for many jugglers, but they also had a good show with music, dance, etc.

The organization of the festival was excellent, hardly to be improved; the parade in Brussels was an attractive alternative to carnival or other festivals; the Grand Place in Brussels provided a wonderful atmosphere.

Only - the festival was too big. Where were the niches and free spaces? This constant challenge from five-club jugglers - I couldn't escape it, where I would have liked to just chat, but then I might have missed a workshop or a training session.

Therefore: a little smaller. Less (people) is more (atmosphere).

In southern Spain next year, it will be smaller. Definitely.

I can't go either.

(Image: A person juggling seven balls.)

Antonio Bucci bounces 7 balls 13 min. 13 sec. (personal record) Photo: Bill Giduz, Jugglers World

Book Review¶

Juggling - The Art and its Artists¶

Karl-Heinz Ziethen and Andrew Allen, "Juggling - The Art and its Artists," Verlag Rausch & Lüft, Hasenheide 54, D-1000 Berlin 61, W. Germany, 364 pages, 298 photos (8 in color), 93 drawings, DM 98.50 + postage

As the title suggests, this book is more of an artwork than a historical encyclopedia, and it is destined to appeal to a broader audience than Karl-Heinz Ziethen's mammoth volume "4000 Years of Juggling." The luxurious silver binding impresses before you even get to see the beautiful photographs, posters, and illustrations - some in dazzling colors - that come from Karl-Heinz Ziethen's famous collection.

Many of these images speak for themselves - a fascinating triple exposure in

(Image: A black and white photo of a man juggling.)

Frank Eders, 1939

color by Kris Kremo, spinning cigar boxes in a pirouette; a long exposure of fire club juggling by Michael Moschen; an improbably young-looking Sergei Ignatov, trying to hold seven oversized balls in his small hands, gritting his teeth and looking skyward. Alongside these elegant artists, the somewhat more unusual acts of past pioneers also find their rightful place in this book: Erik van Aro, the first and only one to juggle a complete drum set; Franco Piper, who spun 15 banjos while playing "a new selection of Scottish folk melodies" (Hot and Neon, turn green with envy!); or Tux, a chef who balances three stacks of dishes on his head, topping it all off by tossing a pig's head.

After a very brief historical overview (4000 years in 3 pages), the images are divided into thematic sections, either by different specialties - jugglers on horseback, gentleman jugglers, restaurant jugglers, hoop rollers, foot jugglers, etc. - or by national style - USSR and China. Some chapters are also dedicated to individual (or family) cult figures: Rastelli, the Brunn and Kremo "dynasties." And one chapter shows how painters have depicted juggling.

Each chapter is introduced by a page of remarks by Andrew Allen, who originally intended to translate Karl-Heinz Ziethen's biographical comments but eventually relegated them to the index in favor of his own "humorous" reflections. Whether you find them truly humorous or merely a strange mix of boastful vocabulary and platitudes depends on your own sense of humor and the size of your dictionary. But if you are not irritated by the style (and in the German and French translations, it might not be so irritating), you will find many interesting food for thought. Is juggling inherently funny? Is that why there are no more gentleman jugglers, because there are no more gentlemen in life in general? Does it bother the super technician that the audience cannot appreciate the work involved?

The cartoons by the French juggler Toly M. are also somewhat disturbing, appearing a bit wooden, especially compared to most of the other drawings, which show that it is possible to depict juggling as a snapshot without losing its dynamism.

(Image: A black and white photo of a man juggling.)

Francis Brunn

But perhaps that's splitting hairs and doing an injustice to a highly recommendable book. (By the way, Gabi found the cartoons fitting and quite funny!) It will be released in its final, flawless version in March, and for an additional DM 5, you can order a German and French translation of the English text.

P.K.

(Image: A drawing of two people, one passing clubs to the other.)

Egyptian Wall Painting, c. 2040 BC

Scuola Teatro Dimitri¶

As a continuation of our circus school report, we are reporting on the school of the world-famous Swiss clown Dimitri. The information for this article comes from a newly published book: "Theater und Schule Dimitri" (Benteli Verlag, Bern), which is recommended to anyone considering attending such a school, as well as anyone interested in the principles of circus and theater arts. Following this, Kaskade reader Wolfram Steinert reports on his personal impressions after visiting the school.

P.K.

Even though the school was founded by a clown (in 1975), Dimitri always resists the misconception that it is a "clown school." "There can be no school for comedy - comedy is a talent that must be unfolded and developed. One can only learn a certain technique on how to better showcase comedy." He calls it a "comedian school" instead, which includes all forms of theater, especially those based on body language.

This idea is reflected in the curriculum:

Pantomime, Juggling, Acrobatics, Dance, Theater Improvisation, Makeup, Voice Training. In addition, there are courses in subjects such as rhythm, Commedia dell'Arte, and of course, clowning. All subjects are mandatory.

What role does juggling play in Verscio? Apparently a relatively minor one. When asked if he is interested in teaching juggling, the acrobatics teacher replies: "If I see that someone has a desire for it, then of course I encourage it. But even if they don't have a desire for it, they would have to do it. Because in my opinion, the skill and speed of a juggler help in all subjects, and it's also something you don't lose. It always stays with you."

The training as a whole is "serious and professional," a claim that is certainly confirmed by the qualifications of the teaching staff. Precisely because the training is so uniquely comprehensive, students come from several Western European countries and even from the USA and Canada.

The three-year training period is "difficult and demanding" - full-day classes, only 10 weeks of vacation per year - but it bears fruit, as over 80% of graduates are active on stage today.

In addition to the high personal commitment, there is also a financial one, and it is not insignificant. A school year costs 7,200 Swiss francs, + 150 F for material costs. During the trimester, it is hardly possible to earn money through one's own theater work.

A three-day examination, held in May, decides which of the 70 to 80 applicants are admitted each year. "It is not necessary to prepare specifically for the entrance exam. Candidates are divided into classes and

(Logo: Scuola Teatro Dimitri 6653 VERSCIO)

attend one lesson per day in all examination subjects (acrobatics, dance, mime, voice training/breathing, and theater improvisation)."

Further requirements are the right age: between 17 and 26, and good Italian language skills, as all courses are held in this language.

For those who wonder: would I have the necessary attitude and talent for such training, the thoughts of the mime teacher and co-founder of the school, Richard Weber, might be of interest:

"At the very beginning is the mysterious word 'talent' - a nightmare for many. Do I have talent? Enough? Too little? At all? How does it manifest itself? Doubts and uncertainties keep future mimes from sleeping. However, I knew students who showed exceptional spontaneous acting talent. For various reasons, however, they were unable to master and use it properly. On the other hand, students with mediocre talent often achieve a surprisingly high level of performance. Of course, it is impossible without talent, without the ancient comedic desire to perform for others, to make them laugh or to create tension, without the joy of dressing up and embodying other people. Imagination and sensitivity to music are also very important. But even the greatest talent is no guarantee of a successful theater career. The best way to nurture existing talent is through concentrated, regular work."

The secluded location of the school (a building from 1687) - in a small village in Ticino, the Italian-speaking part of Switzerland - is intended to foster this concentrated work. Contact with the inspiring theater world is maintained by the fact that internationally renowned artists perform at the Teatro Dimitri, which has existed since 1971 and was newly renovated in 1983. Furthermore, there is its own Compagnia Teatro Dimitri (composed of former students), which regularly presents productions in the spirit of Dimitri's concept of "total theater": i.e., "a theater where everything is possible: language, voice, mime, acrobatics, juggling, dance." The students' practical final projects are also performed - under the direction of experienced directors - in the school's own theater before a knowledgeable regular audience.

The book and application materials are available from: Scuola Teatro Dimitri, CH-6653 Verscio, Switzerland, Tel. 093 81 25 44.

By the way: for those for whom 3 years of training is too much, they should inquire about the annual summer courses. Participants, divided into professionals and amateurs, receive 1 to 2 weeks of instruction in the school's main subjects.

(Image: A black and white photo of a clown, presumably Dimitri.)

Clown Dimitri →

A Visit to Dimitri¶

Wolfram Steinert, Nuremberg

Tuesday morning. I'm on the train to Verscio. 9 hours of travel lie ahead of me. Yesterday morning, I had called the Scuola Teatro Dimitri and arranged to visit. I was allowed to watch classes for a day.

I myself am a magician - a magician, or at least I want to be. Making a living from such a profession alone is not very easy these days. There are magicians like sand in the sea. Admittedly, mostly only part-time professionals or amateurs, and unfortunately, often not very good, but they are there - and thus competition. So I've decided to be more than just a magician. I want to do a kind of revue with dance, mime, acrobatics, juggling, lots of fun - and and... and... But where can one learn such a thing without having to take lessons from several different schools and teachers at the same time?

(Image: A black and white photo of a person, presumably Wolfram Steinert, juggling three balls.)

Paulette (Mask Theater)

When I arrived, I was surprised. Most schools for artistic disciplines are located in big cities. But Dimitri's school is 6 km from Locarno in a small mountain village. At the secretariat, shortly before 6:00 PM, I received a visitor's pass, allowing me to watch the class of the 3rd year, the graduating class. In the evening, Dimitri himself performed in the attached theater. I didn't want to miss that. I can only recommend anyone who hasn't seen Dimitri yet to attend one of his performances. This performance alone made the school 100% more appealing to me than it already was.

The next morning at 8:30 AM, it started. First was mask making. For almost an hour and a half, I watched 9 students smoothing surfaces with sandpaper on their masks, working out contours and edges. It was fascinating to see what small details changed the mask, and with what precision they worked.

Richard Weber gave me a brief introduction at the end: during their time at school, they build a neutral mask without specific facial features or characteristics, and a character mask. Small pieces are rehearsed with both masks. With the character mask, one must adhere to its features, but the neutral mask leaves open any type of function of the person being played.

After that, it was time for dance. And on this particular day of instruction, it was tap dance. Step by step was practiced, and then danced to music. Throughout the lesson, the difficulty level increased more and more, until finally, a proper combination was put on stage, ready for performance. However, other types of dance such as ballroom dancing, modern, folklore, classical style, etc., are also taught.

The acrobatics class began with light exercises like running, jumping, rolling, etc., to warm up the muscles. After the students had performed exercises, jumps, and combinations together, they moved on to practicing exercises and routines individually or in pairs, according to their own stylistic preferences and abilities. Szilard Szekely, the acrobatics teacher, was there to offer advice and assistance, and seemed to have eyes everywhere at once. He constantly corrected, offered help, and spurred them on to practice further.

In the afternoon, it was acting class. Two short scenes were rehearsed. While half the students practiced a scene, the rest watched and, through audience-typical reactions like laughter, amazement, etc., unconsciously provided important orientation cues for the actors. The teacher, Dieter Barbel, gave instructions and suggestions for improvement during the performance, but these were not directorial instructions; rather, their justifications conveyed dramatic stylistic tools and acting principles to the student.

With this lesson, my visit to Dimitri's Scuola ended. Some final thoughts:

I find it important that the school doesn't just focus on theory and practical exercises, but that students must show what they can do and have learned. And they must do so in front of the most incorruptible and closely observing jury there is: the audience.

Now, all of this may sound very nice and simple. But once you've seen how "work" is done there, how everything revolves around training, you'll become thoughtful. I believe I will undergo great personal learning processes there. There will be times when I want to quit everything, when everything becomes too much for me...

I will definitely believe at some point that I have no talent for it at all. My ideas and visions of what I want to do will be completely different after school than they are now. A strange feeling, since it is precisely these ideas and visions that are bringing me there.

Castellar de la Frontera¶

18th-19th-20th-21st SEPTEMBER 1986

Number Nine¶

Mick Swain, Bridgewater, England

For 2000 years, Castellar de la Frontera Fort has held the world at bay, but now it has joined the realm of the jesters and opened its gates to jugglers and clowns for the 1986 convention - or should I say festival.

As a backstage chronicler of conventions 5 through 8, it seems to me that Number 9 in Castellar will be the beginning of a new era, as we explore the possibility of holding our gatherings in different environments and not always in conventional venues.

Castellar is different. From a distance, it appears to be carved out of the mountaintop. When you arrive, you realize that's more or less true - the castle walls and towers are built on rock faces. Inside the castle, narrow, flower-draped alleys open onto squares and terraces that offer ideal practice and performance spaces. Food and drinks are served in shady corners. Local groups will provide music - but please bring your own too.

(Image: A photo of a castle on a hilltop, with the question "Rock or Castle?")

Rock or Castle? Photo: Toby Philpott

Most of what you've heard about Castellar is true. The sunsets over the Sierra, the view of the Rock of Gibraltar and the coastal cliffs of Morocco, the cork oak forest, and the flight of vultures gliding in from the lake, spiraling upwards on the castle's updrafts until they disappear from sight.

To place Castellar, you must consider that it is a village in Andalusia, which is geographically in Europe but ethnically and culturally a challenging mix of Spain and North Africa. A day's journey from Castellar is the Alhambra in Granada, where you can be sure to find something that has been missing from your life so far. Then there is the Sierra Nevada, Cordoba, Ronda, Jerez, and the colorful fantasy of Seville. Try to visit them on your way.

Andalusia is a poor but generous land, and when you leave the festival/convention, if you leave it, it will equip you richly with energy and vitality to brighten your long northern winter.

See you at Number Nine.....

A Party¶

Toby Philpott, Bridgewater, England

Eight years ago, a few jugglers met in Brighton, England. There were about 12 people with friends and relatives in a small hall. Such meetings are now a weekly routine for many groups, especially in Northern Europe. For IJA members who had neither the time nor the money to travel to the main conventions in the States, this was the first opportunity to meet other jugglers.

When I spoke to people at previous conventions, they often assumed I was the spokesperson for a large U.S. organization that had unfairly monopolized the word "international." The IJA probably see me as part of the breakaway European movement. I think the fear of "Americanization" has partly to do with the event becoming an organized package tour with competitions. We haven't developed this system, although the accommodation for many people has been well resolved, each year in a different way. Inevitably, we ended up at sports halls and student dormitories and a public show that few dared to perform in.

This year, we were invited to Spain by a small group. The journey is longer, but you can meet new audiences and other jugglers. We have a flexible playground - the sky. Don't imagine a rock concert in the lush meadows of Northern Europe. In September, Spain is faded and barren. The castle and village of Castellar de la Frontera, which will be the center of the convention, is located on a mountain and is more beautiful than one can imagine.

I cannot report objectively because I fell in love with the place at first sight. The castle with the vultures circling above is a majestic sight under a full moon (there are few electric lights) or in the brightest daylight. During my two visits there, I have imagined some great parties.

It will not be an enclosed environment specialized with flat ground and bright lights for games. There are cobblestone squares, narrow alleys, and archways, and everywhere you have insane views of mountains, water, and sky. This is a place to have a glass of wine with your friends on September 18, 1986, under a full moon.

Many people will visit other parts of Spain on their way there or back, to make the trip worthwhile. Mick Swain and I explored Andalusia between our two

(Image: The small square, Photo: Toby Philpott)

ambassadorial visits to Castellar. That's another story, but there are many magical things to do without going near the tourist Disneyland of the Mediterranean coast.

When we meet in cities, we are just one event among many, even if we are colorful and unusual. Meeting in a small village where we will outnumber the inhabitants means we will represent a major event in their lives, and we need their participation.

A festival is usually a popular idea in Spain, and there are some people in the village who are enthusiastic and full of ideas to make this event unforgettable.

Some people will be able to stay in the homes of residents (some in the castle itself), others can camp in cars or tents, some can stay in cheap guesthouses nearby and take a bus up the mountain every day. The more self-sufficient you are, the better. Details about water, camping, food, toilets, etc., will be announced later. It is important that we keep the mess and disruption to normal village life as minimal as possible.

At times, the place will be crowded, so we will not encourage tourists to come, although it might be fun to invite the public on Saturdays, like at a market. In a mix of public show and street festival, anyone can perform a street show or give a workshop.

The "jester empire" of jugglers has by now become so large that it is difficult to gather us all in one place at the same time. The need for a single meeting where everyone comes is being replaced by a series of larger and smaller meetings all over the continent.

As the calendar fills with dates for local meetings to maintain friendships, it seems important to use the annual meetings to open new paths. This one is for the traveling players. If you haven't practiced throughout the year, why should you suddenly attempt long and tiring training sets? It's very hot in the middle of the day.

If we get enough Spaniards together, it's possible they will organize their own meetings. So, if you don't come to Spain to juggle in 1986, you might be able to make contacts for the future.

For those who would prefer a "conventional" meeting, it should be noted that the tenth-anniversary meeting will again be in Brighton, where it all began. Brighton is a city that has seen many conventions, and this one could be a big one and a change from the political parties that otherwise occupy the city.

If you are interested in coming to Spain, you might consider sending a postcard to the Associacion Cultural so they can estimate numbers. A party in Spain '86 and a big reunion in England '87. Does anyone know what will happen after that? Is anyone planning that far ahead? Will there be an 11th meeting - in the year that all juggling poster designers dream of - '88?

Cascade Workshop¶

Juggling and Magic¶

Zarro Zarro, Paris

(Image: A series of six drawings depicting a person juggling and performing magic tricks.)

Juggling can be well combined with other forms of physical expression: unicycling, dance, mime. It can also be combined with magical effects if they are well integrated into the juggling act.

There are no fixed rules for selecting tricks; it depends entirely on the artist's personality, the type of act, the specific audience, and the performance venue.

I think a juggling act of 8, 10, or 12 minutes can include two to four minutes of magic, meaning if the act is to remain a juggling act with some magical interludes and not a magic show with juggling interludes. It is possible to distribute the weight 50-50, but then the character of the show changes.

It would be commercially sensible for a juggler to put together 15-20 minutes of magic for a children's and family performance. Combined with the juggling part, this makes a half-hour program, which is in high demand for Christmas events and club parties where not much fee is possible and the artist has to play more than the short cabaret show they normally perform.

Fast and dazzling effects, colorful objects with beautiful silk scarves and colored ropes, and tricks with live animals (but you should ask yourself if you like animals and if you want to go to the trouble of learning to care for them properly) are best suited for juggling.

Balloon sculptures can also be advantageous - as long as they are not overdone and are used with the right psychological method. Children are not interested in the skill shown - that's an adult attitude - they want a balloon - everyone! To avoid a commotion in the young audience, you should bring some helpers from the audience and ask the other children if you should give the helpers something in return. The children will agree, and they will then accept that only the helpers will receive a balloon. This point must be made before you proceed to make and give away balloon sculptures.

The props you use for your magic tricks can, of course, be related to those you use for your juggling. If you juggle plates, cups, and saucers, tricks with kitchen utensils could be used. To make things appear and disappear, you can use boxes: from such a box, you can conjure your juggling props at the beginning of the show and perhaps make them disappear at the end.

For the beginner in magic, a preliminary selection of a number of effects should be made. Gradually, the artist will find out which tricks suit him/her personally and which show the best reactions. Then comes the final selection, and from then on, hardly any changes should be made, as a well-rounded, polished performance can only be the result of several years of repeated performances. This involves a lot of work and expense for props, but there is no other way.

Don't just watch other jugglers to copy their magic tricks. I have seen countless times a cigarette being extinguished in a spectator's sweater - yes, I know, the effect is good, I use it in my children's program myself to create emotional tension. But there are others, if all you want to do is add a bit of intriguing magic to your juggling act.

If magic is to be used in a juggling act, it should be carefully planned and well-executed so that it makes a valuable contribution to your show and is not just an extending element.

You can find magic tricks that require technical skill, and others that do not. Here is the difference from juggling. The public does not know what is difficult, so from the standpoint of professional entertainment, it is unwise to indulge in too many technical difficulties.

In any case, your tricks should also be "back-safe," meaning they can be performed even when you are surrounded. There are still many tricks that

Graphic: Thomas the Illusionist, Wiesbaden

do not meet this requirement; they are relics from a time when the artist always had the audience in front of them! The time you gain by using fewer technical tricks can be used for working on presentation. Remember, the tricks themselves are uninteresting - yes, I think so - only the acting and the presentation that YOU put into them will attract and hold the audience. Only these two things will create the necessary tension and excitement for your success.

Ask yourself: What do I want to convey? Surprise? Mystery? Relaxation? Joy? Sympathy? Or what else?

Practically speaking, the equipment should be easy to set up and take down. No heavy, bulky props - unless you're traveling with a circus!

Audience participation is very popular, and show organizers often ask if you do that. However, it must be done with TASTE. Do not conjure bras or other underwear from the pocket of the nice gentleman you've asked to help on stage; do not pull eggs from the backside of the child helping you with the "egg-in-the-bag" trick. If you use tasteless things, you will get easy laughs, but you will also close many doors to shows where good taste and good manners are required.

All volunteer helpers from the audience should be treated with the utmost courtesy and friendliness. If you make jokes, you and the audience should laugh with the volunteer, never at them. This is extremely important.

You should read literature on acting and presentation. Most are in English, some titles are also available in German (from Magic Hands and ZauberZentrale - see list below). Regarding the general plot and story of your act and stage technique, read: Mark Stolzenberg, "Clown for Circus and Stage," Sterling Publishing Co., 2 Park Avenue, New York, NY 10016.

If you have questions, contact me:

Rolf R. Wollert (ZARRO ZARRO) 22 rue de Bellechasse F-75007 Paris

Tel. 1 - 47 05 71 66

GOOD LUCK!

The Cross¶

Four moderately experienced club jugglers can have a lot of fun passing in a cross formation. To a casual observer, it often seems incredible that the clubs don't collide. The basic idea is that 2 pairs pass through a common center, as shown in Figure 1:

(Image: A diagram showing four people in a cross formation, with arrows indicating the passing pattern of clubs.)

Figure 1

The normal technique to avoid a collision is staggered throws. One pair starts with 2 clubs in their left hand and therefore throws half a beat later than the other pair. Or, one pair can start with clubs held high, while the other pair starts with clubs at hip height, thus having a half-beat advantage. A daring attempt to sustain a 3-3-10 pattern without collisions is also very fun.

A simpler alternative would be for one pair of jugglers to always throw high double spins over the single spins of the other pair. Of course, all four can start at the same time without risking a collision.

(Image: A diagram showing four people in a cross formation, with arrows indicating a simultaneous passing pattern.)

Figure 2

For a truly stunning effect, the four jugglers can all do single spins, as in the first example, but all at the same time! The secret is that everyone has to throw and catch very far to the side of their body at precisely the right moment. (See Figure 2) This requires some skill and luck, but the visual effect is pure madness, especially if a 3-3-10 works. Try it, but beware of uncontrollably flying clubs!

Charlie Holland, London

Serial Novel "In Love Jugglers"¶

a true story full of romance and suspense, told especially for jugglers and written for Kaskade as a serial novel by Johannes Mario Schimmel

Part 11: Ronald's Misfortune

What happened so far...

Ronald, who is currently training as a bank clerk and secretly juggles in his free time, has fallen hopelessly in love with Pamela, an acting student with "show business" ambitions. During a chance encounter among the spectators of a street show on Ku-damm, Pamela had mentioned the Wilmersdorf juggling group. In his hopeful optimism, Ronald had understood her words as an allusion that she personally wouldn't be sad to see him there the following Tuesday.

Now, read on...

Finally, the long-awaited Tuesday evening arrived. To avoid being the first to arrive at the gym, which would make him seem too eager, Ronald walked very slowly, even though his heart was pounding like seven silicone balls on a marble slab. Even the poorly lit, underheated, and generally run-down gym of the school had a romantic aura for Ronald. In the dim lighting, his creeping arrival seemed to go unnoticed by anyone.

Scattered, Ronald unpacked his bag and didn't notice his balls rolling away to hide under obscure gym equipment. He only saw Pamela, standing in a beam of neon light, casually throwing clubs behind her beautiful back up to 10 cm below the much too low ceiling.

Ronald was mesmerized. He observed her long neck, which turned gracefully to the left and right, so she could precisely watch each club that reappeared over her incredibly mobile shoulders.

When he came to his senses again, Ronald realized his balls had left him. So he was forced to begin his training with clubs, which - in his cold state - terribly tormented his fingers and wrists.

Would he muster the courage to speak to her? What would she think of his clubs? (He had bought them at a flea market, and it showed: the silver foil was peeling, and the knobs were so loose that he had already destroyed several vases practicing club swings at home.) He tried to bolster his courage by practicing increasingly difficult throwing combinations, and suddenly it happened.

As if drawn by an invisible yo-yo string, he found himself on his way towards Pamela. There was no turning back. "Ahh... good evening," he began nervously. "Oh, good evening, Robert. Nice to see you," she replied in the neutral, polite voice of an acting student. "Uh..., Ronald," said Ronald, slightly unsettled but determined to see this through.

"I wanted...," he continued. "Yes?" she said, trying to feign expectation and not laugh. Ronald attempted to throw in some casual American juggling slang, which failed miserably: "I wanted to ask if you're up for some pissing" - uhh, I mean passing." "With me," he added, as if that last aspect was too presumptuous to be a given.

To his great surprise, Pamela agreed, who knows why. After the usual confusion about the start, they finally found a comfortable "every second" rhythm, and Ronald prayed his knobs wouldn't fail him now. His self-confidence grew with each successful exchange, and he was on the verge of making the decisive move - suggesting the transition to "every" - when -

Before he knew it, he found himself without clubs, a few meters to the left of where he had just been standing. And there stood Rocky Batmann, the street performer they had watched on Ku-damm that day, passing with her, with Ronald's idol. He had been the victim of a brutal take-away action, and it hurt.

This awakened Pamela's sense of justice, and she insisted that Ronald be allowed to join in a feed with her and Rocky. Rocky made no secret of his reluctance and deliberately threw Ronald completely uncatchable clubs. Ronald had to constantly crawl on the floor in a humiliating struggle to pick up the clubs and maintain the rhythm. Just as Ronald had finally regained his footing, Rocky, who had been shamelessly boasting the whole time, went for broke: double spin, then triple, then quadruple, with one and a half pirouettes and three hand claps before catching the next clubs blind behind his back. The double spin immediately destroyed Ronald's juggling, and as he wondered why Rocky couldn't have had any clubs in his hands either, the quadruple hit - a brutally over-rotated monster with the force of a Pershing missile - down on him.

When he opened his eyes again, he could faintly make out Pamela's face next to him, and felt the icy cold of the wet sponge with which she gently stroked the huge lump on his forehead. "My God, what a huge thing you've got there," he heard her murmur, a remark he would only fully understand later.

Ronald felt quite strange. Was it the blow to the head? Or the fact that the object of his passion was now holding him tightly in her arms? In any case, he was convinced he was no longer an aspiring bank clerk. The partially defective neon tubes were, in his delirium, the stage lighting of the London Palladium, where he was the star attraction - he and his partner, the lovely Miss Pamela. And with that, he lost consciousness again and fell into a beautiful dream.

Fortunately, he couldn't hear Pamela losing her composure, which he admired so much about her. "Rocky, you stupid ape," she shouted, "look what you've done to poor Richard! Even if that dummy can't catch for five pence, there's no reason to beat him up until he needs hospitalization!"

She felt somehow responsible for what had just happened, and also obligated to care for the wounded. Without a word, she gathered Ronald's things, openly showing her disgust as she stuffed his socks into his bag. Then, she unceremoniously heaved Ronald into a more or less upright position and dragged him and his belongings to her car. Since Ronald was unable to tell her where he lived, she decided to take him home with her so he could recover on the sofa.

It was a decision she would later look back on as the worst mistake of her career - because she was not yet aware of the terrible transformation "the Great Ronaldo" had undergone.

Read next week: "Oh dear! Not the Apple-Sickle-Torch Trick!"