by Kae Verens

kverens@contactjuggling.org Thanks to the others of the “Four Horsemen” - Ferret, Rich, and Marco – for providing the shoves I needed to finish this.


Thanks to Ferret in particular for hosting the first ever contact juggling convention. Also, thanks to Rich in particular for www.contactjuggling.com, without which I wouldn’t have felt the need to constantly improve .org (competition is great…) Also, thanks in particular to Marco for providing lifesaving assistance when the website was in threat of disappearing. Thanks to the many wonderful people in the contact juggling community, for pushing us to keep refining and creating moves. I can’t name them all, but a few might be Shifty, Lance, the various Matt[e]s, Klas, Chico, Ian (the Four Horsemen’s Stableboy), and all the other people. Sorry if I haven’t mentioned your name – the Contact Juggling community is immense, and I have a book to write! Thanks to all the people who contributed their experience and videos to the www.contactjuggling.org website. This book is an almost direct consequence of your creativity. Thanks to Bronwyn, for sometimes letting me sit at my computer so I could produce this. Thanks to Michael Moschen for his video, and James Ernest for his book. Thanks to Terry Pratchett – I like his books.


Basic Contents


4 . Up until very recently. and I’m not certain that they are possible at all. there was no sign that a revolution was about to take place. I was overjoyed – for years I had been developing my skills in isolation – my only contact with another contact juggler being Paul Wills. and those sites had not been updated in years. Contact juggling turns up in music videos – “Pommes Frites” by The Orb. I had read The Book – “Contact Juggling” by James Ernest. of course. for example – books – Robert Jordan’s “Wheel of Time” mentions a man rolling golden globes over his arms and body – television shows – Star Trek DS9 has a scene where a man can be seen in the background contact juggling – and. and had studied every move in it – there are only a few that I still cannot do. who started learning at the same time as me. The mailing list gave me a chance to learn what other people had been doing. and becoming despondent when the same lack of news was returned. and almost every person has seen at least one person magically roll a ball around his/her arms.Detailed Contents Foreword Up until very recently. this rare form of juggling was unknown to the general public. Every search for contact juggling on the Internet returned the same three or four sites. and it was impossible to find any more than half a dozen websites that had any information on the art. Those of us who had been CJing for years had been doing exactly as I had – searching the Internet irregularly. Contact juggling turns up in the strangest places now. One day. It was looked down on by a lot of the mainstream jugglers. All that has changed. I came across an Internet mailing list concerning contact juggling. films – Jim Henson’s “The Labyrinth” is the most famous example. but left off developing his skills after he reached a level sufficient for his own purposes.

then I hope you find this book easy to follow.contactjuggling. I have tried to describe as many different moves as I could. and brought fresh variations on old moves – Shifty. many more moves that I could have placed in the book. and myself. I created www. If you are new to the world of contact juggling. If you are an experienced contact juggler. but I had to stop writing at some point and publish the thing.In 1999. The site brought out the contact juggler in a lot of people who would otherwise have passed it by. I hope you find enough variations and difficult moves to keep you busy for a few months. Ferret. Lance Coombes. and providing a community website for us all. New people came. and Matthew Olsen. This book is an effort to bring to the public what has been created since James Ernest wrote his book. together with Marco Van Der Bijl. Enjoy. New moves were also created by people who had been regulars in the original mailing list – Marco. for example. There are still many. for example.org. a website dedicated to teaching new contact jugglers. Kae 5 .

The best way to really get to know what contact juggling is to see it in action. that is not David Bowie doing it.org. there are many – "Dynamic / Crystal / Contact . The average name for the art is "Contact Juggling". According to the community website – www. No. Staff-spinning. mime and magic1. or plain tennis balls.Manipulation / Balance". There is a small 1 My own little maths joke 6 . Contact Juggling is half dance. It is not.contactjuggling. usually involving very little tossing or spinning". He can also be seen in Jim Henson’s film “The Labyrinth”. acrylic. pencil-manipulation. According to James Ernest's book. has a section at the end where he is contact juggling – although he prefers the term "Dynamic Balance" or “Dynamic Manipulation” perhaps he is more entitled to call it by either of those names. Contact Juggling is almost always about balls – whether they’re silicon. Michael Moschen's PBS video. and calling it Contact Juggling. No. Speaking of terms. as he was “CJing” before the term was invented.What Is Contact Juggling? Good question. juggling. and shouldn’t be confused with other forms of object manipulation. he is the hands of Jareth in the crystal manipulation scenes – no. coin-rolling and other such stuff could theoretically be called “Contact Juggling” using the definition. Contact Juggling has been accepted as solely belonging to the manipulation of balls using the body. it is rare to find a person doing something with anything other than balls. but they already have their own names. "Contact Juggling" – which originally coined the term – contact juggling is "manipulations of single objects or object groups. "In Motion". and that is how I will refer to it throughout the book. "Ball/Sphere/Orb Rolling" are just a few.

This is the most basic form of contact juggling. each of which can be combined at a later stage to form more complex moves. chest. where groups of two or more balls are spun in the hands. 7 . The ball rolls from one point to another. These moves are sometimes looked down on by “purists”. a lot of contact jugglers like to put tosses in their moves. The second form is palmspinning. The windshieldwiper is the first contact juggling move which should be learned from this form.glossary of terms near the end of the book that can be referred to whenever I forget to explain one. back. head. but I believe that bending the “rules” of contact juggling should be allowed where the result is a fascinating move. The first form is ball-rolling. arms. where the ball rolls from the palm to the back of the hand. Although contact juggling usually means the balls stay in contact with the body. Contact Juggling can be broken into two separate forms. Up to eleven balls are used in palm-spinning routines. where balls are rolled over the hands. etc. then rolls back again.

and the ability for the balls to slide against each other (for simpler palmspinning).plasticballs. but the ball should be heavy enough for you to feel it. and it didn't impede me – I also got some much-needed exercise from chasing it every time I dropped it! Rich Shumaker (www. there are no real restrictions on the ball's properties. If you have a large group of people interested in contact juggling. Acrylics can be purchased sometimes from good juggling shops. If you are on a tight budget. Ferret has some balls he calls his “stunt doubles” – survivors of earlier mishaps in practice. then it is crucial that you pick something which you will still be able to use when you move onto a more advanced level – so make sure that you buy something sturdy. and solidly spherical enough for you to roll it.Materials The first thing you need is a ball.5" if you are of slightly small stature (like me.com.com) advocates learning with a lacrosse ball.contactjuggling. www..plasticballs. I started off with a rubber ball I bought for one Irish pound. It might be a good idea as well to have some balls you don’t mind scuffing.com each supply acrylics..com.com/"www. the ideal ball is a 3" acrylic ball. as you are not restricted to practicing in 8 . the ability to hold three comfortably in the palm of the hand (for multi-ball work).com ($100 minimum order). www. Possibly.infiniteillusions. For many. but if that's not true where you are.seriousjuggling. for practice. and www. then you can buy cheap acrylics by bulk from HYPERLINK "http://www. For ball-rolling. “Stunt doubles” are ideal for practice. If you plan on doing only single-ball work. The ideal properties of a good contact juggling ball are slight but solid weight.dube.renegade.com. you might like one of the larger balls. You can learn ball-rolling with a cheap rubber ball. this may mean saving for a while. that is equivalent to a rubber croquet or cricket ball. then you can always order over the Internet.). www. or a 2.

lay it in a circle and put the blossom shape within it. When you have the rope tied off. The socks prevent the balls from moving against each other. A very easy way to stop balls from rubbing against each other is to keep them singly or in pairs in tight fitting socks. at http://www. but easily adapted to hold acrylics. The old adage "Prevention is better than cure" is apt here. and measure off a circle of rope so it goes around the tops of the balls. shows his acrylics on fantastic stands. I keep eleven balls beside my computer at home held by a simple piece of rope.com/. Then you can easily balance a 4Stack on top of it. but not so large that it might slip down over them. possibly originally made for candles. 9 .shiftys-spheres.places that you would definitely not perform in for fear of ruining your good balls. Simple. A lot of scratches on acrylics are caused by the balls hitting and scraping against each other when being carried around in a bag or left in a box with other juggling materials or potentially sharp objects.Shifty. yet pleasant to look at. One of the frequently asked questions in the forums of contactjuggling. Make a 7b "blossom" shape. and protect from outside objects as well. Another way is to store your balls on a stand instead of in a box somewhere .org is "How do I get the scratches out of my acrylics?".

so I would recommend that you at least get a look at a copy of the book. Suffice it to say that almost every pattern that can be performed in one hand can be performed in the other hand at the same time.About This Book This book was written to show some of the new moves that have developed in the ten years since James Ernest’s book came out.you do not have to learn straight through in order. even if you don’t buy it. and maybe a hold or two. for instance – but once in a while something new which is pure contact juggling comes along. and it is always advisable to learn different methods of doing the same things. A lot of moves involving combinations of patterns seemed a bit redundant for me. in approximate order of ease. Each style of CJing in the book is introduced with a chapter on “basic” moves. and the moves in each chapter. something new is developed by the contact juggling community. as some of the moves are difficult. Back-Palm and Back-Back Passes. Palm-Back. The same reason I prefer not to place an animation of a person performing a 4Stack in both hands on the contactjuggling. Well… you could learn Palmspinning before Armrolls. even for the advanced contact juggler. James’s illustrations are extremely helpful in most cases. That will give you enough moves to make an interesting routine that will mystify most non-jugglers. Many difficult moves can be learned after learning only a few simpler ones. The most basic list of moves you should learn might include Windshieldwipers. It is not a replacement. I have arranged the chapters. Palm-Palm. The instruction in this book is separated into chapters.org lies behind my not placing similar moves in this move. 10 . then start learning the steps that make up what you want. Maybe the word “fundamental” is more appropriate. but that’s up to you . so I would recommend that you skim through the book once to get an idea of what you would like to learn. Usually. The book is not comprehensive – almost every week. these new moves have to do with combinations with different arts – magic and toss juggling. Although it may seem so. I am not describing every possible move in this book.

spinning simultaneous 5Stacks while gripping another ball between the elbows is not a true 2-handed pattern. as I write this. for example. and partly because I keep cutting my hair shorter and shorter.especially if now and then you actually completed the transfer. By the way – every image in this book is of me. that does not mean that.Most of the two-handed moves that I describe are in the book because they involve using patterns that cross between both hands. I am contemplating shaving my head to make my head rolls a bit smoother… 11 . In fact. You could say that the held 11th ball is halfway through a transfer . However. This is partly because of my (very) moderate skills as an artist. yet they mostly look like different people. Any two-handed pattern that involves patterns that do not cross between the hands is really two separate one-handed patterns performed at the same time...

This chapter is about how to hold a ball. Don’t argue! There are many different holds, most of which you would never think of as out of the ordinary, some of which you would never think of how to get into, and one or two which are difficult to get out of. The Palm and Cradle holds are the most important for us, and are used in almost every move involving the hands.

Palm Hold
This is usually just called Palm. Hold your hand out, palm up. Put a ball in the flat of the palm. Don’t bend your fingers, but let them relax. If you place the ball at the base of the fingers, you are technically still doing a Palm Hold, although it’s stretching the term slightly.

There are three basic ways to “hold” a ball on the back of the hand. The first is simply known as the "cradle". Hold your right hand out in front of you, fingers together, and palm facing the ground. Lower the middle finger to form a groove. Place your ball in that groove. The little finger may raise slightly – that's okay. This is also known as the "threefinger cradle", as three fingers support the ball. The second is the cradle that I prefer – the "two-finger cradle", so called that because 12

the ball is balanced on two fingers. Place your hand in front of you in cradle position, fingers together. Form a slight 'V' between the index and middle fingers. Balance the ball there. This cradle solves some little problems with the windshieldwiper and similar moves. Make sure not to exaggerate the 'V', as it is hard to correct later! The third is used by a few CJers on the www.contactjuggling.org site, and is known as the "Vulcan cradle", after the Vulcan greeting gesture in Star Trek. Place your hand as in the two-finger cradle position, but form the 'V' with the middle and ring fingers. Personally, I find this to be awkward to use, but I'm sure there are people that will find it useful if they have trouble with the others. More advanced holds on the back of the hand include holding the ball right behind the knuckles of the first and second fingers (between the tendons), holding between the little finger’s first knuckle and the ring finger, and holding between the thumb’s knuckle, the base of the thumb and the first finger’s knuckle. You will most likely never get to use these, though – unless you come up with some very outlandish moves - in which case, submit them to www.contactjuggling.org to share them with the world!.

Tripod Hold
Put your thumb, index finger, and middle fingers up, with the tips held close to each other. You can balance a ball on the tips. This is used as a demonstration hold – it points out the ball. In the film, “The Labyrinth”, the first contact juggling clip begins and ends in this hold. Personally, I prefer the three-finger hold to this one, but a lot of people use this as their “Look! A ball!” hold. It is simple to do, and can be moved into (or out of) from the palm, open fist, or cradle holds.


Thumb Hold
For this, start with a hand palm up. Place a ball there, and wrap your thumb over it. Now turn the hand over so it is palm down. The ball should still stay in the palm, held there by the thumb. This can be used to great effect as a surprise in the middle of something routine. If you butterfly normally for a while, for example, then suddenly throw in a single Thumb Hold so the ball ends up under the hand instead of above it, the audience is usually surprised and then impressed.

Cradle Hold w/ Thumb Hold
This hold, while it is simply a combination of two other popular holds, pops up enough in contact juggling that I felt it needed to be pointed out on its own. The Thumb Hold is important to this hold, so should be practiced carefully. The Cradle Hold used here is the three-finger cradle. Although I am a great fan of the two-fingered cradle, it is simpler by far to use the three-finger version in this hold.

Knuckle Hold
James Ernest says in his book that this is one of the only times he ever lets his fingers tense. It is a style decision. The hold is not right for everyone, but can be perfect for some moments. Form a fist, and raise the forearm so the fist is pointing up, with the index and middle fingers forming a groove along the first phalanges. Place the ball there. This is tricky to get into, and tricky to balance. Try tossing from one hand to another, keeping the same hold. Or, even harder – try placing your two fists together and roll the ball from one to the other. 14

Mostly. This hold is elegant from all sides. try to bring the fingertips closer and closer. but as you gain experience. Start learning this by making a tripod of your index. the fingertips should be held wide apart. Form a fist. from the Fist Hold. Open Fist Hold I call this the Open Fist hold because. this hold is used as part of a group of holds flowing into each other – it can look very good to “flourish” the ball with a series of holds. Eventually. middle and ring fingers. Place the ball on the slight dip formed near the end of the index finger. Balance the ball on the fingertips. so is ideal for little pauses in your routine. It can be very impressive when you are rolling the ball around your arms for a while. To begin with. you come to a point where you can't bring the fingertips closer 15 . as the shape of the hand is as if you were holding a large mug’s handle.Fist Hold This hold is also called the Cup Hold. all you need to do is unfold the fingers and press the thumb in tighter to get this hold here. 3-Finger Hold This hold is a good starting and finishing move. The side is even more magical sometimes. with the fingers knuckles held in a vertical line so the index finger and thumb are on top. It is also fascinating when come by suddenly The front view looks like the ball is just balancing on the end of the fingers. then suddenly stop with the ball apparently just balancing on your fingertips.

then paused in the act to hop the ball up and down there for a while. pass over the cradle to the other cradle. this one has a lot of possibilities. and do the same in reverse on the other arm. then keep the ball isolated while rolling it to the cradle. about two inches from the audience side of the forearm.bending the finger makes the hold lose some of its appeal. I have let my right hand go limp in the picture. but we'll get to that. in the first video I saw of him. so all it takes is a little practice to be able to balance the ball there without a problem. That is crude and unnecessary The inner elbow is relatively flat. and moving the arm around in small ways. Another interesting move.without bending the middle finger. while tensing. 16 . then the tendons of the arm shift and bunch in uncontrollable ways. is to balance here. This version of the hold is called the “Inside” Elbow Hold. I balance the ball at the base of the biceps. Robin Spehar. Balancing a ball there while doing something else with the same arm is another thing altogether. I see Robin doing very often. As you can see. untensing. Elbow Hold A lot of people hold their balls here by gripping the ball between the forearm and biceps. Stop there . To learn this hold. Outside Elbow Hold Much harder to do than the Inside Elbow Hold. Joe DiNoto (the Golden Chicken) uses this in a strange variation of toss juggling’s “Mills Mess”. rolled a ball from the cradle to here. you should first feel around the area with your other hand. If you tense the hand.

With practice. To begin with. and turn the head slightly to the right .if it reaches the nose.correcting the error. as a move always impresses more if it looks effortless. Don't let the ball go below the eyebrow area . There is no easy way to get into it. The simplest way to get into it is a toss to catch there (see Head Catch). If the ball starts moving left .move your whole body further left. step slightly back and straighten up a bit.assuming you are an advanced CJer.Forehead Hold This is not a beginners’ hold. just reverse these instructions. Not because I think you won't be able to do it .with a few minutes practice.this will cause the ball to roll a bit to the right .this is where the ball is held. If the ball starts rolling down towards the face. here are my thoughts on the hold.it is an advanced CJer's hold because there are no simple ways to get into it. If it starts rolling further up the forehead. of course. Anyway . it is difficult to get back to the forehead. Neck Hold This is another of the advanced CJers’ holds. If it rolls to the right. I'd recommend this. The most obvious ways – a roll up the arm 17 . you have a dip in the forehead . I'm sure you could be walking slowly around the room with no problems! No . step slightly forward and lean your head further back. the ball is held just above the eyebrow muscles. the ball can be held without furrowing the muscles. Tense up your eyebrows (furrow them as if you were concentrating on something). and feel there . and that is something I would refuse to teach any beginner because it is dangerous.you will notice that with the muscles furrowed.

and the shoulder muscles. tossing to catch.behind the head. Other people like to bring the ball further down so it is almost in the ear! This area is much more stable again. The ball is cushioned at all sides – by the spine. and makes your head contact juggling look extreme. the base of the head. in which he had the ball on the right Outside Elbow Hold. placed his head down so the right temple was on the ball. I wouldn’t call that a Temple Hold. Getting into this hold is a difficulty which all advanced CJers have to figure out at some point. are all advanced moves. In the image. The easiest way. this hold is extremely simple. I am holding the ball right at the front of the temple dip in the skull. It must be done in a way that is awkward to the body (unless. I find that the bony rim of this area helps to keep the ball steady. you are lying on your side as you do it). Robin Spehar (a comic artist who just happens to also be a fantastic contact juggler) submitted a video to contactjuggling.org of a small one ball show he did. and rolling from the forehead to the neck. Simply bend over at the waist. 18 . Despite all that. where you simply roll the ball off the cradle and onto the temple. and flipped over towards the left and took the arm away so the ball was balanced on the right Temple Hold. in my opinion. of course. though – but go ahead and learn it anyway. The image here is of myself doing a neck hold with a 5” ball – it’s not a trick of perspective… Temple Hold The Temple Hold is very difficult to keep steady. and hold your head up so you’re looking straight ahead. scrunch your shoulders up. is the first move of the “Butterfly With Head Hold”. so a bit of flexibility is also required.

19 .

The Windshieldwiper and the various Cradles should most definitely be learned. It is named after the motion the arm makes. Start with your ball in the right cradle. when you are catching the ball. It doesn't matter which form of cradle you use.Basic One Ball Moves I will describe all one-handed moves here using the right hand (my strongest hand). and is also a good filler on its own between moves. Just learn the basic versions of whatever you feel you can do. it is essential that you can do this. It is not necessary to learn all possible moves in order to be a great contact juggler. but you will be better off with a general education in all styles than in specific in one style. but you should also practice with the left. Windshieldwiper The first ball-rolling move most people learn is the windshieldwiper. If you are left-handed. Two-handed moves should also be learned both ways. then when you feel competent. This is a common basic move of a lot of complex combinations. You may find that the ball bounces off your hand. Toss the ball gently upwards. and catch the ball in the same position. simply reverse instructions here. In that case. This chapter is probably best practiced by choosing combinations from the following chapter that you’d like to learn. move on to harder versions and harder moves. which is similar to the motion of a car’s windshield wiper. drop your hand at the 20 . and don't forget to practice with your right hand. Before you move onto the next stage. then learning the moves in this chapter that are necessary for them. The similarity is more obvious when you do it with both arms simultaneously. Some of the moves at the end of the chapter should not be learned until you have practiced multi-ball and palmspinning. as they are basic to almost all other moves. It is possible to learn straight through.

The final stage is to lower the height of the toss until the ball is in constant contact with your hand as it moves between palm and cradle. valuable china. When you have this smoothly. This should be easier than the cradle-toss. hence the name of the move.same speed as the ball and slow it so the ball comes to a gentle rest. After you are comfortable with the first two practice tosses. The catches can be smoothed somewhat by moving the hand in the direction of the throw slightly as you catch the ball – i. your arm will be moving in a smooth windshieldwiper-like motion. move your hand slightly further to the left to give the ball more space to slow down (before falling off the end of your fingers onto your toes). practice the same with the palm. Congratulations. It may help to examine closely how you would normally catch a ball in the palm of the hand. you can go on to the next stage. It is important that you do not allow your fingers to curl around the ball as you catch the ball. etc. Be very careful here – if you are throwing from palm to cradle and your fingers are curled. TVs. Practice tossing from the first position (cradle. try practicing the same. while keeping the elbow in the same place. the ball will get caught in the curl and be thrown at whatever is next to you! Practice somewhere out of sight of cats. forearm perpendicular to the chest). as you catch a ball tossed from palm to cradle. Learn to toss from cradle to palm and back again. When you are comfortable with that. so a bit more care than usual is needed when cushioning the ball. perpendicular to your chest. Now start to smooth out this movement. Your forearm should be pointing directly out from you. so won't need as much work. say.e. you may now celebrate learning your first contact juggling move! 21 . and apply that to the cradle.. forearm parallel to the chest) to the second position (palm. Next. A good way to practice this is to hold the elbow with the left hand while tossing with the right (as seen in the images below). but toss the ball back from the palm to cradle as well.

The left hand continues down so the ball is in the cradle. 22 . allows you to keep a hand nearby while looking sufficiently graceful that it can be considered a move of it’s own. Hold a ball in the left palm. The right hand slides further down the back of the forearm and the right forearm is raised so the ball is still visible from the front.Wristhold Windshieldwiper It is sometimes helpful to have a hand nearby to help you in case you drop the ball. but it jerked forward of it’s own accord when I almost dropped a ball from the right forearm. This move. First try it without the ball. here is how to do it. for example. which is pointing left. Bring the left hand forward so the ball is on the other side of the right forearm. In the 3b Escape I placed onto the contactjuggling. In most cases. with the right hand slipping around the front side of it so the fingers are pointing left and the thumb is at the wrist. resting flat on the left forearm so the tips of the fingers are near the wrist. Assuming you are doing the Windshieldwiper in the left hand. it is difficult to do this aesthetically. and the right hand back around to it’s starting position. The left hand comes up to vertical. Now. though. The right hand is palm down. I tried to keep my left hand by my side. however.org website. you simply bring the left hand back upwards to the starting position.

Butterfly the left hand in so the hand drops down inside the loop created by the right arm. Stretch the Windshieldwiper further left and slide the right hand around the right side of the elbow until its fingers are touching the outside of the elbow (the pointy bit). Butterfly The butterfly is named after a hand motion used in some Middle-East dances where the hands intertwine and wave as if fluttering in the wind.Elbowhold Windshieldwiper This is just like the Wristhold move. Imagine a large figure "8" lying on it's side floating in front of you (an infinity symbol). forming an infinity symbol. Start with the left hand as before. All this while. We simply smooth the movement out by removing those end points. This time. Butterfly the left hand out until the ball is in the palm. Your ball starts on the bottom of the left loop. Raise the right elbow and dip the left hand further down so you can then bring the left hand forward to the outside of the right arm. Moving your elbow will greatly help you with this move. and slide the left hand back to the base of the biceps. the right hand remains at the base of the left biceps. except the right hand is further down towards the left elbow and doesn’t move as much. in the cradle. there are two end-points on the arc that the ball follows. The butterfly is an extension of the windshieldwiper. In the windshieldwiper. You can also do this move in the opposite direction. The ball then travels to the top of the right 23 . the right hand rests on the inside of the left elbow. but I think the way I have described is easier to learn. so the ball comes up through the loop.

Start by placing your right hand palm up. where it goes over the fingertips to end up at the bottom of the right loop in the palm. and at all times while moving left. and keeping the fingertips of the left hand as far apart from the right-hand fingertips (and vice versa) as possibly. that it is used in almost all cases where the word Windshieldwiper should really go. Continue the movement of the hands so the forearms are brought apart and down again. Remember that at all times the ball is moving right. no matter how the movement is accomplished. you pull the ball to the top of the left loop. Good movement of the elbow will help you here. but there is little benefit to it – the average audience member will not notice the difference. Repeat the movement in reverse to bring yourself back to the beginning again. but the word is so much nicer than Windshieldwiper. Live with it. so technically it shouldn’t be called a Butterfly. the ball should be in the palm of the hand. where it goes over the fingertips to end up in the starting position again. This move does not form an infinity symbol. From there. we see an example of the word “Butterfly” being subverted. so limber up! The butterfly can be reversed. Now put the forearms together. Twirling Butterfly Immediately. The wrists should touch at all times. and your left hand over it palm down so they cross at the wrist. bringing the hands up. You should end up with a ‘T’ shape. Note: “Butterfly” is also used as a verb to describe the rolling of the ball from the palm to cradle and vice-versa. and the hands cross each other again at the wrist.loop. the ball should be in the cradle. this time with the left hand palm up and the right hand palm down. 24 .

When you repeat this quickly. Perform a 2b Spined Butterfly as above. then the hand which is on it’s own side of the body (i. Spined Butterfly The butterfly motion can be performed in many different ways – this is a way to perform it in an almost flat line. The ball is still in the right hand. Continue the movement of the cradle to the far right. as you bring the twirl to a finish. Continue the twirl. you’ll see that the hands are “twirling” around each other. but this time with a ball on the right palm. Expanding even further.: the left hand if you are staring on the left) starts with the ball in the cradle position. “Butterfly” the ball into the right palm as you straighten out the forearms again.e. Now. using what Ferret calls a “flip-flop” to do the butterflying part of the move. From there. but moving towards the fingers. This is the basis of the name “Twirling” Butterfly. Straighten the forearms out into the ‘T’ shape. Bring the palm to the right until it’s held in the normal position just to the right of the chest. Now. both hands moving from the same 25 . and flip the hand under the ball so the ball rolls into the cradle. That is the end of the first part. bringing the ball back to the original position. and ends up in the Palm Hold (remember that all contact juggling moves can be reversed!). Start from the beginning again. If you are doing this with both hands. you should be in the ‘T’ position again. or from the same side. If you are starting both from the same side. you can add a third ball. When the ball rolls over the fingertips. “Butterfly” the ball over the fingertips and down into the cradle. Start with a ball in the right palm. bring the hand up slightly. with the palm held far to the left. you can either start both butterflies from opposite sides of the chest (arms crossed).

James Ernest pointed out that most CJ moves seem to be in only two dimensions. and the “baby pass”. which is practically the same movement. knife-edges and little fingers of both hands together. swing the arm up and back so the ball rolls over the fingertips to land in the palm. a variant of what is called the "cheater palm-palm pass". The pass is a form of Thumb-Thumb Pass (described later in this chapter). When the hands are flipping over. and put your ball on the cradle. but start with a third ball held in the palm-down hand. so it crosses at the base of the little fingers. Now place the ball in the right palm. The hardest part of this is when you bring the ball back down – be very careful! If you make a mistake. pass the ball from a Thumb Hold in the first hand to the second. Another variation on this is the Reverse Planebreaking Butterfly. and be flung straight out in front of you – destroying whatever mirror you’re practicing in front of. and simply roll it to the other palm. “Contact Juggling”.side. or smacking an audience member unexpectedly (I hope they never expect to be smacked…). we move the butterfly in Y and Z. The "classic palm-palm pass" is extremely simple – just hold your hands together. your ball may get trapped in the curl of your fingers. and the cradle at the end held above the shoulder. It's 26 . Planebreaking Butterfly In the original CJ book. Now. a more difficult one I call the "chalice palm-palm pass". and that they can be expanded into the third just by thinking about it. Palm-Palm Pass There are four basic palm-palm passes – the "classic palm-palm pass". Place your right hand out. which is just above the right shoulder. cradle upwards. but with the palm upwards in the beginning. This is one example of that – instead of X and Y.

hold your forearms together so they're pointing in front of you and up. The ball rolls from the right hand to the left. it is possible to make more complex passes – palm-palm passes with the wrists crossed. palm up. the little finger next to the left armpit. palm-palm passes with the forearms twisted right round. and the left fingers left. with the right fingers pointing right. but smoothed up. you should start with your right palm facing up. The left hand is also palm up. sliding the hands towards the left all the while so you end up with the hands pointing left. and the left little finger is touching the right knife-edge of the palm. place your right hand in front of you pointing to the left. and a ball in the cradle. For the most common form. across the knife-edges into the left palm. I call it the "chalice" palm-palm pass because of the shape the arms and hands make. As long as the ball passes from one palm into the other without too much messing around in between. For the “baby pass”. For the "chalice palm-palm pass". right little finger against left knife-edge. The choice of which you use at any particular time is aesthetic – whatever looks best is best. palm down. Place the ball in the right palm. but it can be adapted to more comfortable 27 . The "cheater palm-palm pass" is based on a lazy way to do the classic palm-palm pass. it is a palm-palm pass. with it’s little finger next to the right forearm or elbow. Back-Palm Pass There are two basic forms of back-palm passes. Place your hands together so they're both pointing right. which is good for stage work. The palms should face upwards. palm-palm passes over the fingertips. and roll it across the heels of the hands to the other palm. Place the left hand so it’s pointing the same direction. with the heel of the hand touching the right hand’s fingertips. From those four basic passes. Roll the ball from the right palm. This pass allows you to make the movement quite large. This position is similar to how a baby is held against the chest. This is kind of an awkward position.called the "classic" palm-palm pass because it's the most basic method to do it.

This must be done relatively slowly. In this move. as it is difficult to correct high-speed passes in that position (the hands aren’t too maneuverable like that). This version of the back-palm pass is used in the “horizontal circle”. or quick. place your hands in line. The ball is passed from the palm of one hand to the cradle of the other. but in the opposite direction. The first form is good for large movements. palm up. both wrists touching. The second is good for tight. the right hand has more movement available to it. yet the look of the move hasn’t degraded. and the left hand above it. For the most common version. The ball passes from the right palm over the base of the thumb to the left hand. The most common two methods are similar to the two most common Back-Palm Passes. In the less common one. Simply pass the ball along the fingers to the left palm. The more uncommon pass is done by placing the right hand palm down. and can be performed slowly. so fast passes can be corrected by raising the fingers. movements. place your hands in the beginning position again. Pass the ball from the left hand to the right. left hand pointing left and palm up. The right hand is placed alongside the left forearm with the thumb pointing downish so the left index finger is fully in contact with the 28 . and is good for passing during “twirling butterflies” parts of your routine. making the ball slow. parallel to the chest. For a more comfortable form of the above move. right hand pointing left with the palm down and the fingertips touching the left heel.positions after it’s learned. There is a “Baby Pass” version of this as well. The right hand is placed palm up. You’ll find that the angle becomes less awkward. the ball is passed from the cradle back up the arm and off at the wrist to the other palm. keeping the heel and fingertips together. with the little finger next to the left armpit. then. move the left hand forward. even “isolated”. Palm-Back Pass This is just the opposite of the previous pass.

passing on to just behind the left knuckles. Start with a ball in the right cradle. tilting hand so the ball rolls to the left hand. lift the right fingers up to about 30 degrees. and can be very frustrating for the beginner. The ball should have enough speed to continue on to the left cradle position. There is a groove between the index finger and thumb that slides very nicely against the opposite forearm. though – persevere! You will get it. until you can take away the right hand.right forearm. you can slow its progress by raising the left fingers up at an angle to 29 . Tip the hands over to the right so the ball rolls over the right knuckles and is stopped by the left hand’s fingers. Back-Back Pass The Back-Back Pass is the more difficult of the basic passes. The ball is rolled from the right hand along the arm to the left. Don’t worry. so we’ll learn to improve it now. Tip the hand further and further so the ball is supported more and more in the left cradle. That method is only good for learning the move – it will hinder the speed at which you can perform moves at a later stage. To start off learning this pass. Starting again in the same position. it is possibly best to bend the left hand up and back so the fingers end up almost touching the ball in an almost vertical cradle. Try to get your hand into a comfortable position there so that the base of the left thumb is against the right hand’s heel. Place the left hand in front of it so the base of the index finger is against the right wrist. arm parallel with the chest. If you find that the ball continues too far and falls off.

and the hands are pulled from under it. The move can then be repeated over and over. too). Back-Back Walkaway This move is based on a variant of the Back-Back pass. You will need to step forward to be comfortable with this. but I don’t recommend you learn that way. hence Walkaway. which are very heavy and very hard. repeat the same move onto the right hand. though – I used to practice with glass balls. It is also a good idea to move the receiving hand slightly in the direction of the ball’s motion. The effect is that the ball is “walking away”. This move can also be isolated – the ball stays still. keeping the same movements of the hands. This caused bruising on the backs of my hands that took weeks to get rid of2. Done continuously. but not so near that the ball hits the lump of the ulna’s base (that can hurt. Place the left hand in front of the right and roll the ball onto it so at passes onto the back of the left hand and rolls to it’s cradle. which is a point of all isolations. you can lengthen the move out by passing to positions further down the hand and back of the arm. To make it look a lot better. you are passing directly from the cradle to the opposite cradle. and looks best when isolated. This gives the effect that the ball is floating. Pass from the right cradle to the left cradle. very quickly (through something like shock therapy). Now. The further you raise the fingers. and looks like the ball is rolling left to right. hand pointing forwards. but the ball doesn’t move.cause the ball to have to climb uphill. and increase the control you have over the action. This pass is not yet complete. then bring your right hand under the left to the other side and pass again from left to right. 2 It also caused my to learn very. all the while walking forward. bringing it to a halt smoothly. Be careful. As it is. You can practice this using a move called the Back-Back Roll. The best place to pass to aesthetically is possibly the position near the base of the radius and ulna bones. 30 . the quicker the ball will slow. this feels great. Start with a ball on the right cradle.

crossing at the wrist. Thumb-Thumb Pass This is part of the Twirling Butterfly suite of moves. Hold a ball in the left palm. Start with the right hand over the left. then repeat back. You can. etc. grabbing it in the left Thumb Hold. and then roll the ball forward onto the right palm. picking it up with the opposite cradle. and roll the ball backwards. and looks out of place with most other moves. so the ball is actually coming back towards you. you start with the ball on a cradle. place the right hand in front of it so it’s heel touches the left fingertips. Palm-Back Walktowards. If you reverse this move. Continue the twirl so you end up in a mirror image of the starting position. of course. this makes the ball appear as if it’s moving smoothly along a path which is being created as it moves. Then repeat with the left hand in front. It is exactly as you would imagine. pausing at the palm-palm position to roll the ball from the right hand to the left. I guess further instruction would be very redundant. 31 . In this case.You can also reverse the move. variate this idea further by having BackPalm Walkaways. If done right. Twirl the hands as you would a normal Twirling Butterfly. Palm-Palm Walkaway After learning the Back-Back Walkaway. A ball is held in the right Thumb Hold. you should find this simple to learn. it becomes the Back-Back Walktowards (imaginative naming scheme!).

32 . In stage magic. A fantastic contact juggler can practice for weeks. In close-up magic. Compare close-up magic and stage magic. To entertain your audience. The commenter did not say anything about the CJing itself. you concentrate on the hands (usually) – it does not matter what expression is on the magician’s face. the magician’s body language is all important. but always be aware of how they look to the audience! When you practice any move in body rolling – also practice moving the body to accentuate the move. and is what I live for as a CJer – the idea that someone could dance. learn the most difficult moves you can learn. you have to become large and expressive as well. Unlike Palmspinning. All that matters is the interaction of the hands with the object being manipulated.Body Rolling When you first describe Contact Juggling to a person who has never heard of it. Pretend the ball has a life of it’s own. but the balls are rolled all over the arms and body instead of thrown in the air”. or mime. One comment I heard about a CJer I knew years ago was that he never moved his legs. and be baffled about why the audience is not impressed if he/she forgets to include the whole body with the move. I have seen routines where the audience “oohed” and “aahed” at moves which any green CJer could pull off with only the minimum experience – this was because of the performers “stage presence” – an invaluable aid in a performance. or whether he/she is wearing an outfit. You must avoid this. body rolling is large and expressive. however. By all means. which is fascinating. all the while rolling a ball on the body as though strings are attached. This gives a mental image. which said to me that the fact the CJer had not moved his legs made the legs stand out more than the ball. you might say something like “It’s like normal juggling. which is a very “close-up” art.

you will notice that there is a tendon that connects the biceps to the forearm. If the ball moves left. In my case. To learn. Place the ball on that area. The forearm roll is much easier than the Backarm Roll (yes. so that’s all the better. This should be fairly easy at the elbow. Don’t straighten so far that your arm is stiff. move the arm left. and to the palm of the hand. The next step is to learn to balance in the middle of the forearm. move the arm further right to compensate. and the muscles form a curve. through the middle balance point. and watch it themselves. it is a simple matter to roll a ball from the elbow. and therefore easier to balance on. The audience will pick up on your focus. 33 . When you have practiced sufficiently (in your opinion).Move your body to focus the audience on the ball. or you’ll find it difficult to correct the balance of the ball. but you should practice this balance point a lot. Hold your right arm out in front of you so it is almost straight. you should first learn to balance a ball on the inside of the elbow. as the forearm is very smooth. to make the action sink in. I made up the word “backarm” – what else would you call it?). arm rolls are the next learning block. now balance the ball there. This will take much longer than the elbow. and learn to balance there. If the ball moves to the right side of the arm. which makes balance a little more difficult. Feel the area. Forearm Roll After the butterfly. If you straighten the arm even further you’ll notice the area flattens out even further. It will take a while to become consistent with them. This agrees with a lot of people’s ideas of how contact juggling should be done. You can balance the ball to the right of this. If you feel the elbow area. so it is best to learn with the fist open. Okay. the arm is tense. but not so much that the elbow is stiff. Close your fist and open it to see the difference. Don’t look around while performing – examine the ball. it took weeks of practice to get to the stage that I could walk around with a ball there. When the fist is closed.

then roll the ball onto the other elbow. yet isn’t as clumsy as a sudden stop. This is why you should learn forearm rolls first. you can add it into your practice routines. This is a variation of the catch principle. then you simply move the right arm to the right and lift it – this will cause the ball to move left. while pulling the arm in towards you so the ball is not really moving. If you tense your 34 . Hold your arm out in front of you so it is parallel to the chest. When the ball reaches the palm. Run your hands over the arm while alternatively clenching and unclenching your fist. palm down. The ball slows to a halt. you should plan out where are the points that the ball should stop or go through. Backarm Roll The “backarm” is the side of the arm opposite the forearm (duh!). If you want to learn this with larger gap between the elbows. Now that you can roll the ball up and down the forearm. The hand is used to catching things. bringing the other elbow in close to it. You can even just do continuous arm rolls – balance the ball on the elbow. This stops the ball. Try it and see. Before beginning your rolling. hand muscles. When the ball is just reaching the elbow. You can also do this in the opposite way. then you should learn Elbow Catches first (described later). at the same speed as the ball. When you are learning to roll on the backarm. and slow it to a stop. but the elbow isn’t.Learning the other way around is a little more difficult. pull the elbow back a little. Ferret came up with a pass from one elbow to the other. for example. Roll from palm to elbow. You could stretch out your Back-Back Butterflies. If you’re rolling from the right to left. and roll to the palm. If you roll it right. which I’ll explain later. You will notice that the backarm is much lumpier than the forearm. pass it onto the other elbow and roll back. then the ball should just roll on down the other arm. and arms. then just toss the ball from one to the other and continue the roll. by doing a forearm roll every time you butterfly into the palm. it is important to first get a feel of where the muscles are.

so you are in the opposite starting position. Luckily the backarm doesn’t really get bumpy until near the elbow. Of course. and mentally plot a course from the cradle to there. you’ll see that the backarm muscles form a triangle. with the appropriate muscles tensed. the muscle helps form a wall just above the elbow which may help while you are learning. with the thin end at the elbow. This is one place you could stop the ball. Make sure that the elbow is in the right position. Then bring the right arm under the left (if you bring it over. Roll the ball down to the elbow. you’ll see that a flat area appears on the inside of the elbow. This makes it difficult to roll with a straight arm. then place the left arm in front of it. Another is at the base of the biceps – it is not necessary to tense anything to balance here. Difficult. and pass back to the left cradle. but if you tense the back of the upper arm. A variation of this is called the “Genie Roll”. Concentrate on the stopping position so you really know what you’re doing as the ball gets there. which then rolls to its 35 . Place the right arm in position. The balance point in the middle of the backarm is directly on the opposite of the one for the forearm. Choose which spot you want to stop the ball in on the elbow. and the left arm behind. making the physical act much easier. hand resting against the upper arm. Roll the ball right down to the elbow. and the left arm should be pressed against the right. Start with the right arm in front with the ball on the cradle.biceps. It is much easier to do a Backarm Roll if you don’t have to worry about stopping the ball. This is a very extended Back-Back Pass. it will obscure the audience’s view) and bring it against the right’s. so we’ll learn with the arm bent at a right angle – parallel to the chest. The right hand should rest on the left bicep. They are difficult to see. yes? It gets easier with practice. Each of those areas will help you during Backarm rolls towards the elbow. with the ball on the cradle. This is for two reasons: 1) you will know what you’re doing at all times. and 2) you will have accomplished the move already in your head. roll the ball. and then pass the ball forward to the left hand’s cradle. If you straighten out the arm. Now. you will have to be feeling the area in order to notice this.

Backarm to Forearm Roll it. You can roll a ball to the elbow and pass to the other arm either inside or outside the bend of the arm. start with a ball in the right palm. or behind the upper arm. This can be continued on the opposite arm then. Rolling down the backarm is a bit harder. you are learning both to strengthen your backarm rolls. As the ball reaches the elbow. and roll to the cradle – if you toss it with a lot of sideways motion. you will not have to balance on the elbow before starting the roll. The more ways you can do a move. arm parallel to the chest. extended to the right. Backarm-Forearm Roll When rolling from the Backarm Roll to the Forearm Roll. the above variations can be reversed as well. This can be done with the exact opposite move as just above. This can be done to extend the roll in as long a line as possible. and bring the forearm up and over in an arc as if you were performing a Windshieldwiper. 36 . A very good way to practice your backarm rolls is to vary how you pass from one arm to the other. and also essential moves for recovering mistakes. Place the right arm over it. ready to start again. Of course. you should first make sure that the backarm roll is performed parallel to the chest. and toss the ball to the right elbow. extended to the left. The receiving hand should be poking out past the starting arm’s elbow. Place a ball in the left cradle. the more likely you will be able to recover it smoothly when something goes wrong. and you will end up with the ball in the palm again. A lot of people simply roll the ball right off the elbow in a straight line onto the opposite arm’s cradle. then allow the ball to continue its roll down the forearm. For a continuous Backarm to Forearm Roll. allow it to roll slightly up the upper arm. It is called the “Genie” Roll because of the position the arms take. By varying the pass.elbow and passes forward to the starting position again. butterfly it to the cradle. as you have to figure out how to get into a position where you may have to roll from the elbow to the cradle.

The Backarm Roll seems to be the most aesthetic one for long rolls. and you will end up with the ball in the cradle again. almost onto the backarm – the tendon from thumb to arm and the wrist bone tend to be a it bumpy. so use that one. Therefore. Armroll to Shoulder Hold This is just a roll along the arms ending at the shoulder. Roll the ball down to the hand. To do this. From there. and the ball rolls down the backarm to rest on the extreme opposite of the Elbow Hold. It is easy to balance here as it is very flat. 37 . The hand is held in a chop position (knife-edge down. possible giving it a little “hop” with the elbow to get it over to the outside of the elbow. “simply” roll back up the arm. bring the forearm straight up so the ball is in a Stretched Three Finger Hold. Start with the ball held on the Elbow Hold. It may help to sort of toss the ball upwards from the elbow before starting the chop motion required to bring the ball over and back to the starting position. For continuous Forearm to Backarm Rolls. It may help to learn this in a point-to-point manner. From there. ready to restart. butterfly to palm. but getting into a position to use the hold is a bit awkward. Forearm-Backarm Roll it. thumb up). so it ends up in an Open Fist Hold. the elbow rises up on the outside. over the fingertips. which means that your ball may drop on the inside. as when you are turning the forearm over. Chop Roll An extreme form of arm roll is the Chop Roll.Forearm-Backarm Roll Rolling from the Forearm Roll to the Backarm Roll is slightly harder. you should roll the ball a little further than you would normally. and back to the Elbow Hold. it’s just the opposite of the continuous Backarm-Forearm Roll – start with a ball in the right cradle. you’ll have to roll along the edge of the forearm. Carry on from that so the hand goes back behind the head.

and straightforward.There are two main areas in which the ball can be stopped – between the clavicle and the trapezius (the huge muscle covering the shoulder blade). Spiral This move looks fantastic when accompanied by a lot of body movement. As the ball approaches the hand. or nudge it out with your chin. but as it rolls. The second one can be used to go either back down the same arm. Roll it along the backarm until it reaches the middle of the backarm. From there. James Ernest used this move as an example of “serendipity” – that even mistakes can be used to form new moves (he was practicing chest rolls. it is then rolling on the backarm. and between the clavicle and pectoral muscle. The first one is difficult to get out of – the ball is essentially stuck there unless you either jerk it out with a body movement. Start with a ball at the Elbow Hold. In the video “Contact Juggling: Part One”. The ball is still in the same position. swing the arm in towards the chest so it ends up with the hand pointing palm down and held above it’s own shoulder. both arms at once. Greg does several variations on it – pirouetting. slightly toss it forward and up to give it a bit of momentum. you should turn the arm under it so as it is coming up to about 2/3rds of the arm. Allow the ball to continue up the hand and into the Tripod or Three Finger Hold. you spiral the arm around it so the ball curves around the heel of the hand and into it’s palm. Using the elbow as a pivot point. Start with a ball in the cradle. Helicopter This could be thought of as the opposite of the Spiral. over the shoulder towards the back of the neck. and the ball halted above the clavicle). across the chest into a chest roll. The ball rolls up the forearm. or down the body to your legs. 38 .

The key is to use your body to change the ball’s momentum to make it want to move in the route you have planned. and continue with a Chestroll followed by a Spiral in the opposite arm. As the ball comes towards the armpit. Rolling up the forearm is easy enough. you should be proficient with Forearm Rolls on both arms. Rolling along the inside of the upper arm encourages the ball to move towards the chest. and start a new spin. The ball will travel up one arm. crossing the chest below the collarbone (another bumpy area). First of all. After we have decided the route the ball is to take. Let the ball continue its roll to the elbow. it is a great idea to plot out the ball’s route before journeying out.Continue the pivot. twist the arm over (hop the ball to make sure it doesn’t get knocked off). encouraging the ball to speed up to cross the chest – this movement is subtle. it is time to decide how are you going to encourage it to take that route. Just like learning the Forearm and Backarm Rolls. To do these. and down the other arm. to do multiple Helicopters – when the ball arrives on the forearm at the end of the spin. but difficult. avoiding all bumpy muscles – it will roll up the forearm. as if inviting someone to hug you. with both arms outstretched. In greater detail. twisting the hand palm-up so the ball rolls onto the forearm and the arm ends up pointing away from you again. Forearm Chestroll You will find after a while that it is easier to do Backarm Chest Rolls. then move your entire body in the direction the ball should go. the ball will take the smoothest path possible. but it is easier for the beginner to learn Forearm Chest Rolls. crossing to the chest just above the armpit (avoiding the shoulders). and you 39 . It is possible. get an image of how you will be standing – you will be standing leaning slightly back. lean back. and down the other side in the same method. I like to do this move. across the chest. up the inside of the upper arm (avoiding the biceps).

The ball should move just fast enough to reach the other side before starting to fall. Leaning back also encourages you to get your chin out of the way – you don’t want a lump of acrylic hitting you in the jaw – especially in front of an audience (it’s a bit unprofessional). Backarm Chestroll This chestroll is a bit more difficult to learn. Stand straight. If you do a lot of toss juggling. Again. and make sure that the pressure is the same at all points. The roll down the other arm is just a controlled fall from there. I use a novelty 6” tennis ball to learn long body rolls. it is best to start with a large ball before gradually using smaller and smaller ones. The route down the other arm is just the same. a chest roll thrown in at an appropriate point is a real crowd pleaser. and is a lot smoother in the end. To learn this chestroll. The ball travels up the backarm. making for a good pause in the routine. we start by figuring out how we’re going to stand. Don’t forget the small nudge in the direction of movement that you should do is the ball reaches the shoulder. It is needed to make sure that the ball doesn’t just get to the sternum then drop. The ball will again be traveling by the smoothest route. It is a good idea to imagine the ball rolling smoothly in a circle along the arms and chest. 40 . along the outside of the biceps (which is lying flat because of the pose the arm is in). midway between the armpit and shoulder. The index fingers should be about a foot apart (30cm). and arms held out palm down as if they were around a large barrel. the route is clearer. This move can be repeated over and over by bringing the hands together at the end of the move and passing the ball over the fingertips and repeating the roll. back tilted back a bit.won’t notice it after a while. It can also be repeated over and over. but ends up being easier. but use it while learning so it becomes a habit. This time. and along the chest just under the clavicle.

having the palms facing up causes the shoulders to rise slightly. it is a good idea to practice the Backarm Chest Roll in stages – practice Backarm Rolling to the elbow. did a chestroll. Also. but can you do it with one more?” is “yeah.A video I saw once (at yo-yo. Don’t forget to practice doing this in both ways. You may never get as proficient in one way as the other. you can turn the head to watch the ball 41 . which can confuse. I think) sat down on the floor. as some people call a Back Roll the roll of a ball from the neck to the lower back. and allowed the ball to roll down the chest and up the legs to the feet (he raised them together to make a channel for the ball to follow). An added difficulty is the inability to watch what you’re doing. It is easier to perform this using the Backarm Roll than the Forearm Roll. The person performing the routine (someone called Mike. however. and then practice the whole move from cradle to cradle. Using a large ball again.org) showed a good example of when to allow the ball to drop at the middle of the chest. but can you do it in the other direction?” Neck Roll This is also called the Back Roll. Taking more from that video. Rolling behind the neck is more difficult than via the chest. This is partly because you will have to lean the head well forward. and stoop forward at the waist a little so the ball rolls along the shoulders and behind the neck. At this point. then passing to the opposite hand. Mostly. practice rolling right to the elbow and onto the opposite hand. To do this easily. to allow you time to think about getting the ball back down the other arm. you should bow the head forward. this is because of the shape of the shoulders – they are concave to the front. When the ball reaches the shoulder. but you could say that the CJ equivalent of toss juggling’s “yeah. you should move as if to perform a Backarm Chestroll. which will make later stages difficult. it may help to stop the ball in a neck hold. practice rolling to the opposite shoulder before passing to the same hand you rolled from. an awkward move if your palms are facing up. but that doesn’t matter if you have practiced the other Chest Rolls thoroughly.

and returns to the cradle. rolls to the chest. If you have long hair. 42 .approaching.org. Having a single ponytail makes an awkward obstacle at the neck. if you can imagine it. It should feel like you are ducking under the ball – as if the ball was coming for your head and you were avoiding it. which I would have thought is impossible beforehand. or tied into two separate ponytails. and returns to the original position. Congrats to Michael Glenn for creating this gem. it may be advisable to either have it loose. this is called an “Around the Neck Roll”. as we always say on . but you don’t want to learn that until you’ve learned to do it the old fashioned way. and stand up a bit more as the ball goes behind the neck. If the ball goes around the neck. Before you start this move you should be very confident of your Backarm Chestrolls. If you find that the ball keeps falling off when it hits the neck. then you can do it. This move can look very good if it is alternately combined with Backarm Chest Rolls continuously. After you practice this for a while. try slowing down the move. try leaning the head forward more and pulling the shoulders back a bit. Neck Loop On contactjuggling. but then drops directly in front of you. but I think a “Loop” is more evocative of what is going on here. rolls round to the back of the neck. I suppose you could get around that by hopping the ball directly over the neck using the shoulders. and have at least reasonable success with your Backarm Neckrolls. Basically. you’ll probably come across one or two things that you absolutely need to iron out. In this move. hunch your shoulders to slow and stop the ball. the ball starts in the cradle. If you find the ball rolls onto the opposite shoulder blade before falling behind you. rolls around something.org. Of course. and raise the shoulder the ball is heading towards – when the ball goes behind the head. a loop is where the ball travels from one position. then you are not leaning the head far enough forward.

43 . Now. but lower the arm so the ball is more on top of it than in front. duck your head as if for a neck catch. raising the head and bringing the ball safely down to the right cradle. concentrate on getting the ball into a solid neck hold before letting it past onto the right upper arm.Start with the ball in the right cradle (reverse. because this involves half of that move. once you can already do a normal Neck Roll. The usual Neck Roll can be done in any old rickety way. Learn to Neck Roll first. as the neck is passing around the ball’s route. Roll the ball as for a Backarm Chestroll. Back Roll For this move. I was pretty excited when I got it the first time. The ball is returning in almost the exact path it used to get there in the first place. the idea is to twirl your body whole performing a Neck Roll. but in order for this version to come off properly. If you’re paying attention. so it seems that you twirl under the ball. and raise your left upper arm so the ball is passed back to the back of the neck. or be ready to get into some rather strange positions. it is absolutely essential that the ball roll smoothly. When the ball is there. It is important to keep a rounded shape while doing this move. Pirouette Neck Roll This form of Neck Roll is surprisingly easy to do. with the roll traveling in the Chestroll route right up until it hits the middle of the chest. as usual. Basically. In effect. you have to either be very flexible. Some people consider this to be one of the hardest commonly known contact juggling moves. and the ball doesn’t move. for the left hand). As with a Neck Roll. you’ll notice that the ball isn’t so much passing around the neck. this isolates the ball. pass the ball onto the left upper arm.

remembering the curve of the back. Hold there for a moment so the ball loses momentum. and very carefully lean your head back so the ball is pushed over the shoulders and onto the lower spine. stand up quickly. you have to decide how to do this next one – the lazy way is to drop carefully to your hands and knees. From there. Drop your upper back so the ball rolls towards the shoulders. and curve your back back to its original shape. Keep your legs straight. but while standing. and bend at the waist.Okay – roll a ball up the backarm and duck your head so the ball goes into the neck hold. flexible way is to do the same as above. As the ball comes up towards the shoulders. The non-lazy. 44 . The ball should roll back into the neck hold. Getting the ball back up is interesting. You may need to spread your legs quite a bit in order to keep your balance. Curve your back upwards to make a cradle for the ball to roll in. Now. you can simply roll the ball down the other (or the original) arm and into the hands.

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so the ball doesn’t just bounce right off again. straight) with the hand at a level just below the shoulder. and bring them both to a smooth halt. Now. This can be seen in action by examining how you catch a ball in the open palm (without using your fingers). palm up. Bring the elbow down at the same time as the ball. start to bring the elbow back down. and bring it back in. and balance the ball. the elbow sinks. Put your catching arm directly out in front of you. 46 . and it can easily be moved up and down – the directions you will usually have to catch a ball in. You match the speed of the ball with your hand. you move the limb to meet the ball. straighten the arm to bring the elbow up to meet it. elbow bent at about 150 degrees (almost. The area is easy to balance a ball on. Bring the elbow to a halt. place a ball in the palm of the same hand. As the ball approaches the elbow. The ball comes down.Catches All contact juggling catches are based on the same method – you plot the approach of the ball to the catching limb. and as you bring it back in. This is a much more aesthetic catch in most cases than a gripping catch – one where the ball is caught between two or more opposing limbs (the fingers. the feet. Elbow Catch The Elbow Catch is an ideal way to start learning contact juggling catches. but not quite. Watch the elbow while you alternatively push the hand further out. the elbow rises. you should practice without a ball. and then move the limb in the direction of the ball’s path at the ball’s speed. smoothly bringing them both to a halt. and you bring the hand up to meet it. and when the ball is nearly in the right position. Just before the ball hits. the forearm and biceps. and toss it in an arc about a foot high towards the elbow. First of all. As you push the hand out. etc).

Toss from the opposite hand to the elbow. Some such spots are mentioned in the Backarm Roll section. or tosses from behind the back (a toss from behind the back to the Shoulder Hold is called “The Ungodly Jose”). The point below the clavicle is best for low tosses where you plan on leading the ball out with an Armroll. you can use all the tips in there to help you with this (apart from furrowing your forehead. by leaning your head over to grip the ball between shoulder and jaw. with the ball describing an arc with its apex about a foot higher than the elbow. if you want. and then dropping your whole body with the ball. The goal of this move is to catch the ball on a stable spot there. Basically. If you read what I’ve written about the Head Catch. This method of catching is best used for catching balls tossed from the opposite side of the body. The toss to the upper point is caught by raising your shoulder to meet the ball. then. As the ball approaches. and slow it to a halt. lift the elbow up to meet it. If you raise the elbow while keeping the hand still. 47 . The point between the clavicle and trapezius is best for throws that are mostly vertical. a toss to the lower point is caught by leaning back at the same speed as the ball is moving. at the same speed as the ball. of course). the side of the elbow facing upwards is known as the “outside” side. you can see how the elbow is to move when it is catching the ball. You can help the catch. but is obviously much simpler because less caution is needed. Shoulder Catch This is done using the same method as the Head Catch. There are two points at which you can hold the ball here.Outside Elbow Catch If you place your arm in front of you as if to perform a Backarm Roll. Bring the elbow down. as pointed out in the Armroll To Shoulder Hold.

boots.5 to 2 feet in front of the body to allow the leg room to maneuver – in order to lift the foot. or runners (or “sneakers” as Merkins call them). Head Catch Do NOT practice this with a hard ball until you are certain you have it down with a softer one. but there is no reason why smaller balls can’t be used. then twist around to let the ball roll up the back and down one arm. you will have the respect of the whole contact juggling community. the knee must be lifted. and when you replace it. and then drop the foot at the same speed as the ball. As soon as you’ve dropped the ball. you will have to learn all over again. You can find some through the www. This is easier to learn with a large ball and work your way down. It is a very good idea to spend some time. and will give you practice in the technique needed. as eventually. raise the foot to meet the ball. Raise the toes to create a groove to hold the ball. I’d recommend watching some of Francis Brunn’s old videos. practicing balancing the ball on the foot. One example from one of his videos is to roll the ball from the foot. It is best to drop from about 1. Drop the ball from about waist-high. Learn the Shoulder Catch first – it uses practically the same motions.com website. bringing it to a halt. up to the waist. 48 . and worked my way down through my trusty novelty tennis ball to a standard 2. your ball will not reach the foot.jugglingdb. He used larger balls. before attempting this. It is best not to learn this while wearing shoes. but as incentive. An ideal place to catch the ball is just behind the second and middle toes.5” acrylic. you will wear out the footwear.Foot Catch This is easier to do in bare feet or wearing pumps or some similar tightly shaped footwear. I learned it with a soccer ball. If you were wondering what could be done once you have the ball on your foot. If it gets in the way. You will need to be very flexible to perform that move.

We’ll start with the simpler way. it will not be moving upwards anymore. This will be difficult in the case of the head. try learning to bring the ball up and roll it into the balance point from an inch or so below it. then try furrowing your brow and pressing your eyebrows in towards each other. but not impossible – don’t try it until you’ve learned a simpler way. Remember that in order to successfully slow the ball to a halt. if you toss straight up. It is important to learn this at this point. The top of the forehead is at the apex of the arc’s path. Most people have a fairly flat forehead (except me… courtesy of some nasty falls in my past). For the first toss. This is difficult. you will not have your hand to bring the ball under control. First of all. so you should be able to balance the ball easily without too much correction. start again with the ball held just before the chest. then the only way to bring the head down at the right speed is to use your whole body to move the head. then bringing it up in a smooth slow arc to sit on the balance spot – holding it in your hand all the while. as when you toss the ball for the first time.The head catch is one move where the direction of the ball’s throw is very important to decide before trying the catch. Now that you have a place to stop the ball. which would end one foot behind the chest. you must be able to move in the same direction as the ball. which means that when the ball reaches the forehead. Before tossing for the first time. This will cause your forehead muscles to bunch. For example. The ball will be tossed from about one foot in front of the chest in an arc. After you get this smooth and can keep the ball there for a while. we can start learning the catch. decide where you are going to catch the ball. making a cushion for the ball to sit on. Bring your hand up as usual. release the ball with a little push so it is 49 . and then just as the hand is over the bridge of the nose. The only speed you’ll have to match is it’s backwards motion. Use your head to bring the ball under control. If you can’t find a suitable place to hold the ball. you should practice for a while holding the ball just before the chest.

If you have the distance right. then the ball will either land on your shoulders and neck. Starting with a large ball.tossed to the point just before the balance point and rolled into place. 50 . In fact. until it’s straight from the chest. and bring your arms up. but we can work around that. and the spine is not to be trifled with either. creating an added cushion. There was a 19th century performer who used to perform the neck catch with a cannonball. An acrylic is much lighter than a cannonball. you should be careful. and your arms are brought up to bunch your shoulder muscles. try the toss again. keeping your head level. You must be aware of the dangers of this move before trying it. you should be able to make the toss longer and longer as you lower the hand. toss it up six inches above your head so it would fall about a foot in front of your face. allow it to fall a few times to make sure you have it right. but bend forward. You are best off learning with a large soft ball (trusty novelty tennis ball time…) before moving onto a small soft ball (trusty non-novelty tennis ball time…). but nevertheless. and finally onto your regular ball. Gradually. so make absolutely certain you can do it with a soft ball before moving onto a hard ball. Now. Neck Catch This move is even more dangerous than the Head Catch. I have been told (I haven’t seen this yet) that Tony Duncan can toss a silicone ball straight from his foot to his forehead. so make sure that you have other catches down well before you try this – to make sure you have the general catch method down pat. You keep your head level so the spine curves to catch the ball – not bounce it off. I’m sure it is possible – I have seen Francis Brunn do it with a larger ball. He died when he misjudged the toss and hit the back of his head with the ball. The back of the head is a dangerous area to mess around with. Another danger is that you cannot see what you are doing. or bounce off them.

or you’re bowing too soon. I wouldn’t like an acrylic slammed into the back of the head. When you have the catch down with a large ball. and you may hurt yourself. then the catch will be wrong. make sure you are completely confident with the catch. move a bit faster as the ball approaches the neck. or by rolling down either of the arms. The ball should clear the head just before you start your bow. Make sure you are doing a low catch before you try tossing higher up. 51 . throw it closer to your face. and slow to a halt after the ball has landed. You can bring the ball off the neck by either reversing the bow while leaning your head downwards then flicking it up. If the ball bounced off the neck. then throw the ball further forward – a foot and a half in front of the face. You should be wary of it as well. If you hesitate at all.If the ball hit your back. Certainly. then you are not bowing fast enough. Before catching with a hard ball. for example. or bow further forward after the toss. and the bow should start off slow. try making the ball smaller and smaller until you think you’re ready for a hard one. If it hit your head.

Your other hand is directly below it. palm up. Start by holding a ball in the crade of your left hand. about waist height. yet have made it into the contact juggling repertoire. bring the ball forward to the fingers. Edson’s Enigma Greg’s Grip 52 . That is the Elevator. The ball should not go any higher than the hand. with the other hand above it. cradle up. Using a wave motion. This wave motion helps you to “whip” the ball upwards with the fingertips so the hand doesn’t move too much – making the ball almost seem to go up of it’s own accord. the ball would hit the finger tips before falling back. without moving the hands or body beyond what is necessary to get he ball moving. about waist height. you can use your body movement to try bring attention to the top hand. That was not the Elevator – that was the reverse of it… Imagine what you have just done was filmed. Drop the ball from the cradle to the palm. Hold a ball in the right palm. so the audience watches it instead of the left. Curl the fingers so the ball goes just above hand height.Misc “Tricks” This chapter describes some moves which are not palmspinning. If you get the toss just right. Elevator This wonderful move looks fantastic when the body is held as still as possible. then straighten the fingers out again. and are not ballrolling. or you may have trouble catching it and keeping still at the same time. The ball goes up so that if the left hand fingers are kept still. then reversed. I like to do a finger-flourish to distract the audience. about eye height. Bring the cradle up to about eye height. To help with the illusion. then the ball seems to float upwards and stop right on the hand.

Now unfold the arms again to the original position. Unfold again. Back-Back Pass the ball from the right cradle to the left cradle. then bring them palm-up again to the original position. While the arms are unfolding. From there. and a ball in the right palm. first learn the movements without a ball. fold your forearms over so the right forearm is closest to the body. as you will be doing it with a ball next. then learn it one piece at a time with a ball. Most of that manipulation is the Back-Back Butterfly. Now that you’ve gone through the motions. and the left hand closest to the body. but with the right arm on the outside. Each one uses two or more of the moves mentioned in the previous chapter Back-Back Butterflies This move can be seen in The Labyrinth – Jareth says. repeat them a few times to get the movements smooth. then produces a crystal and manipulates it. Now repeat the fold. bringing them palm down at the last moment so they’re flat against the opposite arms. the hands palm up. To learn it. keep the hands palm-down until the last moment. butterflying the ball at the last moment into the cradle. Concentrate on making the hand motions as smooth as possible – the motions should not be jerky. Keeping your elbows still. Keep the hands palm-up as long as possible. Go back to the beginning position – forearms raised. Start off with your forearms pointing up. keeping the hands palm-down until the last moment. Okay – time to learn with a ball.One Ball Combinations This chapter is a list of combinations of moves that are common in the CJ world. Now fold the arms with the right arm closest the body (on the inside). “I’ve brought you a gift”. both hands palm up. 53 . the right hand pointing right. and the left hand pointing left.

54 . this time with the left hand in front. If you want it to be as large as possible.org website. right over left. Remember to try to keep the arms’ movement symmetrical. with no hesitations or halts. first start with the hands crossed. To do the Palm-Palm Twisting Butterfly. Try to make the ball’s movements as smooth as possible. If you want to do a quick move. I had one person comment that it was pointless. that there was nothing that can be done with it. it’s up to you which Palm-Palm Pass you do. Up to you. I then described some variants of it leading up to a four-ball move. The point here is that even the simplest moves can be extended to create great new moves. with the ball’s arm always butterflying to the chest-side of the other arm. Place the ball in the left palm. choose the Cheater Pass. From here. The ball should be in the right cradle. Now repeat the above move. maybe you’ll choose the Chalice Pass. Palm-Palm Butterfly This is the opposite of the Back-Back Butterfly. bringing both hands together as if to prepare for a BackBack Pass again. and keep track of the movement the ball makes. Start with both hands in front of you as if you were to do a Back-Back Pass from the left to right. right hand palm-down and left hand palmup. butterfly the ball into the cradle. Reverse the move to complete. Butterfly the ball out of the cradle and into the right palm.Butterfly both arms out so you’re in the starting position but the ball is on the opposite side. and very good for practicing your cradle balance and choosing which Palm-Palm Pass is best for you. Palm-Palm Twisting Butterfly When I placed a video of the Twisting Butterfly on the contactjuggling. After you have passed to the left palm.

fingers pointing forward and up – pass the ball from the left palm to right palm (using the Chalice Pass) and complete the movement. start twisting the butterfly. Some people call this “Around The World”. Walking Halfpipe This is an extension of Back-Back Rolls. When you have learned this move. You should now be in the opposite position from the starting one.Now. Palm-Back Pass. The ball should now be in the left palm. When you get to the point where both hands are symmetrical – forearms together. Circle This movement is a reason for great happiness when you are learning contact juggling. and can intersperse it with Back-Back and Palm-Palm butterflies at will. you can say you have truly accomplished something. This move is a good one to move into or out of a Cage section of your routine. The movement of the hands makes the ball travel through a circle – hence “The Circle”. This move is simply a Back-Back Pass followed by a butterfly to palm followed by a Palm-Palm Pass followed by a butterfly to cradle. Keeping the hands touching at the wrist. Back-Palm Pass. Do so. Back-Back Pass. moving only the right hand. The ball is placed in the right cradle. You should now be in a position to do the Chalice Pass. The right hand is then placed on top of the left cradle-up. and then butterfly the ball into the left cradle moving only the left hand. butterfly the ball into the right palm. and always have some moves to fall back on when you are fed up trying harder ones. Simple! 55 . Start with the left hand palm-up in front of the chest pointing to the left. Start with a ball in the palm of the right hand. Flytrap The Flytrap is a variation of the Palm-Palm Butterfly. You have gotten past the difficult part of the learning curve.

start to do it so the Palm Holds at the endpoints are facing away from you – the fingers are pointing forward. until the fingers almost touch – let the ball roll over the ends of the fingers to the opposite hand. and Palm-Back. Greg Maldonado and Owen Edson like to extend this even further by bringing the ball up to a Tripod Hold.You can do this flat. This move adds the last. the Palm-Palm Pass. or raise both ends of the pattern (so the ball travels in a ‘U’ or “Halfpipe” shape). Back-Palm. Spiral Curly Backwards Prayer Backhand Roll 1b MillsMess Circle 56 . and you can repeat the whole movement over and over. doing it flat. If you do the Back-Back Passes so the fingers are pointing about 30 degrees forwards. Then. You can extend it further again by bringing it to a Three-Finger Hold. to make a full workout for your passes. Horizontal Circle The Walking Halfpipe uses three of the four Basic passes – BackBack. Learn the Walking Halfpipe. then you can bring the palms even closer.

and I believe harder than the 4b – therefore. and up to eleven have been used to form patterns. This can be seen very effectively when you learn to spin a 4stack with large balls. I would encourage you to learn all the 2b moves before going onto anything else.com. no matter what else you practice. see the website www. You might be surprised that I leave one ball moves until after the four ball moves.handhealth. it looks like the balls are doing all the work. In the beginning. with balls interchanging and swapping hands at any time. For details of how palmspinning affects your health. Palmspinning can be performed with a minimum of one ball. Palmspinning can be very simple. I’ve placed them after the four. when done smoothly. Try them anyway when you feel like it – it may just be me… 57 . the 2b Palmspin. It is the art of spinning balls in your hands so they form what looks like “bubbles” that move in entrancing ways. or separate completely and revert to body rolling. then.Palmspinning Palmspinning is the simplest way to contact juggle more than one ball. using the various shapes of the stacks to define your routine. Some of the more mesmerizing patterns incorporate isolations. where parts of the patterns stay still in space. is used in all sorts of alternative health plans. In fact. Whereas bodyrolling uses expansive gestures to move the balls. This effect is evident because of one of the differences between palmspinning and body rolling. I’d encourage you to get your 3b moves down solid and always practice them – plenty of other palmspinning moves are built on a 3b base. Palmspinning looks easy. but it is easy to understand when you start learning – the 1b palmspinning moves are much harder than the 3b moves. and other parts of the pattern and the body revolve and rotate around them. so make sure that is solid. and you are just providing a platform for them. The easiest pattern. the movements in palmspinning are extremely subtle – slight shifts in balance are all that is needed in most cases. or it can be complex. The groups of balls may break apart and reform into new patterns.

58 .

Straighten out the ring finger and curl the index finger in so it pushes the ball further left. 2b is short for “2 ball”. forcing the fingers to exercise more. The 2b Palmspin is very well known all around the world. but not so much that the ball falls off the hand. The second is held between the thumb. Straighten the little finger and curl in the middle finger slightly. When the ball is behind and to the right of the front ball. index finger. The first should be in the palm near the heel on the little finger’s side. The index finger should curl in slightly to stop the ball from rolling too far. which tinkle when you roll them. The back ball may start rolling towards the thumb now. If you go into just about any alternative health shop you will find a set of “Chinese Medicine Balls”. we don’t isolate ourselves to rolling in just one direction. curl in the little and ring fingers to make the front ball roll back towards 59 . In CJ. Forgetting about the back ball. Push the thumb downwards so the back ball rolls towards it. The balls are larger. The fingers should be relaxed and in contact with both balls. The thumb loses contact with the ball and the little finger loses contact with the back ball. and the movement of each ball can be individually controlled. and side of the middle finger. the 2b Palmspin is taken a few steps further. most of which have small bells in them. straighten out the middle finger a little and push the front ball to the left with the thumb.Basic Palmspinning (1-4 balls) 2b Palmspin In contact juggling “notation”. It is used in oriental alternative medicine as a method of stimulating points of the hand (and meanwhile giving them some exercise and flexibility). Place two balls in the right hand.

the balls retain that spin. 60 . and push the thumb-side ball to the back with the thumb. This is called a “pushing” palmspin. spinning anticlockwise. uncurl the little and middle fingers. stop practicing and relax for a while or practice in the other hand. with one addition: To start off. a 2b Palmspin Transfer is about moving the two balls from one hand to the other. The first is simply to move the motion over. but it is not a sign that you are doing it “wrong”. Start with the two balls in the right hand. so practice the normal palmspin in both hands and directions well before you start on it. they end up anticlockwise. so that if the spin was clockwise. the tendons on the back of the hand may start hurting or becoming warm. so if the balls started out clockwise. When you get really good. This is difficult for beginners. Some people find the clicking that happens with palmspinning to be a nuisance. not in a precisely kept distance between them. Soon you will be doing it without thinking about it. If this happens. based on the thumb’s motion. 2b Palmspin Transfer The difference between a transfer and a pass in CJ is that a pass is simply a way of moving one or more balls from one hand to the other.the heel. The importance is in the overall movement of the balls. you can start learning to palmspin without the balls touching. Now you can practice this move over and over. There are two basic ways of performing a transfer. If you practice for a long time. you have to learn to spin both clockwise and anticlockwise in both hands. To keep the same spin. This will push the back ball further to the right where the thumb. Learning in the opposite direction is difficult for some people. whereas a transfer is about moving two or more balls from one hand to another while retaining their pattern. The second is to reverse the spin. index finger. Just go through the steps one at a time in reverse. while keeping the palmspin going. and the side of the middle finger can stop it. Thus.

org. raise the right hand. Place the left hand next to it. This is called a 2b Palmspin “Chasing” Transfer. Now.Place the left hand next to the right. because the left thumb pulls the ball into motion. So – all you have to learn is to spin the balls through one third of a circle – the other thirds are the same move repeated. At this point. 3b Palmspin The 3 Ball Palmspin is a problem for many people. 61 . tilting the palmspin so it moves on to the left. This is wrong. If you think about it. Now. The other ball chases after it so you start a clockwise spin in the left hand. you can spin three balls in your hand. they decide that it’s impossible for them to do it as “the balls are too large”. and the fingers hold the other two. and move the palmspin over so both hands are performing it at the same time. The center of the palmspin should be between the hands. you’ll see that they are chasing each other in a figure eight pattern. it’s the same as when it wasn’t moved at all. Place three balls in your palm such that one is in the palm held at the heel. To reverse the spin. As has been said many times on www. allow one of the right hand balls to “escape” into the left hand. If you continue transferring the balls from one side to another. so it’s heading for the heel of the hand. you start with the anticlockwise spin in the right hand again. or “my fingers don’t move that way”. you don’t have to learn to spin the balls all the way around – the 3-ball pattern is symmetrical such that when the pattern is spun through 120 degrees. as the balls chase each other from hand to hand. if you can hold three balls in your hand. After trying it for a while.contactjuggling. you are now doing a “pulling” palmspin.

It is important to learn both. Practice while doing something else. It is your decision. pull the ball towards the back of the pattern. A lot of people find this move tricky to get. In the left hand. or whatever. causing the entire pattern to start its spin. Watch TV. In the right hand. you curl the index finger to push it’s ball back. This will allow you to get the motion right without worrying so much about the balls always rolling off the hands. though. and when it’s possible. An anticlockwise spin is “pulling”. Now. this is reversed. and a clockwise spin is called a “pulling” spin. making the balls want to roll back. No just repeat this twice to complete the circle. the front balls therefore roll off beside it. Allow the thumb to slide under the index finger’s ball as it approaches. and curl the little finger in to pull its ball towards the back. Keep the front of the hand slightly downwards to counter this. Your fingers will stop the ball from rolling off from the front. Some people find pushing spins easier than pulling spins. and a clockwise spin is “pushing”. Start off with small balls – perhaps pool or snooker balls.There are two directions in which the balls can be spun. which you learn first. an anti-clockwise spin is called a “pushing” palmspin (based on the movement of the thumb). and curl the little finger to the outside of the pattern to encourage it’s ball to move towards the index finger. It is a habit of a lot of people to raise the front higher than the back. Your hands will eventually accustom themselves to the movement of the balls. for later moves that sometimes depend on them. so here are a few tips to note. As the back ball comes forward. For the “pushing” spin. and you will find that you are learning the move smoothly without even trying. move the thumb behind it and push it forward to complete one third of the spin. For the “pulling” spin. and as there is already a ball at the heel in some positions. completing a one-third rotation. all that’s required is to repeat this move twice more to complete a full circle. Straightening the thumb allows the back ball to roll forward along its length. we start in the start position. or read a book. 62 .

Rubenstein's Revenge. Spin the right balls anticlockwise. you palmspin in one hand. there is no need to go that extra yard. then pass one of the balls to the left hand. but very difficult. Dancey's Devilment. or Mills Mess.: the balls are held in both hands at the same time).e. pulling the hands in towards you as you transfer the pattern. In order to learn this transfer. If you transfer the balls forwards over the fingertips. Start with two balls in the right hand and one in the left. and then simply pass it from one hand to the other without stopping the spin. if you're wondering what other Toss Juggling moves made the translation to CJ. try isolation one of the balls while continuing the cascade pattern . or try make up your own version of a popular Toss Juggling move . Also. you end up spinning in the opposite direction to "normal". 3b Cascade This is a horizontal version of Toss Juggling's Cascade (the easiest 3 ball juggling pattern).it's harder than it sounds! Or. but otherwise.spin the right hand clockwise and the left hand anti-clockwise. to do a 3b Palmspin with the balls completely separate from each other. If you'd like a challenge.Burkes Barrage. It is essential to learn it that way if you are using balls that do not slide against each other. 3b Palmspin Transfer In this transfer. 63 . try The Box. You can also do this the opposite way . then the move becomes a 3b Palmspin Walk – try to keep the palmspin in one location.It is possible. you must be fluent in spinning in both directions in both hands. it is an added benefit to be able to palmspin in both directions using both hands (i. etc. The awkward part is that when you spin a palmspin in the right hand in your normal direction and pass it to the left. Now spin the left balls clockwise before passing one of the balls to the right hand.

while shifting all three clockwise to bring the stack into position to do it again. of course. Carefully. 64 . One ball is in the center of the palm. bending the fingers up so the ball resting against them is pushed right over the other two. and pass one ball into the opposite hand. 3b Pinkylift With the lifts. not touching any fingers. As the ball comes down the other side. alternating the spinning direction is known as the 3b Pinkylift Cascade. straighten the pinky and ring fingers.3b Chasing Transfer This transfer is easier than the standard transfer as the spin reverses direction as it passes from one hand to the other. While this transfer is easier than the normal 3b Palmspin Transfer. Start by spinning in your normal way in the right hand. Therefore. then clockwise. and follow the first one into the opposite hand. bring the palms together. The opposite applies in the opposite hand. For me. you should concentrate on the ordinary one more . but in the opposite direction. By alternating the direction of spin (first clockwise. where the spinning continues. Of course. and another between the pinky and ring fingers. 3b Thumblift This is slightly trickier that the Pinkylift. A ball should be resting against the index and middle fingers. The other balls continue spinning. but it is simpler and usually more visible to the audience if you do it clockwise. you cascade the balls. that means anti-clockwise. and that difficulty is more pronounced as you learn to use more balls. we bring palmspinning out of the flat plane. Now.the more you practice difficult moves. you could do it anti-clockwise. etc). Hold three balls in the left hand. the easier all others get. literally adding another dimension to your juggling. balance it with the thumb. then anticlockwise.

Place the extra ball on top of your 3b Palmspin. and the last one is right at the front.Hold the three balls in the left hand so there is one on either side of the hand (one of which is completely held by the thumb). the pressure of the extra ball will push the bottom balls apart from each 65 . you should be very practiced in the 3b Palmspin. there is another move more rightly called a 4b Palmspin. Some people call this a 4b Palmspin. and very slowly start to spin. You will find that at some points. at least) clockwise. then practice that before learning clockwise. 4b Stack The 4 Ball Stack (usually called simply “The Stack”) is a 3b Palmspin with an extra ball placed on top of the three to form a pyramid. It is better (more visible) to shift the pattern anticlockwise. bend the thumb and push the ball over the other two balls with the thumb-tip. If you find anticlockwise is easier. then you are doing what is known as the 3b Thumblift Cascade. Bend the hand down at the front. On the other side. but there are ways of performing a Palmspin with 4 balls that are more appropriate to that name. As the thumb reaches the highest it can go. Before you learn the 4b Stack. but I like to differentiate between flat patterns (palmspins) and patterns in 3 dimensions (stacks). Besides. If you alternate the direction you shift the pattern in. and press the base of the thumb upwards so it’s ball is pushed up. before shifting the whole pattern clockwise. but easier to learn it (for me. For a long time. the Stack was called a 4b Palmspin. the ball is helped down by the ring finger.

The smaller size of the top ball will make it more difficult for the ball to be thrown off. 66 . Learn to tilt the hand in such a way as to minimize this. you start with one ball held against the length of the thumb. but not so much that the top ball falls off. 4b Stack Thumblift This lift is similar to the 3b version. The 4b version. which you should be aware of. though has the thumb holding one ball as usual. more pressuring than pushing the thumb ball to rise up over the stack. Drop the ring-finger side of the stack slightly. but more care is needed when you are settling the new top ball on the base. middle. Stretch the index and middle fingers downwards so the stack face can be held smoothly at all points. the index. Extend your thumb up to catch the falling top ball as soon as possible. so it is best to have as many fingers free as possible to manipulate the moving balls. and a smaller ball on top – maybe 2. and its smaller weight will lower it’s tendency to tear apart the base’s pattern. it is best to start with large balls on the bottom. and sort-of flow the thumb upwards. the front face of the stack is balanced against the back ball. the move looks haphazard. 4b Stack Pinkylift This is just like the 3b Pinkylift. If you don’t keep the balls together. and the last ball is held securely between the pinky and the heel of the hand. This will allow you to keep the balls together.other. The pinky curls over the ball to hold it secure. and the other two balls held with two fingers each – this is a very secure way of holding three balls. For this move. With the 3b version.5” acrylics on the bottom and a pool ball on top. and ring fingers holding the front ball. but there are some small differences. This difference is because with a lot of the move.

the 1b Palmspin is about as difficult as the 4b Stack. and also so the ball travels in as wide a circle as possible.As the old top ball starts to fall over. and then you learn to move the ball from one point to another. There are two axes here – the long axis runs from the just added ball to the ball on the opposite side of the pattern. at the second knuckles. This is easy when the long axis of the pattern runs from the fingertips to the forearm. but the second ball is not there. is not stacked. Place one more ball beside any other two to make a flat diamond shape. and the short axis runs through the two balls beside the new one. hold three balls in the palm as if you are doing a 3b Palmspin. 4b Flat Diamond Palmspin The “Flat” part of the name is there because there is a stack palmspin called the Diamond. you pass the finger so it’s held between the index and middle fingers. You learn to hold the ball in each point the ball passes through. When you spin this. you have to be careful to keep the short axis balls together. and then concentrate on learning it so the fingers hardly move. reach up with the ring finger. From there. Possibly the best way to learn this move is using a point-topoint system. and gently ease the ball down. This is your starting position. but when it is 90 degrees 67 . This move. From there. roll the ball back to the heel. until it is held by the pinkie and ring finger. Learn this until you get it smooth. Using smaller balls than usual. Pass the ball along each finger like this. Now. meaning there is no helpful pressure to keep the ball from rolling to the center of the palm. The reason for this is mostly because you are spinning a ball as if it were one of a pair of balls. though. Start with the ball held at the heel of the right palm. 1b Palmspin Despite only using one ball. move the ball forward and to the right so it is held by the thumb and index finger.

this move is difficult to learn . and spun in the palm. like the Flat Diamond version.so learn slowly. which moves in a wave-like motion to bring the balls along. 4b Flat Spin Also known as the 4b Palmspin. 68 . and move very slowly until you are certain of the move. the balls will be supported mostly by the fingers. but it does solve a lot of problems. it is difficult to keep the short axis balls together and make sure the other two balls don’t drop off either side of the hand. I’d recommend bringing the shape forward onto the fingers. and the front of the palm. a 4b Flat Spin is a group of four balls arranged in a square. A tip I’d give here is to bring the pattern forward when you are moving the long axis balls to the side. You will find after a while that a lot of the motion is performed by the thumb. Stretch your fingers before attempting this. Try to bring the center of balance of the pattern close to the thumb to take advantage of this. It may even be easier to learn the 5b Stack before learning this – the 5b Stack helps to keep the pattern from collapsing into a 4b Flat Diamond Palmspin. Basically. which will allow you more room to play with. Again. You will still have to stretch your thumb and pinky out to the sides to do the move.rotated. When you bring the pattern forward.

The second ball presses against the isolated ball. as you see from learning the 1b Isolation. Pick a spot on the floor. It's not really clear which should be learned first . Without the second ball. The isolated ball is moved over before the moving ball – as the moving ball continues spinning away from the left hand back to the right side.learning the 1b Isolation first would help very much with this move. and try to keep the ball still relative to that point.like the moon around the Earth. Start learning by spinning very slowly. taking control over the pattern. 69 . If you are spinning anticlockwise in the right hand. Transferring this palmspin takes a bit of thinking.More Palmspinning (1-4 balls) 2b Orbital Isolation An “Orbital” Isolation is when one ball is isolated. wait for the moving ball to come closest to the left hand before starting the transfer. Start with two balls in the right palm. Maybe you should learn them both at the same time.the 1b Isolation or the 2b Orbital Isolation . follow it with the left hand. with the elbow held in front of the chest. You can’t just transfer it as normal. and the arm going out in front of you. Concentrate on one ball. You can learn to do this with the balls not touching. and one or more others are "orbited" around it . but also learning this move first would probably give you a basis for the 1b Isolation. or a corner of the room. and try to get it to stay still in space while the other one is orbited around it. the ball tends to try moving to the center of the palm. 2b Ratchet This move is half isolation and half joke. which actually helps with the isolation. because you have to keep the location of one of the balls precisely still.

Spin the balls clockwise, but move the arm around the balls so both balls stay isolated in space. When you reach the point where your forearm is directly on the opposite side of the balls to where it was in the beginning, move the forearm back, bringing the balls around clockwise with it. When spinning the forearm back to it’s “home” position, you can either not palmspin the balls, allowing the movement of the arm to spin them for you (giving the “ratchet” effect), or you can spin the balls – clockwise for a quick “unwinding” effect, or anticlockwise to keep the isolation effect.

2b Curl
Here is our first palmspin which needs a bit of bodily flexibility. Hold two balls in the right palm, forearm pointing out in front of you. We’ll do this without spinning first. Twist the forearm anticlockwise, bringing the palm in so it comes to the place just vacated by the elbow, which goes out to the side. Now, bend yourself forward and to the left at the waist, and carefully continue the twist until your forearm is pointing out the side (raise your elbow to keep the bend in the arm). Your arm will be twisted, with the palm still pointing up. Bend further to the left, and continue the twist so the palm comes over the head. Be very careful here, as a ball on the noggin hurts. Finish off the twist by bringing the elbow down, and straightening yourself back up. Practice that for a short while, being very aware of any twinges in your side. If you feel these twinges, stop what you’re doing, and sit down for a while. Don’t continue the curl practice for a few hours. When you are competent with the motion, try carefully adding a bit of anticlockwise spin to the balls. You will have a little trouble with the spin when your arm is very twisted. Try varying the bend of the elbow and waist to find the most comfortable position for you.


In the right hand, this is the anticlockwise curl (the direction the forearm spins) – as with all contact juggling moves, though, it can be reversed.

2b Isolated Curl
As someone said at the first ever contact juggling convention (CJC2001); every move can be isolated. It is tricky to think of a rolling or spinning move where this is not true. To start learning the isolation, you should first learn to curl so the pattern stays in the same general place, without moving vertically, or horizontally – it is okay for it to spin for now. To do this, you will need to bend your knees a lot, so you may tire quickly (don’t practice this too much before a performance…). When you can curl this reasonably well, it is time to finish the isolation. The isolation is “simply” a matter of palmspinning clockwise where you are curling anticlockwise in the right hand – at just the right speed to keep the balls still. Reverse the direction as needed.

2b Magnetic Palmspin
This move is really a 1b Palmspin in disguise. Spin a 1b Palmspin in the left hand. In the right hand, grip a ball with your fingers. Move the held ball in a circle mimicking the left hand ball. Keep the ball is near to a set distance from the left ball as possible. If done correctly, the left ball will look as if it is being controlled by the right. This illusion will work especially well if you can palmspin the left ball with the least amount of movement necessary from the fingers. The right hand does not need to stay on the right – you can move the hand around the left hand to any position you want – just keep the motion going at all times. You can even do it without a ball in the right hand, by pretending your fingers are controlling the left ball through some sort of telekinesis – but it looks best with the ball.


3b Ratchet
I think the effect of this is very surprising. Start by holding the balls in your right hand as if starting a clockwise palmspin. Start the clockwise palmspin. Isolate the palmspin, though – the whole spin – so your hand moves, but the 3 balls stay still. When you reach a point where you can’t move your hands any further – hold the balls, and spin your hands back to the beginning position. Then start again. If you know what a ratchet is, you’ll understand this move. If you have trouble understanding it, ask any mechanic to show you a ratchet in action.

3b Orbital Isolation
This move is done practically the same as the 2b Orbital isolation, the only real difference being the amount of work needed to get one orbit finished. The 3b Orbital Isolation should be learned slowly before you attempt to do it fast. Concentrate on getting the isolation good when seen from all directions. That is a common pitfall for contact jugglers - when seen from above (as we usually see the moves), it is fairly easy to get the horizontal part of the isolation good, but it's difficult to get the vertical element nicely when you can't see it. You can get a good idea of how an isolation looks to the audience by practicing in front of a mirror. If the mirror is a sufficient distance from you, you will not be looking down on the balls, but will see the move as the audience sees it.

4b Stack Tumble
This little move is very impressive, very simple, and can be expanded to many other moves. Start by spinning a 4-Stack in the left hand. Bring your right hand under the left so it is on the left side of the stack. 72

as heavy balls resist changes in their momentum much more than light ones.Pinky-lift the stack so the top ball falls off into the right hand. 4b Curl This move can be seen in many different forms of object manipulation – ball spinning and plate spinning being the most common.get around this by exaggerating the movement. is easier to learn with a heavy ball. and then switch over to the other hand . 73 . so physically. and ends up as the top ball of a new stack there. all you’re doing is moving your hand. and pull the hand under it. 1b Isolation The 1b Isolation feels similar to the 1b Palmspin. A ball has momentum whether it is moving or not. Bring the right-hand ball around the other side of the stack by either bringing the right hand under the left hand or around the front of the left hand. Continue pinky lifting the remaining balls . Note that if you bring the right hand under the left. Start learning this the same way you learned the 1b Palmspin – by moving from point to point.continue the pinky lifting for a moment or two. but the movements are the same. The ball is usually passed from the index finger onto the opposite hand’s heel. The points the ball moves through actually come to the ball. This. trying not to apply any additional pressure to the ball.you isolate the pass as well so the ball doesn’t move. like all isolations. For added kudos . rather than the ball moving to the points. It looks very good when you isolate in one hand for a while. The pressures are slightly different. though – keep the ball still in space. Bring the ball upwards so it slots into the pinky lifting in the left hand. When you are moving from point to point.this is just to continue the illusion of fluidity. you may block off the ball's visibility .

You do not want to try this spinning until you have learned it still (acrylics hurt – especially on the head). When it reaches there. Your arm should have the forearm facing up now. Lean your body forward and twist the hand in until it is directly under the shoulder. From there. That is an awkward position. so make sure that you are limber before you attempt it. following the stack with your eyes as you pull it over your face and off to the right. 74 .Start off with a 4 Stack held in the right hand – do not spin it. so raise the stack (or lower your body) to ease the strain. I disclaim all responsibility of you ignoring this point. This move poses strain in a few directions on the shoulder joint and blades. simply continue the twist around until you are back at the starting position. and the elbow pointing out in front of you. start leaning back. Don’t come crying to me if you can’t go to work the next day because your arm doesn’t work. Continue the twist slowly so the stack approaches a point a few inches in front of and above the head. Continue twisting the stack under until the arm is pointing almost directly right of you.

That means that by using both hands. so you may find one or two surprisingly easy. Most of them involve combinations of various lower-number palmspins. but find these moves difficult. If you really want to do over four ball work. 5b Cascade 5b Linespin A “linespin” is a palmspin with five or more balls which consists of two lines of ball. In toss juggling. and the other by the heels of the hand. and two balls behind them. You should be accustomed to the moves in the 1-4 ball chapters before trying these. you can do up to eight ball palmspinning without learning the moves in this chapter. Hold five balls in two lines with both hands so there is a line of three balls at the fingers. and 75 . don’t despair – remember that the first Basic Palmspinning chapter was about up to four balls in one hand. and the other two as a 2b Palmspin pattern. but the average audience member will be more impressed with many tricks at lower numbers than the ability to do a few at larger numbers. one held by the fingers. each of them touching two of the front balls. it is far from easy. Treat the two front left balls and the back left ball as 3b Palmspin pattern. the difference between five ball juggling and seven ball juggling represents a huge difference in skill.Basic Palmspinning (5 ball and above) While this chapter is titled “Basic Palmspinning”. It is not essential to be able to perform large number palmspinning in order to be a successful contact juggler. This chapter is about the fundamental moves for five ball and above.

in a way. 6b Linespin This is simply two rows of three balls.small gaps. you'll see a large depression the fingers help to make a bowl that the balls roll around. First off. that if I am spinning anticlockwise. who had been practicing only about a year. There are two paths to follow in order to learn this spin. If you examine the shape your hands make like this. In this case. the movement is a 3b anticlockwise palmspin. Surprisingly. This is 76 . Try it and see for yourself. where balls get passed from one pattern to the other. 5b 2h Palmspin This palmspin is a circle of five balls following each other. it is very important to learn the 5b Linespin . This idea will help woth larger patterns as well. Make sure that the balls are touching at all times. grows into an oval spin. If have found for example. Then.rotate each anticlockwise until there is a line of two at the front and a line of three at the back. this style of palmspinning wasn’t noticed until a new CJer. so the ball starts off as two rows.this one is essential. it is easier to spin this pattern if I put the pinky and ring fingers of the right hand over the pinky and ring finger of the left. simply a variant on it. simply try to keep the balls separate in the center. came up with a whole gamut of new moves like this one. The second is the 4b 2h Palmspin (also called the 4b 2h Flatspin). Start off simply . treated just like in the 5b Linespin.</p> Once you are comfortable with the 5b Linespin.</p> You may find it easier to perform if you overlap the fingers of both hands. treat the front right and two back right balls as a 3b Palmspin and the other two as a 2b Palmspin and rotate anticlockwise again until you’re back at the start again. Shifty. and gradually gets more circular. as the 5b 2h Palmspin is.

and bring it inwards so it slots against the left hand and the balls form a large triangle. the n the right heel acts like a boundary wall that stops the base from escaping over it. another is in the palm. I found that the easiest way to spin the pattern was also very awkward on the arms. the 4th and 5th fingers are still overlapped.</p> The 6b 2h Inverted Stack is just slightly harder . this move is incredibly easy!</p> Spin a 5b 2h Palmspin for a while.in this case. This is much easier to learn than the lower-numbered stacks. place an extra ball in the center. When you have it smooth. In this case. so it is held up by the base 5 balls. When learning this.You have to somehow slip your hands under the pattern and slowly spin it around. and also notice how the heels of both hands interact. Hold a 3bPalmspin pattern in the right hand.</p> Spinning this pattern is tricky . and the left heel is alternately raised and lowered in order to "pulse" the back balls along over to the right hand.</p> You may find it easier if you overlap the pinky and ring fingers of both hands.you can use the chest to help balance them if you need to. the 6th ball is below the base ring of 5 balls. angle the hand inwards so the line of balls is parallel with the chest . and the last is held at the base of the forearm. and the heel plays a much bigger role 6b 2h Triangle Palmspin This one can be a pain to get.more obvious when you learn the 8b Linespin Stack – you really notice the balls moving out of and in to the pattern when there are balls supported on the pattern. Now. If spinning anticlockwise.</p> Start by placing three balls in the left hand so a ball is on the fingers. 6b 2h Stack Want a surprise? Once you learn the 5b 2h Palmspin. because the central ball finds it much easier to simply stay in the center than to make the arduos climb over the wall of base balls. It may help to remember that you only need to learn to spin 120 degrees around 77 .

When you start the spin. it is difficult to control the back middle balls. 7b Linespin This is done the same way as the 6b and 5b Linespins. with a base at the chest. you can imagine the starting pattern . you can see that it really cries out for a third dimension. where you cannot easily control them. This seems to allow more room for the fingers to move. and another facing off to the left and try to spin the pattern 60 degrees anti-clockwise so that you then have a line of three balls on the right hand and forearm. This provides a little difficulty if your 6b Linespin is not smooth – the smoothness 78 .a triangle. 7b Stack Linespin Spin a 6b Linespin for a while until it is very comfortable. another facing off to the right. and being supported by four balls. I find this much simpler if you pull back the right hand so the tip of the right pinky is just next to the left pinky’s base. and three behind. and a 3bPalmspin pattern in the left hand. and you will add that 3rd dimension.the rest of the spin is the same. but starting with four balls at the front. The next 60 degrees is just bringing the pattern back to the start position again. To make it even simpler. as they pass over the heels of the hands. Simply at a ball to one of the 3b Palmspin patterns. If you look at it. When spinning anticlockwise (reverse the tip for clockwise). When the hands are right next to each other. do it slowly – you’ll see that stack alternates between being supported by three.

and bring the balls a little further forward so it is controlled more by the fingers than the palm. It is a 5b2h Palmspin with a ball above. so anything that can be down with a 79 . try leaning your hands downwards at the front. To minimize this. and another below. the ring of balls. You can add further complexity to this by throwing in pinky lifts and thumb lifts every now and then – the 8b Stack Linespin is essentially two 4b Stacks. The back middle ball of the pattern is difficult to control when it is passing from one heel to the other.the line. You can move a stacked ball between those points as you spin 7b 2h Flower Propellor This move is a combination of the ordinary and inverted 6b 2h Stack. The figure on the left shows the various places a ball can be stacked on top of the 6b Linespin I various configurations. You will find it maybe a bit easier if you let the pinkys overlap. then there is a simple solution – the top ball can be moved along the top from one side to the other – the movement makes the top ball look like a small boat being buffeted along by large waves (or something…). is necessary for the top ball to keep it’s place as one ball is transferred in and another out of the supporting base. 7b 2h “Cheater” Flower Palmspin 8b Stack Linespin This is a 6b Linespin with two balls on top of the 3b Palmspin patterns. If you feel that this move is a little to asymmetrical.

but moving the colours completely to either hand. 10b 2h Pyramid Stack 11b 2h “Cheater” Flower Stack 80 . After bringing both hands together to form the 9b pattern. Using that as a gobetween. as the pattern makes an extreme stretch necessary for the hands. you can end up with a 5b Stack in the left hand with a white top and black base. you could finish the black/white move I described above. Practice your 4b Flat Spins thoroughly before doing this. A solid 4b Flat Spin base will allow you to confidently place three balls on top of the pattern to form the 11b Linespin Stack – one of only two patterns that I know of which use eleven balls (the other is the 11b Blossom Palmspin). and a 4b Stack in the right hand – black top and white base. …almost everything). 8b Linespin For this linespin. which will allow you to rotate the top balls. Because the 7b Linespin is so large. the two balls have plenty of room to move. you can move the base pattern into a 7b Blossom. can be done with this pattern as will (well. it is probably best if you do it with smaller balls. composed of white balls. With care. try spinning a 4 stack in the left hand. For example. 9b Stack Linespin The 9b Stack Linespin is done by placing two balls on top of a 7b Linespin. and a 5 stack in the right hand composed of black balls.stack. You can use the 9b Stack Linespin to move patterns from one hand to another.

As you can see. Butterfly the left arm out to it’s original position. but can look complex if you learn to do it smoothly and quickly. The move is very simple.Multi-ball Ball-Rolling Again. 2b Folding Butterfly This is probably the ideal introduction to 2b CJing. arm pointing straight out. Butterfly the right arm in so the cradle ends up resting at the left elbow. making it easier to control. another might just breeze through. Butterfly the right arm in so the cradle ends up at the left elbow. which I might say are harder than others. Butterfly the left arm in so it’s cradle ends up resting by the right elbow. 81 . What one person finds difficult. Butterfly the left arm out so it’s pointing straight out. At the same time. At all times. Butterfly the right arm so it ends up pointing straight out. butterfly the left arm in so the cradle ends up at the right elbow. A ball is in the right cradle. Don’t be afraid to try moves. At the same time. Both arms point out in front of you. Butterfly the right arm out so it ends up pointing straight out. hand at the left cradle. fold the right arm back in so it ends in the starting position. the instructions are easy to follow. Butterfly the right arm out so it ends up in it’s original position. you are only moving one arm at a time. these moves are ordered by approximate difficulty. You can make the move a bit more difficult for yourself (and speed it up a bit) by doing the same move in this way: Start with a ball in the left palm. Now repeat on the other side. Start with a ball in each palm.

having two moving at the same time poses problems. moving the other arm in the same way. hands in Back-Back Pass position. so the arms are crossed again. you are given a small rest while the folding is completed. and butterfly both arms open so you have two balls in the right palm. then butterfly the arms back. The reason you learn the 2b Folding Butterfly first is that after every Asymmetric Butterfly. so could probably be learned at the same time as the Symmetric butterfly. Pass the left ball onto the right cradle. arm pointing out in front of you. Butterfly the left arm out so it matches the right arm’s starting position. start by learning with one ball in one hand. 2b Back-Back Butterfly You will need to learn the 2b Symmetric butterfly in order to get this one. At the same time. though. but there are a few things that make that difficult. Grab the right ball in a Thumb Hold. It is simple. they tend to bump into each other if you try to make the Butterfly large. Because the Butterfly involves the elbow moving in front of the chest. 2b Symmetric Butterfly This move should be simply a matter of performing a butterfly in both hands at the same time.2b Asymmetric Butterfly Learn the second version of the 2b Folding Butterfly. Alternate which arm butterflies nearest the chest. right arm in front. and you’ve already performed the Asymmetric Butterfly. which is resting at the right elbow. Start with a ball in the right palm. Butterfly both arms to palm position. The left ball is in it’s cradle. Keep the original 82 . Now. fold the right arm in so it’s cradle is resting on the left elbow. do the same but in reverse. with the arms crossed. and the movement of the upper arms can feel very restricted if you don’t stretch your upper chest very often. To learn. Start by placing a ball on each cradle.

The heels of the hands should be close together.right-hand ball in its Thumb Hold. Butterfly the hands back out so the cradle ball joins the other in the left palm. like you’ve just passed one ball from palm-palm. The hardest part of this move is when you butterfly while holding a ball in both the cradle and palm – do you allow them to touch? That’s an aesthetic question. 2b Circle Despite seeming impossible when you first think of it. Now. In most cases. Start by learning the one ball version. but this time. Now. and is up to the individual performer. a ball on each palm. Then. Pass the cradle ball from the right hand to the left. keeping the left ball in a thumb hold. You’ll see that it’s difficult to keep the movement smooth and keep the wrists together. Start with both hands held palm up. place a ball on the right cradle and another on the left palm. Butterfly the right ball to the cradle. Butterfly the arms crossed again. while mirroring the hand motion with the left hand. You now have both balls in the left hand. The left hand goes in front of the right. You should now be in backback pass position. you need to move slower. and Back-Back Pass the ball back to the left cradle. this time with the right arm at the chest. 2b Twirling Butterfly This little move is an example of how to make a very tight contactjuggling move. palm-palm pass the original left ball to the right hand. do the same steps with the left arm. Immediately. ‘simply’ butterfly them. cross both hands at the wrist with the right hand on top. You are now in the starting position again. all the Twirling Butterfly moves can be done within a space of about a foot cubed. like in the starting position of the one ball version. 83 . To do that. the 2-ball Circle is very easy.

and you balance the ball on the elbow while completing the arm’s turn. The right ball reaches the elbow. Cross the hands at the wrist as if you were going into a Back-Palm Pass.Personally. I don’t allow them to touch. Immediately. I like to throw in a few rounds of this move when I am doing a 3b Back-Palm Mill’s Mess 2b Forearm Roll Start with a ball on each palm. 84 . and looks harder than it is. The right arm is pointing straight out in front of the body. or move into a Palm-Palm Shower and through that to a Back-Palm Shower in the opposite direction. From there. Back-Palm Pass the cradle ball to the palm of the right hand. The original left ball reaches the left elbow as you are turning the arms. but that makes the move trickier to get smooth. Bring the right arm in so the hand touches the left elbow. The left hand’s fingertips touch the right elbow. toss the palm ball over it so it is caught by the cradle of the right hand. After starting the roll. Roll the right ball towards the elbow. 2b Back-Palm Shower This little move is similar to the 2b Palm-Palm Shower. you are in a position to repeat the move with the opposite arm. You can repeat this over and over. and pass the elbow ball into the palm. Start with a ball in the right palm. and another in the left cradle. You are then able to turn the left arm so it is pointing straight out. roll the left ball towards it’s elbow. and is passed onto the left palm.

as if you'd just caught the ball off a left Backarm Roll. As the ball comes off. and butterfly the right hand over the left so you end up in the opposite of the starting position .2b Train This move was created accidentally by Ferret. and toss the palm ball over the dropping ball so it lands on the left elbow and rolls to the left cradle. with a ball in the palm. try to toss the ball so it never actually stops on the elbow. The left hand is held palm up. is any roll where 2 balls are rolled as one – one ball follows directly behind another. This is accomplished by tossing so the highest the ball goes is just enough to bring it over the elbow. butterfly the left hand out so it goes palm up. but this can also “easily” (with practice) be done as a backarm roll. It lands already rolling for the cradle. 85 . You are now in a position to repeat the move again. a chestroll would be possible. in the CJ world. stretched out under the left elbow. Start with a ball in the left cradle. When the move is complete. Now. A “train”. left hand under right elbow and stretched out to the right. arm parallel to the chest. roll the left-cradle ball down the backarm and off the elbow.right hand stretched out to the left. as well!): Perform the 2b Backarm Roll Transfer as described above. The original move was a forearm roll with two balls. It's almost a stretched out version. reach up to catch it with the right palm. To make the move more symmetrical. Try to control it so it moves at an even speed. Stretch the hand out a bit to the right. Continue the movement of the left hand towards the right. and prepare for the three ball version. 2b Backarm Roll Transfer This move is similar to the 2b Back-Palm Shower. bring the right hand around so it is almost parallel to the left. and I’m sure with enough time put in. try this variation (it's great for practicing the move. To smooth the catch on the elbow.

Stop both balls at the elbow and cradle respectively. but difficult. Start with two balls in the right palm. but with the satisfaction of having done a really difficult move. 86 . It is done in almost exactly the same way. Butterfly both arms back to the starting position again. to do both the Forearm to Backarm Roll and the Backarm to Forearm Roll at the same time. Roll one of them to the elbow. As the rolling ball is reaching the palm. I originally called this simply a 3b Forearm Roll before noticing that the balls were cascading. Then. In fact. A “cheater” way of doing this is to not try rolling both at the same time – wait for whatever ball is rolling on the arm to arrive and stop at the hand before tossing the other ball over it. This is a very smooth 2b move that is great for practicing your Backarm Rolls . This will allow you the ease of only having to control one ball at a time (sort of). and Forearm to Backarm roll it. On the cradle side. toss the cradled ball over the rolling ball so it continues rolling towards the elbow. but not impossible! 3b Forearm Roll Cascade This is an extension of the 2b Forearm Roll. as it is reaching the cradle again. toss the palmed ball over it so it continues rolling towards the elbow.especially those difficult rolls from the elbow to cradle. Backarm to Forearm Roll the elbow ball. To do this. don’t toss the balls over each other – simply palmspin them. For an even easier version. butterflying the cradle ball to palm. You know what to do from there. you should be very proficient at the BackarmForearm Roll and the Forearm-Backarm Roll. Proficient enough to perform both while butterflying a ball in the hand of the same arm at the same time. 2b Simultaneous Back-Forearm and Fore-Backarm Rolling It is possible. this is very difficult.Perform the 2b Backarm Roll Transfer again (opposite of above). butterflying the other ball at the same time.

As the ball is rolling to the left elbow. then butterfly the right hand so one of it?s balls goes to the cradle. and over the forearm onto the right cradle. like the right arm’s starting position. passing the right elbow ball into the left palm to replace it. Roll the left ball towards the left elbow. you should find some way of bringing the third ball into the mix. the very act of making this move symmetrical does the job. You will end up in the opposite position as the start. bring the left arm so it is pointing out from the body. another at the right elbow – the right arm pointing out from the body. and another in the right palm. The thumbed ball is held still all the while . and you are cascading using Forearm Rolls. This is more obvious if you use different coloured balls. A third ball is in the left palm. Start as with the 2b Backarm Roll Transfer .a ball in the left cradle. Now. and palm-palm pass one of the left hand balls to the right hand. Luckily. The right arm comes in at the same time so it’s hand is beside the left elbow. To make this a proper three ball move. From there. while 87 . The simplest way of reversing the positions of the balls and hands is to butterfly the left hand out.Start with one ball in the right palm. roll one of the left hand balls down the forearm.this makes the move even easier . Then. the three ball version is a simple progression. raise the right hand above the left elbow. Turn the right hand over.you only move two balls at a time. Do a 2b Backarm Roll Transfer. beside the right elbow. so it's ball goes into a Thumb Hold. Add a third. you simply repeat the above in the opposite direction. which starts in a left Thumb Hold. 3b Backarm Roll Transfer Once you have learned the 2b Backarm Roll Transfer. That’s it! Just repeat the same movement with the arms reversed. The way I prefer to swap the directions for this move is to butterfly the left hand well out to the left side.

you should be learning something different!). Toss one of the right hand balls up onto the left elbow. Start with two balls in the right palm. Now. This involves a move from the Outside Elbow Hold to the Elbow Hold. and then butterfly the arm back to its original position. so simply start again but using the instructions for the opposite arms. 3b Backarm Cascade You will probably benefit hugely from learning the 2b Back-Back Shower before learning this move. Forearm Roll the right ball to its palm. another in the left Palm Hold. and a third in the right Elbow Hold. you are in the reverse of the beginning position. the fun begins! As the ball approaches the cradle. and the tossed 88 . Pass the left cradled ball to the right Elbow Hold. but still tricky – thankfully there are no other balls in the arm to think about! At that point.swinging the left arm round so the left hand goes into start position. and roll it towards the left cradle. held under the left elbow. Easier than last time. You should also know the 2b Backarm Roll Transfer very well. you can start the 2b Backarm Roll as the left arm is swinging into place. The left hand is out to the right side with a ball in it’s cradle. you must be comfortable passing a ball from the Elbow Hold to the Outside Elbow Hold. When done smoothly. toss the already cradled ball over it so the rolling ball rolls into the cradle. so be careful! I found it is easier if you exaggerate the left elbow’s movement – you should be able to easily ignore the butterfly in order to concentrate on this (if not. In order to learn it. Makes it look smooth! 3b Folding Cascade This version of the Arm Roll cascades is much more obviously a cascade. Butterfly the left hand to the right elbow. This also involves transferring the left Elbow Hold to the Outside Elbow Hold. Start with a ball in the left Elbow Hold.

ball lands on the backarm and continues to the elbow. This is where the 2b Back-Back Shower experience is important. The rolling ball drops off the end of the backarm. As you reach to catch with the right hand, toss its held hand up onto the left elbow, so it starts rolling towards the left cradle. Sound familiar? This is where the experience with the 2b Backarm Roll Transfer comes in. Once you learn this well, try the four ball version…

4b Circle
Simply put, the 4b Circle is a combination of palm-palm passes, symmetrical butterflies, and 2b Genie Rolls. Ferret said once that he had a four-ball version of the Circle. It possibly looks like this. This is not a true circle, though, as not all the balls go right through the circle. Start with a ball in each cradle and another in each Thumb Hold. The hands are held in back-back pass position - whichever you feel most comfortable with. From there, do a 2b Genie Roll. If you find these difficult, try back-back passing one ball so it passes onto the cradle of the other hand closer to it's fingers, then back-back pass the other ball over to the now empty cradle. One of the balls will be rolling the difficult way, so I recommend you leave that as the last to roll, allowing you to devote full concentration to it. Butterfly both hands so you end up with two balls in both hands. It looks good to palmspin for a moment there, and helps as well with the circle (without palmspinning, none of the balls will ever complete a circle). Palm-Palm Pass two of the balls, so you have an interchange. Maybe you'd like to add a second moment of palmspinning before going on to the next step. Butterfly back so you are in the starting position. I like to make the palm-palm pass and back-back passes in this move fleeting moments of contact between the hands. The majority of time is spent with the butterflies and palmspinning.


4b Backarm Cascade
Make sure you know the 3b version of this well before attempting this. Once you do, though, its simple – it’s like a mixture of the 3b Backarm Cascade, and the 3b Backarm Roll Transfer. Start as before with the 3b version, with two balls in the right hand, held under the left elbow, and one ball in the left cradle, held out to the right. This time, though, also hold a ball in the left Thumb Hold. Toss a right hand ball onto the left elbow. Let that ball roll to the left cradle, then toss the left cradle ball over it so it rolls to the left elbow and drops off. Unlike the 3b Backarm Cascade, though, this time we don’t follow up the right hand catch with another repeat of the move. Instead, Swing the arms around, butterflying the left cradle ball so you end up with two palm balls in the left hand, and the right hand butterflies one ball into cradle, and the other into Thumb Hold. The swing ends with the left hand under the right elbow, and the right hand palm down out to the left. Repeat the moves mentioned, but with the arms reversed.


Combining Ball Rolling and Palmspinning
This section is mostly about moves combining ball-rolling and palmspinning, but there are also little pieces about going into ballrolling from palmspinning, and vice-versa. A simple way of combining ball rolling and palmspinning is to use three balls, and roll one of them while holding the others still (so you are only concentrating on one at a time). For example, try palmspinning three in the right hand. Pass one ball to the other palm, and butterfly the right hand so one ball goes to the Thumb Hold and the other is in the cradle. Now, roll that cradle ball up the arm and across the chest to the other cradle (which has it’s ball also in a Thumb Hold). Butterfly out, and pass the right ball into the left and start palmspinning again. Or, simpler still; palmspin three in the right hand. Forearm roll one to the elbow and pass to the left hand. Palmspin two in the right and one in the left for a moment. Pass another from the rigth to the left in the same way. Palmspin for a moment, then finish by passing the last ball the same way.

2b Palmspin Escape
Starting with a 2b Palmspin, you roll one of the balls up the forearm to the elbow, and then roll it back down into the palmspin. This sounds simple, and is, really, after you’ve practiced it a while. You need to be smooth with your forearm rolls for this. It is easier to learn this from a pushing palmspin, as with a pulling palmspin, the ball you roll to the forearm will go over the base of the thumb, which could interfere with your balance. With a pushing palmspin the ball will go up via the heel of the hand, which is much smoother. With the 3b Palmspin Escape, the remaining two balls continue spinning while the escaped ball is rolling, but that is extremely difficult with the 2b Palmspin Escape, so just keep the remaining ball in the palm of the hand, waiting for the rolling ball to return. This affects the forearm roll, as you’ll have to be careful 91

judge the roll so it flows nicely into the pattern. the tendons in the forearm move constantly. The secret to bypassing this difficulty is to ignore the balls in the hand – after all. but it looks more impressive to keep them spinning as if nothing out of the ordinary has happened. The two balls in the palm should be at that moment held by two fingers each. 92 . which makes the forearm roll much more difficult. you can. with the thumb held aside so the rolling ball can flow in. 3b Palmspin Escape This is a harder version of the 2-ball Palmspin Escape. and not because it involves 50% extra balls. Don’t pause the motion – allow the roll to smoothly carry through.not to drop the palm ball when you make corrections in the other ball’s balance. and all of them decide independent of each other what they are going to do at any moment. at the little finger side. Because you keep the balls spinning. The difficulty lies in the two balls you don’t ‘escape’ – what do you do with them? You can’t just leave them doing nothing while you roll a ball along the forearm! Well. to make room for the rolling ball to slide directly into palmspinning position at the thumb side. When you roll the ball back. they’re only doing a 2-ball palmspin – even non-CJers can do that! Ignoring the spinning balls allows you to concentrate on the one ball that’s important – the rolling one. When the rolling ball is returning. bring the palm ball to the front of the hand. This is what causes people to think of magic when they see contact juggling – that the balls seem to have a mind of their own. Your job is to get that ball safely up the forearm to the elbow. and back again – ideally pausing at the elbow a moment for effect.

This may cause problems as you try to control the falling top ball and the rolling ball at the same time – especially if you like to continue the spin. Another way of releasing a ball is to allow one of the bottom balls to “pop” out of the pattern onto the forearm. and the position of the palm balls needs to be in such a way that the hopping ball is not knocked aside as it tries to regain it’s position – try to get two balls near the wrist so they “guide” the ball into position. up the forearm and then back down to reform the 4b Flat Spin. Start with a 4b Flat Spin – AntiClockwise in the right or Clockwise in the left seem the easiest – then “simply” roll one of the balls out of the pattern (which reverts to 3b Palmspin). This takes a bit of judgement. then the spin can be restarted. and the top ball to replace it in the base. and make the back ball roll out of the palm – you can now spin the three remaining balls while doing your forearm roll with the escaped one. and roll the spare ball quickly up the forearm so it hops up on top of the other three. Lift the front ball so it becomes the top ball of a new stack. One way is to stop the palmspin. Another way is to roll the ball back up to the palm so you have a diamond shape (stop the spin when the ball reaches the other three). and how are you going to place it back in again.4b Stack Escape The roll in this is the simplest part – the hardest parts are figuring out how are you going to take a ball out of the stack. 4b Flat Spin Escape I would say that this is harder than the 4b Stack Escape only because the 4b Flat Spin is more difficult than the 4b Stack. As usual. Squeeze the diamond in. 93 . To take a ball from the stack is surprisingly simple – learn the 4b Collapse And Rebuild move. Collapse the stack. Then the stack spin can be continued. Bringing the ball back into the stack can be done in a few ways. which will leave you with a diamond shape with the shortest axis leading from the forearm to the fingertips.

and a twirling fire-staff in the left.com) does a lot of work in this area. Combining Chest Rolls with Hand-Hand Passes Michael Glenn (www. he passed the twirling staff into the other hand. A nicely done pass I saw recently (July 2002) was the passing of a 4stack from the left to the right hand. The remaining ball rolled down onto the now empty left arm.this is more aesthetic with the palmspin continuing all throughout the move. The stack was twirled in the left hand for a while. but the potential for the move was very apparent. but decide for yourself. He started a Chestroll. incorporating a chest roll. The key to this move is hidden in the paragraph above – “as the ball was traveling across the chest”. and then the top ball was dropped into a forearm roll. This ball was passed at the elbow to the right cradle. and straight into a Chestroll. the body controls it. When the ball is traveling across the chest. and as the ball was traveling across the chest. so you can do pretty much anything with the arms while the ball is still on the chest. The pass of the 3b pattern was unfortunately not smooth. As the ball traveled across the chest the remaining 3b pattern was passed immediately into the right hand. so the ball arrived at an empty hand.tryouttoys. and the ball was passed from the cradle onto the 3b pattern. not the arms. 94 . The first time I saw him pass while Chest Rolling was when he started with a ball in the right hand.

Quickly. then vertically – forming floor. move your hands back to the original positions. In the rec.Combining Toss. and the left hand is in front of the right side of the waist. Bring both hands horizontally to their opposite sides. 2b Square This move is most definitely a toss juggling move. The effect is that two balls move simultaneously horizontally.juggling archives (see www. The Factory is much more difficult. it is good to take a fresh look at the toss move that you want to change – make a video of it or watch someone else do it. You could say that. The left hand is held about waist high. but there are slight differences. Someone on www. or rolling up the arm to the elbow and back before returning to the original move. and sides of a box or “square”. Start with the right hand held shoulder-high in front of the right shoulder. When creating a combination of toss and contact.contactjuggling. you can repeat the movements. roof.juggling. and catch the thrown and dropped balls. I’d recommend learning the move in order to get this move 95 .org) you can find some descriptions of how people have combined contact and toss in the past – maybe pausing in the middle of a cascade to catch the tossed ball in a cradle and Chestroll it to the other hand before continuing. and mentally change one movement at a time into something involving contact juggling. Toss the left ball upwards so it will apex at shoulder height. Now. but can be used effectively as part of a contact juggling routine.and Contact-Juggling The moves in this section could possibly be described as tossjuggling moves. The left ball is simply dropped. with a ball held in the Thumb Hold (or just grab it normally. so the right hand is in front of the left shoulder. as they each have a CJ streak. for one.org described this as part of the 3b toss juggling move The Factory. palm up on the left with a ball in the palm. but you won't find them in many toss-juggling books. while learning).

causing the ball at the elbow to be tossed in the air (hopefully. start the other ball rolling to the elbow.down. and immediately toss it back to the palm. I’m sure that with a lot of practice. for example). This is the basic throw and catch of toss juggling. but have not managed it myself yet. toss the held ball towards the elbow. Start with a ball in the palm. it will naturally start the roll without you needing to do anything yourself. it may be best for you to practice catching the ball further up the arm than the elbow. As the ball approaches the hand. 2b Elbow Catch Shower This is simply a variation of the 2b Elbow Catch where the ball at the elbow is rolled to the palm instead of tossed. though. As the ball reaches the palm. as tossing from the elbow involves the whole arm. Catch the tossed ball on the elbow. 2b Elbow Toss Shower This is the exact opposite of the 2b Elbow Catch Shower. this could be done with three balls. towards the hand – work on it). Start with two balls in the palm. Just before you catch it. 96 . Roll one to the elbow. and another in the elbow of the same arm. If you plan on doing this quickly (in preparation for the 3b version. catching the already thrown ball. This is quite a bit more difficult than the 2b Elbow Catch Shower. toss the other ball towards the elbow with your fingertips. The Factory holds some possibility for integration into CJ… I must work on that… 2b Elbow Catch You will have to be very good at the Elbow Catch before trying this. where tossing from the palm only involves the fingers. If the ball lands on the bicep (which is not horizontal). Bend the arm slightly and straighten it with a jerk.

and catching b1 just after tossing b2. The images show the transfer in one direction – learn it in both (reverse the instructions to learn the other way). Start with a ball (b1) in your right cradle. a ball (b2) in the right Thumb Hold. which any experienced juggler will show you. Now make sure that your left hand has b3 in a Thumb Hold. 97 . and catch b2 in the cradle. Uncross your arms. tossing b1 in the air sort-of towards your left. as it absorbs the landing a bit better. I’ll go through the CJ version step by step. tossing b2 a bit further left than b1. and another (b3) in the left palm. Cross your arms the other way. you should first learn toss juggling’s Mill’s Mess. I have found that the threefingered cradle is best for this.3b Mill's Mess with Cradle To learn this move. reducing the ball's tendency to bounce straight off the hand. I have heard of some people who managed to put a butterfly somewhere in all that motion. as all that is changed is that the ball is “stalled” at the end of each move. The right hand should be crossed over the left. but haven't figured out how to do that without coming up with a completely different move. but you will find it a lot easier to learn if you already know the toss-juggling move.

Another nice thing to do here. I had a five-ball variation in mind. Back-Palm Pass the cradled ball (call it b1). The left hand is held about stomach high. and holds a ball on the palm. which is held about chest high. so you can immediately do the above movements again. I originally called it a Mesh because the movements reminded me of clockwork.. Uncross the hands.3b Back-Palm Mill’s Mess After you’ve learned the 3b Mill’s Mess with Cradle. but you never know. 3b Mesh Here's a little move that can be easily expanded on to make some very complex moves. Both hands are in Back-Palm Pass position. In that case. bringing the left hand face up so it’s ball (b3) is on top. and immediately toss the palm ball (b2) straight up and hold b1 in the palm. which would have looked very much like clockwork (and a bit like toss-juggling’s "5b multiplex cascade”). and a third in the palm of the right hand. and drop off the elbow. The hands are now in the opposite Back-Palm Pass position. 98 . When I do the Back-Palm Passes in this move. Naturally. and feels very nice. I like to throw in a Back-Palm Shower or two before continuing with the rest of the move – it makes the move look more complex. in reverse. is to exaggerate the pass from Cradle to Palm.. I'm not sure now that the five-ball version is possible. to catch b3 in the right cradle. this move is a lot slower. Start with a ball in the Thumb Hold and cradle of the right hand. Here is a slightly trickier one that can be performed very tightly and quickly. so the balls roll along the backarm from the cradle. b2 comes down and you toss b3 upwards before catching b2 in the palm and crossing the hands. right hand palm down. Start with a ball in the left cradle. you will realize that it really is just a small extension that any toss juggler could do. you could call the move the 3b Backarm Roll Mill’s Mess. another in a Thumb Hold in the left hand. with the right hand in front of the left. and therefore probably easier to do.

The first toss is a high toss. After three Mesh movements. 3b Baby Pass Shower When you examine this move after you’ve learned it. Start with your left arm extended in forearm roll position. bringing you back to the starting position. If you study a shower. This second toss can be replaced with a forearm roll. The tossed ball is then caught by the right cradle.Move the right hand in a butterfly-like motion so the cradle ball is brought into a Thumb Hold. Place two balls in the palm. bring the left hand up to catch it. let the remaining ball there roll towards the elbow. you are moving all the balls around in a circle. tossing it's own ball at the same time. with the tossing hand held on the opposite side of the arm. but try to let it go at the last moment so it doesn't just drop straight down. As the ball drops. toss the ball that is already in the right hand up towards the left palm and catch the rolled ball. you will see that the balls move in a circular fashion. of course). The original Thumb Hold is thrown/dropped towards the left. The right hand should be next to the left arm’s elbow. The second is almost a direct pass from one hand to the other. As the tossed ball is reaching the left palm. the only difference is the amount of balls in the air (and the added difficulty. which is where we started. Let one of the balls in the left palm roll down to the elbow and off into the right hand. 3b Forearm Shower This move is based on toss-juggling’s Shower. As the ball is being passed from the left elbow to right hand. After all. which is the more visible one. It's difficult to control the dropping ball while performing the butterfly. with two tosses causing the pattern. you’ll see it’s just a variation of the Forearm Shower. but I’m sure it could be extended to four. In effect. the balls are back in their original positions. At most. I’ve done this with three balls. 99 .

right arm under left. but the potential is there. As the tossed ball comes to the left hand. I’m certain it is possible to do this with more than three balls. and one in the right. It has the added difficulty of being cross-armed. and right hand beside left’s elbow. starting the loop all over again. roll the remaining ball down the arm. As it arrives. Catch the rolled ball. toss the already held ball from the right hand up to the left hand. left hand up by right upper arm. 100 . As with the Forearm Shower. Two balls are held in the left hand.Start in Baby Pass position. Let one ball roll down the forearm from the right hand on into the left hand.

Butterfly W/ Head Butterfly This move can be learned before the Head Butterfly has been properly learned. bringing the head down and your other hand up so you are in a symmetric position to how you passed the ball onto the other 101 . bumpy place. The temple is a very dangerous area to make mistakes. Allow the ball to continue over the head to the other side. Henry VIII learned to head roll (the juggling type). I’d recommend it as a step towards learning all head moves. Start by Back-Back Butterflying slowly. The head is a stubby. Practice all moves on the head with a large soft ball before you move onto a smaller soft ball and finally a small hard ball. which shows that contact juggling is much older than most people realize. a lot of toss jugglers are a lot more experienced than most contact jugglers – the head is a difficult limb to learn to maneuver with. butterfly the hand higher than usually. The head is probably the most difficult part of the body to contact juggle with. It is not important that you be able to stop the ball at that point.The Head Head rolls are another one of those contact/toss crossovers that crop up now and then. I use my trusty novelty tennis ball to learn the moves. Every other part of the body is either very flexible. and finally my acrylics. In fact. When you can butterfly and get the head into position smoothly. After a few instances of the combination. In this region. try to lift your head back into position so you are facing upwards and the ball goes into the Forehead Hold. and is difficult to learn to use. and bend your head and body so the ball can roll straight off the fingertips onto the temple. It is extremely important that you do this slowly. or is easy to balance on. and then move onto a smaller bounce juggling ball. but that would be a bonus.

when you can move from the side of teh neck to the Chest Hold comfortably. Balancing on the side of the neck is easy once you keep your head bent . so may not be best for your routine . Neck Butterfly This move has more body movement than ball movement. this move will seem impossible to you. try continuing the motion of the ball by using the chest as a sort of catapult to keep the motion going so the body raises again and drops the ball into the opposite side neck hold. Maybe it is best to learn as a smooth movement .temple. If you are not flexible. If you can. Roll the ball onto the other cradle. You will need to be able to hold the ball in the Chest Hold. Shifting to the other side of the neck is a bit trickier. This involves a bit of bending backwards. but rather flexibility. so watch yourself .this creates a concave surface for the ball to rest in. Learn to balance a ball on the side of the neck (I call it the Side Neck Hold. then let's go. and either side of the neck in order to so this. This is another flexibility hold. then drp your body while shifting it so the ball moves to the chest.a non flexible person can be hurt easily by overdoing this.if you are balancing on the right side.unless your routine is dancing heavy or something. as starting the ball in motion from the Chest Hold is difficult. and go back to your BackBack Butterflies. You must be able to balance a ball on the chest (sternum). Shifting from the side of the neck to the chest is a lot trickier . 102 .not because of balance. Make sure to keep control of the ball as you do this – don’t just “drop” the ball off the other side. then bend the head to the right . which is the usual reason. the neck. but I suppose this move can be used as a workout like those aerobics things that so many people are hooked on. Neck to Chest Circle This move is very difficult .you have to lift your body sideways to give the ball some vertical motion. because I'm fantastically creative).

the ball should be in Forehead Hold position. Learn to move from the Side Neck Hold to the Neck Hold .this just involves a drop and twist of the body.the back muscles of the neck tend to be rather broad. then drop it quickly so the ball goes over that ridge . then you move your body to the right. as you must then somehow stop the ball from going too far and falling over the other side. 103 . The obvious way to learn the Head Butterfly would be to start with a Forehead Hold and roll to a Temple Hold and back to do i on the other side.. so it is easier to stop a roll on the forehead than on the temple. If you feel any twinges or unusual tiredness .. but just as the final throws when you were learning the Windshieldwiper. If you have done it correctly. then.. The most difficult part is to move from the Neck hold to the Side Neck Hold . The reason for this is that it is easier to balance a ball on the forehead than the temple.too much. The way to learn it. I'd recommend you practice this only a few times per day . and you will hurt your back. then carefully flick your head up straight and move the body back to the left .. your temple holds should be good enough for you to learn it in reverse.stop and go do something else.Practicing this move can get quite painful after a while.if you start with a Temple Hold on the right side of the head. From there.this is probably the most difficult part of the whole move. it gets a bit simpler. is like the Neck Butterfly..so the ball is "thrown" upwards. Once you can do the Neck Butterfly. That is is actually the hard way to learn it. or abdomen. the throws do not cause the ball to leave contact with your head. Head Butterfly Remember the weeks you spent learning the Windshieldwiper and Butterfly with your hands? Time to revisit that. The easy way is to learn to move from either Temple Hold to the Forehead Hold before even attempting to roll from the forehead to the temple. Rolling from the temple to the forehead involves a sort of wave shape with the body and head .. but with a twist. though. After you have learned to roll from temple to forehead successfully nine times out of ten. raise the body slightly. or side. and the body should not be offcenter.

Rolling from the forehead to the Temple Hold is "slightly" trickier. learn it slowly. The ball will travel up the left backarm to the left shoulder.either by the neck. duck it down only slightly and well to the right. then move your body (not the head) slightly to the right. and bend the head to the left. for example.instead. you would now duck your head down . In the beginning. being very aware at all times of your position in relation to the ball. more impressive way. If you straighten up too quickly after the roll. moving the body further to the right so the ball practically stays in place. Of course. but this is a simpler. A more impressive version of that is to do it from the opposite shoulder .this will help in the long term. but ends up in the Temple Hold. Again. that was the simplified description. behind the ear. then start on the Forehead Hold. Learn the Head Butterfly and Neck Roll fluently.roll the ball from the right cradle to right shoulder. If you are rolling to the right Temple Hold. then. The ball now rolls up the stretched neck muscles. you risk throwing the ball off to one side . You will have to practice each stage a bit at a time. as what I'm about to show is a variant of the same motions. it is probably best to minimise the sideways motion of the ball . From the Forehead Hold. First off. or straight over the head. you'll notice the ball tends to roll straight off the head . When you try it the first few times. you can do the exact opposite on the other side . If possible. Then allow it to continue into a neck roll to just before the left shoulder.rolling the ball down behind the ear and off down the right arm. and do not allow the ball to move one millimeter out of your control.do every move very carefully. In the neck roll. raise your left shoulder to halt the ball and then 104 . This is important. Arm Roll to Forehead Hold To get to the forehead strictly rolling the ball. you could learn to roll from a Neck Hold straight up and over to the forehead. perform the move slowly . we'll trace our route.so the ball is only moving vertically. From there. Bend your torso to the right to emphasize the bend. and you straighten up into a Forehead Hold.

105 . Head Circle Like getting dizzy? This move is for you. they run into each other. You can then roll down the right side of the head.but I find that it is usually better to learn the moves cautiously than continuously . This can surprisingly be done early on in your learning if you use a large ball. then when you have both solid. you have the familiar arm rolls and neck rolls with the occasional new roll to a Forehead Hold.ie.reverse it's direction. and then carefully navigate the ball up the other side of the head back to the Forehead Hold.so make sure you practice the Arm Roll to Forehead Hold first.start on a Forehead Hold. Practice this in conjunction with your head butterflies. all moves are new to you . try learning to bring the ball from a Neck Hold to a Temple Hold and back. continue to a Neck Hold. or you could learn this first. but here. You could even use it as a loosening up move for athletics. roll to a Temple Hold. The Arm Roll to Forehead Hold has all the description you need. simply continue from one into the other. then repeat on the other side. in the former move. You could combine this with the Neck to Chest Circle visually. They both use the same moves . The ball can now be rolled up onto the forehead as described before. You could learn this before the Arm Roll to Forehead Hold. and reverse directions again to neck roll down to the left arm. the Neck to Chest Circle gives the abdominal muscles and waist a workout while the Head Circle works the kinks out of the neck. and continuing the workout theme. If you want to be extra slow learning this. really .

and in the process. that a great contact juggling routine is about the routine itself – not the performer’s skill. my first experience of contact juggling was of a guy in a nightclub.org). without the ability to direct (or misdirect) the audience’s attention. Through the Body This move involves an element of misdirection. it just doesn’t work! Good contact jugglers that use magic in their routines include the UK’s Silver. though. The effect of the trick is that you finally pass from the right hand to the left (or left to right – whatever). who had a lot of skill. as it somehow makes it all look like magic. and contact juggling is openly taught. bring the ball around behind your back. Start by performing a few rolling moves using the hands and arms. but will only work right if you have the misdirection down pat. and Canada’s Matt (chat with them at contactjuggling. belittles the skill needed to perform it. and always watch the movement of the ball very obviously (this is part of the magic). and most contact jugglers go to great pains to point out that not only is it not a trick. A lot of people do not like the idea of putting magic into their contact juggling. It is incredibly easy to perform. but no “stage presence”. but that anyone can do it! This is one of the main differences between magic and contact juggling – magic is traditionally a secret art. I believe. and push it through your body to appear in the right hand! 106 . Use a few passes.Combining Magic with Contact Juggling Many people think that contact juggling is a magic trick when they first see it. In this chapter. Magic is all about stage presence. As I said way back at the beginning of the book. I’ll show how to combine some easy magic effects with contact juggling.

On the other hand. The final pass. Colour Change For this trick. wipe your right hand over it. Use a lot of body movement to accentuate the move. For me. 107 . and move as if to press the ball into the spine. they see the ball pass through your body. the easier the move. if you repeat it once or twice immediately after each other. and instead.5” balls. pull your right hand back to grab the ball and bring it forward. but the harder it is for the audience to see what’s happening. A second or so after you have done the pressing. it’s best to use balls that are just smaller than the width of your palm. You simply act as if you are passing. the audience will not have time to know what to look for. and it is suddenly a different colour. Next. You don’t even need to be completely smooth about this! One magic rule that I would recommend sticking to is never to over-repeat a move. A usual-sized person can do this with a ball that’s up to about 3” in diameter.org). The effect is that you show a coloured ball in the left open fist hold. You should have a pouch for your balls held on the right (one of the Ferret’s pouches is perfect – as him about them at contactjuggling. Because the audience has been watching what you watch. with the left hand still behind the back. that means 2. from the right hand to the left. press the ball against your chest with the right wrist (to show the right hand is empty). the audience will see through the trick. and cup your left hand as if it has received the ball. is not actually a pass at all. then you can fool them into seeing something that’s not there. you quickly move the left hand behind the back (so the audience doesn’t catch on). if you repeat a move too often.The secret to the trick is in the watching – if the audience pays attention to what you pay attention to. The smaller the ball. so make sure to use the biggest balls that you can.

so it doesn’t look strange when you turn 90 degrees to the right and your right hand is not visible. as if you have just produced two balls out of one. the first ball should be in the left hand – bring it up into a long hold. this is a stylish thing. this distracts the audience while you dip your right hand into the pouch by your right side and bring out ball two in a Thumb Hold. The right hand is held so it’s ball is hidden. giving you a moment to drop the original ball into the pouch. and pick up the first ball in the Thumb Hold as the second ball reaches the first ball’s original position. When you have turned to the right. to reveal it momentarily.The method is simple. Continue the wiping motion to reveal the “magically” colourchanged ball. keeping it hidden. The original trick involved a stick with a ball stuck to the end of it. Keep your eyes on the ball while doing this. so it looks like a natural empty hand. you could keep the original ball hidden. such as a stretched 3Finger Hold. further up towards the wrist. and immediately swing it around to show the audience closer. Keep the hand kind of loose. and sit its ball right next to it. so they still don’t know what’s going on. bring the right hand up. Push the second ball towards the first. It could be worthwhile looking it up to see if you can get a better adaptation out of it than I did. you should have a bit of body movement in your routine. First off. 108 . Now. bringing the first ball down into the Open Fist Hold. All the action is done with the palm and thumb muscles – the audience should see no finger movement. To the audience. Alternatively. Scarf Balance This is an adaptation of the “Zombie Ball” trick (a magic trick) that needs nothing other than a ball and scarf (and a lot of perseverance). turn 180 degrees to the left. Looking intently at the first ball. but you must practice it to get it smooth – the tiniest sound or pause in the wrong moment might break the spell.

Just in case. you can use a different method using a string and a scarf… Sleight Of Hand The effect with this one is that you have a ball in the left 3-Finger Hold. the zombie ball involved a ball that rolled along a scarf. and hold the holding hand straight out in front of you. Hold the right side of the scarf in the same way in the right hand. The secret to balancing the ball on the edge. With a lot of tension on the scarf. ducked under it. Hold one corner of the scarf at the base of the left thumb with the left ring finger. about three-four inches in width appears. Hold a ball in the left 3-Finger Hold. With a lot of practice at this. Get a loan of a scarf from an audience member. It should ideally be very strong. and you balance it there. You should practice this in front of a mirror in order that you get the angles and actions right. and seemed to float at some points. is that you don’t actually balance the ball on the edge… you create a flat area that you can see but the audience can’t. When you stretch your hands apart.Basically. you will see that a large flat area. The easiest way to manage this is to face the audience. and the rest of the edge dangles down. I haven’t found a way to emulate most of it. Ideally. and then you open the right hand to show that the ball has vanished. you take it with your right hand. With an extreme amount of practice with the above method. but the rolling along the scarf can be done. and made of a thin material. keep one with your other props. 109 . by holding the corners further up towards the thumb. The hand should be held in such a way that the palm of the hand is not visible to the audience. The left edge of the scarf is then held stretched between that point and the extreme tip of the thumb (between the thumb and index finger). you can narrow the width needed. the scarf should be plain (no pattern). you can roll a ball back and forth along this area. so the audience can’t see that there is part of it not shown to them.

and hold it there with a Thumb Hold. then reach into your ball pouch (or box. or whatever). Reach over with the right hand. though. and take out an identical – now you can somehow reveal the hidden ball in a “multiplying balls” type trick. and pull your right hand towards you. and bring your right hand behind the back. you’d have to move your left fingers). going into the “Through the Body” trick. and cup the hand around the Carefully drop the ball into the left palm. A better one. You should be extremely careful not to move the left hand while doing this (to continue the illusion that the right hand has the ball). 110 . You could forgo the revealing. so maybe you should use the right hand to nudge it so it drops (otherwise. That doesn’t give a hint of what to do with the hidden ball. would be to reveal the disappearance. to reveal the disappearance. The initial version I saw of this revealed the illusion by bringing the cupped hand up to the mouth. still cupping the hold. and “blowing” the hand open.ball. A number of options sound good. Make sure that the ball is not visible to the audience. ending up with two balls where the audience thought you only had one. I think.

rolling to a balance on the outside elbow so the hand is reaching behind the head (some interesting moves could be done like that – think contact juggling with your hands held behind the head). or breakdancing if you feel really adventurous). I believe you could use any part of the body to perform almost any contact juggling move – one South African contact juggler (Hi Matte!) told of his belly-dancer girlfriend who could use her stomach to launch a ball right up the body to the shoulders. 111 . The chest. Not much work seems to have been done on the more extreme positions. The balls can be balanced or rolled between the knees and waist. “palm”spinning. we have the chest – as Mistress Meghan says. Beyond the arms. Another contact juggler told of his time playing with balls on his ankles. and successfully butterflying from one side to another. contact juggling with the hands behind the back. rolling from chest to back of neck and back again. I’m sure. then pass to the opposite leg and down to it’s knee. could be trained to handle two balls at a time – showering. This is. girls can have an advantage here. A lot of arm work depends on the forearm and backarm. I believe. You can balance in the small of the back. then possibly bring the ball right around the body and back again (would look good while lying down. etc. The legs can be treated like the arms – albeit very limited arms. Try rolling a ball right down from the knee to the waist. though – butterflying between outside and inside of biceps. which our bellydancing anecdote shows can be used effectively. Below the chest is the waist. With practice. then hop the ball back to the original knee. Try learning to butterfly from one side of the waist to the other.Wishful Thinking Most of the moves I could think of on the arms have been done before by people – it is difficult to think of any which have not been done. simply because people practice with the arms more than with the body – not because the body is more difficult to use.

All the points I have mentioned here can be linked. and wrist. cradle. Enrico Rastelli. you can balance on the top and sole of the feet. This was before contact juggling was given the attention of hundreds of creative minds. Think what is possible now.The feet and ankles are similar to the palm. You could balance on the inside and outside of the ankles. and rolled coloured billiard balls all over his body into pockets sown into it. about a hundred years before this book was published. you should find it possible to roll a ball from any point of the body to any other point. You can toss from one foot to the other. With a bit of flexibility and perseverance. 112 . wore a green velvet suit.

or “liquid popping” – where the hands and arms are used to create mesmerizing fluid movements. you could develop them in secret and stun the world in a few years when you unleash your crazy ninja ball skills3 on the world. it looks stunning.Creating New Moves The best way to create new moves is to have to learn contact juggling from scratch with no references. An idea that could give some amazing new moves turned up recently (2001) on the contactjuggling. then it is likely that you also have a few moves in mind that you're wondering why I didn't put in – develop those moves and release them to the community. Never isolate yourself to such an extent that you will not look at any other art for fear of making your CJ more “impure”. 3 Paraphrase from Greg and Owen’s video – Contact Juggling Part One 113 . it is usually from my history – coming from many different hobbies to contact juggling allows me to take moves I already knew from other disciplines. and adapt them to the contact-juggling world. If that could be combined with contact juggling – and I'm sure it could – it would yield some pretty impressive moves. which explains the huge amount of diversity and new moves. If you have learned everything in this book from beginning to end. Remember – Allah loves variety! I’m sure YHWH does as well. Also. When I am thinking of new moves. Think also of rhythmic gymnastics.org website – there is a kind of dance related to break dancing which some people call "liquid hand dancing". there are the “body popping” and “break dancing” dance-forms. Up until recently. which are always turning up. Or. They have great potential as well. most contact jugglers developed their skills in isolation. as most likely they're moves that a lot of people overlooked. Although the ball moves in that art are relatively simple compared with CJ.

If you go without exercising your arms for a while. but there are flaws as well – if you are trying to beat your records all the time. Personally. Moderate. then eventually. Alcohol can severely disrupt your control. Each time I go through the list again. This method will tell you soon what your strengths and weaknesses are. and Conditioning In order for you to consistently perform your routines without fault. Perhaps the best exercise a juggler can get is to juggle regularly – write up a list of moves you need to practice. You don’t have to give these things up – just be aware of these things so you can be careful of your diet in case you are doing a show on a specific date. I try to beat my last record at the first try. If I don’t beat it. You should choose your own exercise. it is more difficult to regulate your diet and exercise. or at least equal. it is important that you take care of your body. then try to spin a 4-stack for a few minutes. Coffee can make you shake slightly and lose focus. you’ll find that it hurts. and make sure it fits your goals.Practicing. Take note of the effects of anything you eat or drink. Decide a point at which you have achieved “perfection” in a move (whatever that is). you will reach a point where you have a few days of practice to do before you reach the end of your long list of practice moves. I haven’t beaten it). This does not mean that you should be getting up every day at 6am to run around the town. and write down how many times in a row I get the move right. causing ridiculous amounts of embarrassment as you fail even the simplest moves (don’t I know it…). As CJ contains a lot of precise movements. and practice them regularly. or performing several times a night. trying to beat. your “records” each time. 114 . I have a list of moves I want to practice. This will affect you most if you are a busker. making it difficult to perform slow or involved movements. then I try to equal the record on subsequent tries (if I haven’t beaten it on the first try. Exercise is a definite must. and put it into a routine.

When I was learning the 5 ball cascade in toss juggling. skateboarding. Practicing other forms of manipulation is good for conditioning your body for contact juggling as well – martial arts teach you precise movements. you are forcing yourself to take command of the ball. with the toes crossed. acrobatics and BMX teach spatial awareness. it is difficult to watch all the balls at the same time. so it is a great idea to have a subconscious feel for the move. for example. it will roll further away from you. and if you sit on a chair. practice while watching TV or reading a book. you should be aware of any deficiencies in it.If you are on a special diet. A note on the sitting position – it is probably best for you to sit on your heels. When you practice sitting down. When you practice blindfolded (or with your eyes shut). even giving up the practice for a few days can help sometimes. then when a ball drops. the ball does not lead you around the room – you lead it around your body. In multi-ball CJing. I’d practice for hours each day. I become aware I have left something out of my diet when I lack the strength to carry out a practice routine despite exercising regularly. Carefully watching your diet can give advance warning of such potential problems. In fact. I tried it again. so even if you don’t like closing your eyes. my subconscious was working out the necessary movements. and timing. you are inviting damage to your shins. Next week. I gave up one day and went back to regular juggling. reflexes. and got 14 catches. magic. While I was “resting” from the practice. you are learning to perform the moves based on feeling rather than sight. This is important for when you decide to go onto multi-ball CJing. etc. If you sit cross-legged. and never get more than 10 or 11 catches. 115 . yoyo and toss juggling teach you to become more aware of the motions of the objects you are manipulating. As a vegetarian. Two very good practice hints other CJers give are to practice blindfolded and to practice sitting down.

you are inviting tendon and muscular damage. You need to give your body time to adapt to 1 ball before moving to 2 or more. This is for several reasons: If you go from a cold-start to a complex run. Start with basic one-ball moves before getting complex.Always warm up before moving onto your more difficult moves. you will be skipping out on practicing the basic moves necessary for multi-ball work. 116 . This is true of even the most experienced CJers – you will find yourself dropping if you don’t allow the body time to re-introduce itself to the feeling. If you never practice with lower numbers of balls.

Contact Juggling – a form of juggling where the balls are rolled and spun around the body and arms instead of being tossed in the air. This can be as simple as holding a ball in the palm of the hand. Escape – where one ball is rolled out of a palmspin. so isn’t usually done. Flourish – a small movement of the fingers or hands meant to impress subtly. and neck. Cradle – a position on the back of the hand where a ball can be held on two or three fingers. and the palmspin continues with the remaining balls. Outside – the side of something that is further from the body. Orbital – one or more balls spun around an isolated ball. This can be amazing to see. Butterfly – a movement of the hand where a ball is rolled between the hand and cradle. If you hold your arm up in a natural position. Catching in the palms is not really impressive. Flyaway – a move where a ball is tossed from one position to be caught in another. The spinning balls seem to “orbit” the stationary one. Popular places to catch at are the elbows. Catch – a ball is tossed to a part of the body. the soft part of the elbow is 117 . the right arm is known as the “inside arm”. Usually meant as parts other than the hands and arms. Line – three or more balls moved so that there are always at least two of them in a straight line. or as tricky as holding a ball on the extreme outside of the elbow. forehead. Body-rolling – a style of contact juggling. and brought to an immediate halt when it reaches it. Isolation – a move where at least one ball is held still in space while everything else is in motion. and the left arm against the right arm.Glossary Backarm – the opposite of the forearm. Inside – the side of something that is closer to the body. which involves rolling the ball over various parts of the body. If you hold your right arm against the chest. Hold – a balance where a ball is held in a location around the body.

Windshieldwiper – the movement the forearm and hand makes when moved in an arc. 118 . where balls are thrown into the air so that there is usually no more than one ball in each hand. where the position of the ball is highlighted. walks. the ball is held in an awkward hold. Some people can spin some patterns upside-down – the pattern is held by the fingers of the hand. Stall – a pause in a move. An example is a 3b Palmspin Transfer. See the various palm-palm. Walk –a mime that suggests the ball should be moving in a direction yet is isolated. keeping the elbow in one stationary point. Pass – a pass is simply when you move balls from one place to another place. Stack – three or more balls held so that at least one of the balls is supported by the others and not touched by the hand.nearer to the body. etc. Usually. etc. which is palm-down. Toss Juggling – the usual form of juggling. palm-cradle. Usually. Palmspin – a style of CJ where multiple balls are spun in circles around each other in the palms of the hands. Transfer – a transfer is a pass that keeps a pattern. so the pointy side is known as the “outside elbow”. where the Palmspin is obviously still a 3b Palmspin after the transfer. this is either from hand to hand or elbow to elbow.

with descriptions of many moves. Books/Magazines Contact Juggling by James Ernest. Another tutorial. The second is a routine with 1 ball. “Contact Juggling: Part One” by Greg Maldonado and Owen Edson. and the second is stack work.Bibliography There are not many books or videos on this subject. which is extremely simple to follow. but includes a lot of extra moves. which is different to the above. Michael Moschen does the ball work. A pattern with 11 balls is shown. and was the basis of the existing CJ community. teaching a contact juggling style. “The Art Of Contact Juggling” by David Pennington. Videos “The Labyrinth”. Kaskade. This issue contains a very good article about palmspinning. which makes it possibly easier for the aspiring CJer to get almost everything existing on the subject. This is a tutorial video. This contains two contact juggling routines by Michael Moschen. then goes through it step by step. which can be compared to David Copperfield’s style of magic. 119 . Jim Henson’s film contains two scenes of contact juggling – the first has a little butterfly work. I’d definitely recommend that every beginning Contact Juggler buy it. “Sphereplay” by Michael Glenn. I haven’t seen this pattern performed yet. Michael shows a one ball routine. The first starts with 8 balls and moves down one by one to 1 ball. but have been told that it is a tutorial. This book describes almost every move that Moschen has in his routine. I haven’t seen this video. “In Motion with Michael Moschen”.

It has a very well done instructional video. has come up with some of the more interesting innovations in palmspinning.com .org .juggling. www.this is the CJ community’s site. The example clips of the “3b Different Ways” show some excellent examples of contact juggling and toss combinations. and a lot of forums. 120 .This is the personal website of Shifty – a CJer who.probably the most comprehensive juggling site on the Internet (mostly toss juggling). www. despite only starting the art about a year previous to starting the website.contactjuggling.contactjuggling.Websites www. some submitted videos.com . www.net . and is almost fully interactive.org.com . www.shiftys-spheres. It contains a huge amount of submitted videos.this site sells some very good juggling videos.this is Rich Shumaker’s website.peapot. but they just don’t seem to have bothered updating in the last few years.jugglingdb. This title used to belong to www.

Still To Do Finger Flip Finger Roll Pilf Regnif Finger Flurry Tripod Pickup Caterpillar Outside Elbow Flyaway 2b Stairstep 2b Tandem Spined Butterfly 2b Mineshaft roll 2b Blackstone’s Balls The Train 2b Back-Back Pass w/ Thumb Hold 2b Upsidedown Palmspin 2b Toss and Catch 2b Palm-Palm Pass w/ Cage 3b Propeller Isolation 3b Mesh w/ Arm Catch 3b Mesh Cascade 3b Mesh 3b Thumblift Isolation 3b Rockabye 4b Isolation 4b Vertical Isolation Floating 4 Stack (aka Half Diamond) 4b Twist 4b Snake 4b Rotating Columns 4b Propeller 4b Collapse and Rebuild 4b Pinky Lift 4b Asymmetrical Orbital 5b Propeller Blossom (5 Stack) 5b Pyramid 121 .

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