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


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

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

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

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

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

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

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

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

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

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

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

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

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

19 .

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

but it does solve a lot of problems. which will allow you more room to play with. which moves in a wave-like motion to bring the balls along. Stretch your fingers before attempting this. I’d recommend bringing the shape forward onto the fingers. A tip I’d give here is to bring the pattern forward when you are moving the long axis balls to the side. Try to bring the center of balance of the pattern close to the thumb to take advantage of this.rotated. Basically. You will find after a while that a lot of the motion is performed by the thumb. 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. a 4b Flat Spin is a group of four balls arranged in a square. the balls will be supported mostly by the fingers. like the Flat Diamond version. and move very slowly until you are certain of the move.so learn slowly. You will still have to stretch your thumb and pinky out to the sides to do the move. and spun in the palm. 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. 4b Flat Spin Also known as the 4b Palmspin. When you bring the pattern forward. this move is difficult to learn . 68 . Again. and the front of the palm.

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

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

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

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

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. you can do up to eight ball palmspinning without learning the moves in this chapter. You should be accustomed to the moves in the 1-4 ball chapters before trying these. the difference between five ball juggling and seven ball juggling represents a huge difference in skill. 5b Cascade 5b Linespin A “linespin” is a palmspin with five or more balls which consists of two lines of ball.Basic Palmspinning (5 ball and above) While this chapter is titled “Basic Palmspinning”. and 75 . In toss juggling. If you really want to do over four ball work. so you may find one or two surprisingly easy. Hold five balls in two lines with both hands so there is a line of three balls at the fingers. each of them touching two of the front balls. one held by the fingers. 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. but find these moves difficult. That means that by using both hands. 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. it is far from easy. and two balls behind them. Treat the two front left balls and the back left ball as 3b Palmspin pattern. and the other by the heels of the hand. Most of them involve combinations of various lower-number palmspins.

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

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

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

To minimize this.the line. It is a 5b2h Palmspin with a ball above. 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. 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…). If you feel that this move is a little to asymmetrical. 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. 7b 2h “Cheater” Flower Palmspin 8b Stack Linespin This is a 6b Linespin with two balls on top of the 3b Palmspin patterns. The back middle ball of the pattern is difficult to control when it is passing from one heel to the other. try leaning your hands downwards at the front. the ring of balls. You will find it maybe a bit easier if you let the pinkys overlap. and another below. so anything that can be down with a 79 . The figure on the left shows the various places a ball can be stacked on top of the 6b Linespin I various configurations. and bring the balls a little further forward so it is controlled more by the fingers than the palm. is necessary for the top ball to keep it’s place as one ball is transferred in and another out of the supporting base.

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

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

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

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

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

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

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

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

and the tossed 88 . Start with a ball in the left Elbow Hold. Easier than last time. toss the already cradled ball over it so the rolling ball rolls into the cradle. you must be comfortable passing a ball from the Elbow Hold to the Outside Elbow Hold. so simply start again but using the instructions for the opposite arms. you should be learning something different!).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. the fun begins! As the ball approaches the cradle. In order to learn it. The left hand is out to the right side with a ball in it’s cradle. This involves a move from the Outside Elbow Hold to the Elbow Hold. but still tricky – thankfully there are no other balls in the arm to think about! At that point. and a third in the right Elbow Hold. Makes it look smooth! 3b Folding Cascade This version of the Arm Roll cascades is much more obviously a cascade. another in the left Palm Hold. You should also know the 2b Backarm Roll Transfer very well. Now. Pass the left cradled ball to the right Elbow Hold. you can start the 2b Backarm Roll as the left arm is swinging into place. 3b Backarm Cascade You will probably benefit hugely from learning the 2b Back-Back Shower before learning this move. Butterfly the left hand to the right elbow. When done smoothly. This also involves transferring the left Elbow Hold to the Outside Elbow Hold. Forearm Roll the right ball to its palm. 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. Toss one of the right hand balls up onto the left elbow. you are in the reverse of the beginning position. Start with two balls in the right palm. and then butterfly the arm back to its original position.

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

with the thumb held aside so the rolling ball can flow in. When the rolling ball is returning. you can.not to drop the palm ball when you make corrections in the other ball’s balance. 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. and all of them decide independent of each other what they are going to do at any moment. judge the roll so it flows nicely into the pattern. Your job is to get that ball safely up the forearm to the elbow. but it looks more impressive to keep them spinning as if nothing out of the ordinary has happened. Don’t pause the motion – allow the roll to smoothly carry through. and back again – ideally pausing at the elbow a moment for effect. and not because it involves 50% extra balls. which makes the forearm roll much more difficult. bring the palm ball to the front of the hand. to make room for the rolling ball to slide directly into palmspinning position at the thumb side. Because you keep the balls spinning. When you roll the ball back. The two balls in the palm should be at that moment held by two fingers each. the tendons in the forearm move constantly. 3b Palmspin Escape This is a harder version of the 2-ball Palmspin Escape. 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. 92 . 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. The secret to bypassing this difficulty is to ignore the balls in the hand – after all. at the little finger side.

and how are you going to place it back in again. 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. Lift the front ball so it becomes the top ball of a new stack.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. Bringing the ball back into the stack can be done in a few ways. One way is to stop the palmspin. 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. To take a ball from the stack is surprisingly simple – learn the 4b Collapse And Rebuild move. and roll the spare ball quickly up the forearm so it hops up on top of the other three. As usual. Collapse the stack. 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). then the spin can be restarted. Squeeze the diamond in. 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. 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. 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). Another way of releasing a ball is to allow one of the bottom balls to “pop” out of the pattern onto the forearm. This takes a bit of judgement. and the top ball to replace it in the base. Then the stack spin can be continued. which will leave you with a diamond shape with the shortest axis leading from the forearm to the fingertips. 93 .

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

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

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

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

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

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

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

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

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

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

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

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

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

the audience will not have time to know what to look for. and move as if to press the ball into the spine. pull your right hand back to grab the ball and bring it forward. if you repeat it once or twice immediately after each other. is not actually a pass at all. Colour Change For this trick. On the other hand. and instead. 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. it’s best to use balls that are just smaller than the width of your palm. and cup your left hand as if it has received the ball. so make sure to use the biggest balls that you can. A usual-sized person can do this with a ball that’s up to about 3” in diameter. 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. but the harder it is for the audience to see what’s happening. You simply act as if you are passing. they see the ball pass through your body. then you can fool them into seeing something that’s not there.org). The smaller the ball. For me. Use a lot of body movement to accentuate the move. the easier the move. The effect is that you show a coloured ball in the left open fist hold. wipe your right hand over it. The final pass. from the right hand to the left. 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. with the left hand still behind the back. you quickly move the left hand behind the back (so the audience doesn’t catch on). A second or so after you have done the pressing. Because the audience has been watching what you watch. press the ball against your chest with the right wrist (to show the right hand is empty). that means 2. the audience will see through the trick. Next.5” balls. and it is suddenly a different colour. 107 .

so they still don’t know what’s going on. so it looks like a natural empty hand. turn 180 degrees to the left. the first ball should be in the left hand – bring it up into a long hold. 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. Continue the wiping motion to reveal the “magically” colourchanged ball. 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). The right hand is held so it’s ball is hidden. you should have a bit of body movement in your routine. but you must practice it to get it smooth – the tiniest sound or pause in the wrong moment might break the spell. keeping it hidden. and pick up the first ball in the Thumb Hold as the second ball reaches the first ball’s original position. Push the second ball towards the first. Alternatively. you could keep the original ball hidden. All the action is done with the palm and thumb muscles – the audience should see no finger movement. bring the right hand up. First off. It could be worthwhile looking it up to see if you can get a better adaptation out of it than I did. as if you have just produced two balls out of one. 108 . and immediately swing it around to show the audience closer.The method is simple. Keep your eyes on the ball while doing this. and sit its ball right next to it. To the audience. further up towards the wrist. bringing the first ball down into the Open Fist Hold. Now. to reveal it momentarily. When you have turned to the right. The original trick involved a stick with a ball stuck to the end of it. so it doesn’t look strange when you turn 90 degrees to the right and your right hand is not visible. this is a stylish thing. giving you a moment to drop the original ball into the pouch. Looking intently at the first ball. Keep the hand kind of loose. such as a stretched 3Finger Hold.

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

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

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

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

as most likely they're moves that a lot of people overlooked. If you have learned everything in this book from beginning to end. most contact jugglers developed their skills in isolation.org website – there is a kind of dance related to break dancing which some people call "liquid hand dancing". Remember – Allah loves variety! I’m sure YHWH does as well. or “liquid popping” – where the hands and arms are used to create mesmerizing fluid movements. Or. there are the “body popping” and “break dancing” dance-forms. and adapt them to the contact-juggling world. it looks stunning. An idea that could give some amazing new moves turned up recently (2001) on the contactjuggling. 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. which are always turning up. 3 Paraphrase from Greg and Owen’s video – Contact Juggling Part One 113 . 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. 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. Think also of rhythmic gymnastics. Also. Up until recently. Never isolate yourself to such an extent that you will not look at any other art for fear of making your CJ more “impure”. When I am thinking of new moves.Creating New Moves The best way to create new moves is to have to learn contact juggling from scratch with no references. Although the ball moves in that art are relatively simple compared with CJ. 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. They have great potential as well.

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

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

you will be skipping out on practicing the basic moves necessary for multi-ball work. If you never practice with lower numbers of balls. 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.Always warm up before moving onto your more difficult moves. 116 . 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. You need to give your body time to adapt to 1 ball before moving to 2 or more. you are inviting tendon and muscular damage.

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

keeping the elbow in one stationary point. 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. Windshieldwiper – the movement the forearm and hand makes when moved in an arc. An example is a 3b Palmspin Transfer. Usually. this is either from hand to hand or elbow to elbow.nearer to the body. where the position of the ball is highlighted. Transfer – a transfer is a pass that keeps a pattern. etc. walks. Pass – a pass is simply when you move balls from one place to another place. Palmspin – a style of CJ where multiple balls are spun in circles around each other in the palms of the hands. the ball is held in an awkward hold. See the various palm-palm. so the pointy side is known as the “outside elbow”. Toss Juggling – the usual form of juggling. palm-cradle. Stall – a pause in a move. 118 . Walk –a mime that suggests the ball should be moving in a direction yet is isolated. which is palm-down. Usually. where the Palmspin is obviously still a 3b Palmspin after the transfer. etc. where balls are thrown into the air so that there is usually no more than one ball in each hand. Some people can spin some patterns upside-down – the pattern is held by the fingers of the hand.

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

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

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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