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by Kae Verens
email@example.com 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.
One day. The mailing list gave me a chance to learn what other people had been doing. and those sites had not been updated in years. I was overjoyed – for years I had been developing my skills in isolation – my only contact with another contact juggler being Paul Wills. Contact juggling turns up in the strangest places now. and almost every person has seen at least one person magically roll a ball around his/her arms. films – Jim Henson’s “The Labyrinth” is the most famous example. 4 . this rare form of juggling was unknown to the general public. and becoming despondent when the same lack of news was returned. Up until very recently. It was looked down on by a lot of the mainstream jugglers. who started learning at the same time as me. Those of us who had been CJing for years had been doing exactly as I had – searching the Internet irregularly. I had read The Book – “Contact Juggling” by James Ernest. Contact juggling turns up in music videos – “Pommes Frites” by The Orb. and it was impossible to find any more than half a dozen websites that had any information on the art.Detailed Contents Foreword Up until very recently. All that has changed. I came across an Internet mailing list concerning contact juggling. 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. Every search for contact juggling on the Internet returned the same three or four sites. but left off developing his skills after he reached a level sufficient for his own purposes. there was no sign that a revolution was about to take place. of course. and I’m not certain that they are possible at all. and had studied every move in it – there are only a few that I still cannot do.
org. Ferret. The site brought out the contact juggler in a lot of people who would otherwise have passed it by. and brought fresh variations on old moves – Shifty. many more moves that I could have placed in the book. This book is an effort to bring to the public what has been created since James Ernest wrote his book. I created www. for example. I hope you find enough variations and difficult moves to keep you busy for a few months. for example.contactjuggling. and providing a community website for us all. and Matthew Olsen. If you are an experienced contact juggler. There are still many. If you are new to the world of contact juggling. and myself. New people came. Lance Coombes. Enjoy. I have tried to describe as many different moves as I could. then I hope you find this book easy to follow. but I had to stop writing at some point and publish the thing. New moves were also created by people who had been regulars in the original mailing list – Marco.In 1999. Kae 5 . a website dedicated to teaching new contact jugglers. together with Marco Van Der Bijl.
According to James Ernest's book. Michael Moschen's PBS video. Contact Juggling has been accepted as solely belonging to the manipulation of balls using the body.Manipulation / Balance". Speaking of terms. usually involving very little tossing or spinning".org.What Is Contact Juggling? Good question. juggling. Contact Juggling is half dance. "Ball/Sphere/Orb Rolling" are just a few. 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. as he was “CJing” before the term was invented. but they already have their own names. coin-rolling and other such stuff could theoretically be called “Contact Juggling” using the definition. mime and magic1. it is rare to find a person doing something with anything other than balls. He can also be seen in Jim Henson’s film “The Labyrinth”. The best way to really get to know what contact juggling is to see it in action. and calling it Contact Juggling. Contact Juggling is almost always about balls – whether they’re silicon. No. acrylic. "Contact Juggling" – which originally coined the term – contact juggling is "manipulations of single objects or object groups. It is not. Staff-spinning. According to the community website – www. and that is how I will refer to it throughout the book. There is a small 1 My own little maths joke 6 . or plain tennis balls. that is not David Bowie doing it. pencil-manipulation. there are many – "Dynamic / Crystal / Contact . and shouldn’t be confused with other forms of object manipulation. he is the hands of Jareth in the crystal manipulation scenes – no. No. "In Motion".contactjuggling. The average name for the art is "Contact Juggling".
These moves are sometimes looked down on by “purists”. Contact Juggling can be broken into two separate forms. then rolls back again. where balls are rolled over the hands. Although contact juggling usually means the balls stay in contact with the body. chest. each of which can be combined at a later stage to form more complex moves. The first form is ball-rolling. etc. arms. The second form is palmspinning. back. where groups of two or more balls are spun in the hands. This is the most basic form of contact juggling. where the ball rolls from the palm to the back of the hand. but I believe that bending the “rules” of contact juggling should be allowed where the result is a fascinating move. a lot of contact jugglers like to put tosses in their moves.glossary of terms near the end of the book that can be referred to whenever I forget to explain one. 7 . The ball rolls from one point to another. Up to eleven balls are used in palm-spinning routines. The windshieldwiper is the first contact juggling move which should be learned from this form. head.
You can learn ball-rolling with a cheap rubber ball. you might like one of the larger balls. and www.Materials The first thing you need is a ball. Ferret has some balls he calls his “stunt doubles” – survivors of earlier mishaps in practice. the ability to hold three comfortably in the palm of the hand (for multi-ball work). It might be a good idea as well to have some balls you don’t mind scuffing.5" if you are of slightly small stature (like me.plasticballs.com.com.. that is equivalent to a rubber croquet or cricket ball.com) advocates learning with a lacrosse ball. www.com ($100 minimum order). The ideal properties of a good contact juggling ball are slight but solid weight.infiniteillusions. If you are on a tight budget. 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. If you have a large group of people interested in contact juggling.com. this may mean saving for a while. Acrylics can be purchased sometimes from good juggling shops. www. for practice.. there are no real restrictions on the ball's properties.plasticballs. and it didn't impede me – I also got some much-needed exercise from chasing it every time I dropped it! Rich Shumaker (www.). and solidly spherical enough for you to roll it.com each supply acrylics.com/"www. “Stunt doubles” are ideal for practice.contactjuggling.renegade. but if that's not true where you are. then you can buy cheap acrylics by bulk from HYPERLINK "http://www. For ball-rolling. the ideal ball is a 3" acrylic ball.seriousjuggling.dube. For many. then you can always order over the Internet. Possibly. www. as you are not restricted to practicing in 8 . I started off with a rubber ball I bought for one Irish pound. If you plan on doing only single-ball work. and the ability for the balls to slide against each other (for simpler palmspinning). or a 2. but the ball should be heavy enough for you to feel it.
Shifty. but not so large that it might slip down over them. Another way is to store your balls on a stand instead of in a box somewhere .com/. Simple. shows his acrylics on fantastic stands. lay it in a circle and put the blossom shape within it.org is "How do I get the scratches out of my acrylics?". 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. When you have the rope tied off. I keep eleven balls beside my computer at home held by a simple piece of rope. One of the frequently asked questions in the forums of contactjuggling. A very easy way to stop balls from rubbing against each other is to keep them singly or in pairs in tight fitting socks. 9 . but easily adapted to hold acrylics. The old adage "Prevention is better than cure" is apt here. yet pleasant to look at. possibly originally made for candles. Then you can easily balance a 4Stack on top of it.shiftys-spheres. The socks prevent the balls from moving against each other.places that you would definitely not perform in for fear of ruining your good balls. at http://www. and measure off a circle of rope so it goes around the tops of the balls. Make a 7b "blossom" shape. and protect from outside objects as well.
Palm-Back. Maybe the word “fundamental” is more appropriate.org lies behind my not placing similar moves in this move. Back-Palm and Back-Back Passes.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. but that’s up to you . Palm-Palm. so I would recommend that you at least get a look at a copy of the book. Usually. James’s illustrations are extremely helpful in most cases. for instance – but once in a while something new which is pure contact juggling comes along. so I would recommend that you skim through the book once to get an idea of what you would like to learn. A lot of moves involving combinations of patterns seemed a bit redundant for me. and it is always advisable to learn different methods of doing the same things. something new is developed by the contact juggling community. Although it may seem so. The book is not comprehensive – almost every week. even for the advanced contact juggler. these new moves have to do with combinations with different arts – magic and toss juggling. The same reason I prefer not to place an animation of a person performing a 4Stack in both hands on the contactjuggling. That will give you enough moves to make an interesting routine that will mystify most non-jugglers. The most basic list of moves you should learn might include Windshieldwipers. It is not a replacement. in approximate order of ease. I am not describing every possible move in this book. and maybe a hold or two. and the moves in each chapter. then start learning the steps that make up what you want. Each style of CJing in the book is introduced with a chapter on “basic” moves. Well… you could learn Palmspinning before Armrolls. I have arranged the chapters. Many difficult moves can be learned after learning only a few simpler ones.you do not have to learn straight through in order. as some of the moves are difficult. The instruction in this book is separated into chapters. 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. even if you don’t buy it. 10 .
In fact.. and partly because I keep cutting my hair shorter and shorter. as I write this. You could say that the held 11th ball is halfway through a transfer . 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. spinning simultaneous 5Stacks while gripping another ball between the elbows is not a true 2-handed pattern. This is partly because of my (very) moderate skills as an artist. By the way – every image in this book is of me. yet they mostly look like different people. for example.Most of the two-handed moves that I describe are in the book because they involve using patterns that cross between both hands. However.especially if now and then you actually completed the transfer. that does not mean that.. I am contemplating shaving my head to make my head rolls a bit smoother… 11 .
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.
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!.
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.
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.
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
so is ideal for little pauses in your routine. middle and ring fingers. Eventually. but as you gain experience. To begin with. Form a fist. Mostly. Open Fist Hold I call this the Open Fist hold because. as the shape of the hand is as if you were holding a large mug’s handle. then suddenly stop with the ball apparently just balancing on your fingertips. 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. try to bring the fingertips closer and closer. This hold is elegant from all sides. 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. Place the ball on the slight dip formed near the end of the index finger. The side is even more magical sometimes.Fist Hold This hold is also called the Cup Hold. Start learning this by making a tripod of your index. Balance the ball on the fingertips. with the fingers knuckles held in a vertical line so the index finger and thumb are on top. from the Fist Hold. It can be very impressive when you are rolling the ball around your arms for a while. the fingertips should be held wide apart. 3-Finger Hold This hold is a good starting and finishing move. It is also fascinating when come by suddenly The front view looks like the ball is just balancing on the end of the fingers.
I see Robin doing very often. rolled a ball from the cradle to here. As you can see. this one has a lot of possibilities. about two inches from the audience side of the forearm.without bending the middle finger. Stop there . then paused in the act to hop the ball up and down there for a while. but we'll get to that. This version of the hold is called the “Inside” Elbow Hold. is to balance here. and do the same in reverse on the other arm. Another interesting move. in the first video I saw of him. I balance the ball at the base of the biceps. Robin Spehar. untensing. To learn this hold. Joe DiNoto (the Golden Chicken) uses this in a strange variation of toss juggling’s “Mills Mess”. I have let my right hand go limp in the picture. pass over the cradle to the other cradle. Outside Elbow Hold Much harder to do than the Inside Elbow Hold.bending the finger makes the hold lose some of its appeal. then keep the ball isolated while rolling it to the cradle. you should first feel around the area with your other hand. Balancing a ball there while doing something else with the same arm is another thing altogether. then the tendons of the arm shift and bunch in uncontrollable ways. while tensing. and moving the arm around in small ways. so all it takes is a little practice to be able to balance the ball there without a problem. That is crude and unnecessary The inner elbow is relatively flat. If you tense the hand. Elbow Hold A lot of people hold their balls here by gripping the ball between the forearm and biceps. 16 .
Anyway . There is no easy way to get into it. Not because I think you won't be able to do it . and turn the head slightly to the right .this will cause the ball to roll a bit to the right . With practice. you have a dip in the forehead . If the ball starts moving left . just reverse these instructions. The simplest way to get into it is a toss to catch there (see Head Catch). Neck Hold This is another of the advanced CJers’ holds. here are my thoughts on the hold. of course. I'd recommend this. Don't let the ball go below the eyebrow area . I'm sure you could be walking slowly around the room with no problems! No . step slightly forward and lean your head further back.you will notice that with the muscles furrowed. and that is something I would refuse to teach any beginner because it is dangerous. The most obvious ways – a roll up the arm 17 . as a move always impresses more if it looks effortless.it is an advanced CJer's hold because there are no simple ways to get into it. the ball can be held without furrowing the muscles.correcting the error. If it starts rolling further up the forehead. the ball is held just above the eyebrow muscles. If the ball starts rolling down towards the face. To begin with.move your whole body further left. If it rolls to the right. step slightly back and straighten up a bit.this is where the ball is held.assuming you are an advanced CJer.if it reaches the nose. Tense up your eyebrows (furrow them as if you were concentrating on something). and feel there .with a few minutes practice.Forehead Hold This is not a beginners’ hold. it is difficult to get back to the forehead.
and rolling from the forehead to the neck. and flipped over towards the left and took the arm away so the ball was balanced on the right Temple Hold. tossing to catch.org of a small one ball show he did. is the first move of the “Butterfly With Head Hold”. though – but go ahead and learn it anyway. I find that the bony rim of this area helps to keep the ball steady. so a bit of flexibility is also required. The easiest way. 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. where you simply roll the ball off the cradle and onto the temple. I am holding the ball right at the front of the temple dip in the skull. placed his head down so the right temple was on the ball. the base of the head. and hold your head up so you’re looking straight ahead. are all advanced moves. and makes your head contact juggling look extreme. in which he had the ball on the right Outside Elbow Hold. The ball is cushioned at all sides – by the spine. in my opinion. of course. Despite all that. In the image. you are lying on your side as you do it).behind the head. Getting into this hold is a difficulty which all advanced CJers have to figure out at some point. scrunch your shoulders up. Robin Spehar (a comic artist who just happens to also be a fantastic contact juggler) submitted a video to contactjuggling. It must be done in a way that is awkward to the body (unless. Simply bend over at the waist. this hold is extremely simple. I wouldn’t call that a Temple Hold. and the shoulder muscles. 18 . Other people like to bring the ball further down so it is almost in the ear! This area is much more stable again.
It doesn't matter which form of cradle you use. Windshieldwiper The first ball-rolling move most people learn is the windshieldwiper. In that case. and don't forget to practice with your right hand. when you are catching the ball. it is essential that you can do this. Two-handed moves should also be learned both ways. It is named after the motion the arm makes. which is similar to the motion of a car’s windshield wiper. This is a common basic move of a lot of complex combinations. then learning the moves in this chapter that are necessary for them. but you will be better off with a general education in all styles than in specific in one style. Just learn the basic versions of whatever you feel you can do. as they are basic to almost all other moves. drop your hand at the 20 . It is not necessary to learn all possible moves in order to be a great contact juggler. If you are left-handed.Basic One Ball Moves I will describe all one-handed moves here using the right hand (my strongest hand). Some of the moves at the end of the chapter should not be learned until you have practiced multi-ball and palmspinning. Toss the ball gently upwards. simply reverse instructions here. The Windshieldwiper and the various Cradles should most definitely be learned. The similarity is more obvious when you do it with both arms simultaneously. You may find that the ball bounces off your hand. This chapter is probably best practiced by choosing combinations from the following chapter that you’d like to learn. Before you move onto the next stage. but you should also practice with the left. move on to harder versions and harder moves. then when you feel competent. and is also a good filler on its own between moves. Start with your ball in the right cradle. It is possible to learn straight through. and catch the ball in the same position.
etc.e. Practice tossing from the first position (cradle. 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). hence the name of the move. forearm perpendicular to the chest). forearm parallel to the chest) to the second position (palm. Congratulations. you may now celebrate learning your first contact juggling move! 21 . Your forearm should be pointing directly out from you. try practicing the same. This should be easier than the cradle-toss. say. practice the same with the palm. your arm will be moving in a smooth windshieldwiper-like motion. but toss the ball back from the palm to cradle as well. as you catch a ball tossed from palm to cradle. while keeping the elbow in the same place. perpendicular to your chest. Now start to smooth out this movement. so a bit more care than usual is needed when cushioning the ball. valuable china. After you are comfortable with the first two practice tosses. The catches can be smoothed somewhat by moving the hand in the direction of the throw slightly as you catch the ball – i. so won't need as much work. When you have this smoothly. and apply that to the cradle. Next. Learn to toss from cradle to palm and back again. the ball will get caught in the curl and be thrown at whatever is next to you! Practice somewhere out of sight of cats. Be very careful here – if you are throwing from palm to cradle and your fingers are curled.same speed as the ball and slow it so the ball comes to a gentle rest. you can go on to the next stage. 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. 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). It may help to examine closely how you would normally catch a ball in the palm of the hand. It is important that you do not allow your fingers to curl around the ball as you catch the ball. When you are comfortable with that. TVs..
Assuming you are doing the Windshieldwiper in the left hand. which is pointing left. here is how to do it. 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. Bring the left hand forward so the ball is on the other side of the right forearm. I tried to keep my left hand by my side. In most cases. The left hand comes up to vertical. In the 3b Escape I placed onto the contactjuggling. you simply bring the left hand back upwards to the starting position. allows you to keep a hand nearby while looking sufficiently graceful that it can be considered a move of it’s own. This move. and the right hand back around to it’s starting position. resting flat on the left forearm so the tips of the fingers are near the wrist. though. it is difficult to do this aesthetically. The left hand continues down so the ball is in the cradle. however. for example. The right hand is palm down. 22 . First try it without the ball.org website. with the right hand slipping around the front side of it so the fingers are pointing left and the thumb is at the wrist.Wristhold Windshieldwiper It is sometimes helpful to have a hand nearby to help you in case you drop the ball. Now. but it jerked forward of it’s own accord when I almost dropped a ball from the right forearm. Hold a ball in the left palm.
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. All this while. Moving your elbow will greatly help you with this move.Elbowhold Windshieldwiper This is just like the Wristhold move. In the windshieldwiper. Butterfly the left hand out until the ball is in the palm. Butterfly the left hand in so the hand drops down inside the loop created by the right arm. the right hand rests on the inside of the left elbow. The butterfly is an extension of the windshieldwiper. This time. there are two end-points on the arc that the ball follows. 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). We simply smooth the movement out by removing those end points. forming an infinity symbol. but I think the way I have described is easier to learn. except the right hand is further down towards the left elbow and doesn’t move as much. in the cradle. so the ball comes up through the loop. Imagine a large figure "8" lying on it's side floating in front of you (an infinity symbol). Your ball starts on the bottom of the left loop. the right hand remains at the base of the left biceps. 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. The ball then travels to the top of the right 23 . You can also do this move in the opposite direction. and slide the left hand back to the base of the biceps. Start with the left hand as before.
Remember that at all times the ball is moving right. we see an example of the word “Butterfly” being subverted. Live with it. and keeping the fingertips of the left hand as far apart from the right-hand fingertips (and vice versa) as possibly. This move does not form an infinity symbol. The wrists should touch at all times. the ball should be in the cradle. Twirling Butterfly Immediately. From there. but the word is so much nicer than Windshieldwiper. Now put the forearms together. You should end up with a ‘T’ shape. this time with the left hand palm up and the right hand palm down. so technically it shouldn’t be called a Butterfly. you pull the ball to the top of the left loop. Good movement of the elbow will help you here. and the hands cross each other again at the wrist. where it goes over the fingertips to end up in the starting position again. the ball should be in the palm of the hand. Start by placing your right hand palm up. no matter how the movement is accomplished. Note: “Butterfly” is also used as a verb to describe the rolling of the ball from the palm to cradle and vice-versa. but there is little benefit to it – the average audience member will not notice the difference. 24 . Continue the movement of the hands so the forearms are brought apart and down again. where it goes over the fingertips to end up at the bottom of the right loop in the palm. bringing the hands up.loop. 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. and at all times while moving left. so limber up! The butterfly can be reversed. that it is used in almost all cases where the word Windshieldwiper should really go.
bringing the ball back to the original position. When the ball rolls over the fingertips. or from the same side. If you are doing this with both hands. as you bring the twirl to a finish. From there. bring the hand up slightly. Continue the movement of the cradle to the far right. you should be in the ‘T’ position again. Now. Start from the beginning again. and ends up in the Palm Hold (remember that all contact juggling moves can be reversed!). Expanding even further.e. but this time with a ball on the right palm. Spined Butterfly The butterfly motion can be performed in many different ways – this is a way to perform it in an almost flat line. The ball is still in the right hand. and flip the hand under the ball so the ball rolls into the cradle. Straighten the forearms out into the ‘T’ shape. you can add a third ball. then the hand which is on it’s own side of the body (i. This is the basis of the name “Twirling” Butterfly. both hands moving from the same 25 . Continue the twirl. Start with a ball in the right palm.When you repeat this quickly. Perform a 2b Spined Butterfly as above. “Butterfly” the ball over the fingertips and down into the cradle. Bring the palm to the right until it’s held in the normal position just to the right of the chest. That is the end of the first part. with the palm held far to the left. you’ll see that the hands are “twirling” around each other. “Butterfly” the ball into the right palm as you straighten out the forearms again. Now. If you are starting both from the same side. using what Ferret calls a “flip-flop” to do the butterflying part of the move. you can either start both butterflies from opposite sides of the chest (arms crossed).: the left hand if you are staring on the left) starts with the ball in the cradle position. but moving towards the fingers.
which is practically the same movement.side. The hardest part of this is when you bring the ball back down – be very careful! If you make a mistake. and that they can be expanded into the third just by thinking about it. It's 26 . “Contact Juggling”. and put your ball on the cradle. Another variation on this is the Reverse Planebreaking Butterfly. This is one example of that – instead of X and Y. cradle upwards. swing the arm up and back so the ball rolls over the fingertips to land in the palm. which is just above the right shoulder. and the cradle at the end held above the shoulder. Place your right hand out. The "classic palm-palm pass" is extremely simple – just hold your hands together. or smacking an audience member unexpectedly (I hope they never expect to be smacked…). but start with a third ball held in the palm-down hand. Planebreaking Butterfly In the original CJ book. Now place the ball in the right palm. but with the palm upwards in the beginning. Now. we move the butterfly in Y and Z. and be flung straight out in front of you – destroying whatever mirror you’re practicing in front of. Palm-Palm Pass There are four basic palm-palm passes – the "classic palm-palm pass". James Ernest pointed out that most CJ moves seem to be in only two dimensions. knife-edges and little fingers of both hands together. and the “baby pass”. and simply roll it to the other palm. so it crosses at the base of the little fingers. pass the ball from a Thumb Hold in the first hand to the second. your ball may get trapped in the curl of your fingers. The pass is a form of Thumb-Thumb Pass (described later in this chapter). When the hands are flipping over. a more difficult one I call the "chalice palm-palm pass". a variant of what is called the "cheater palm-palm pass".
but it can be adapted to more comfortable 27 . Back-Palm Pass There are two basic forms of back-palm passes. with it’s little finger next to the right forearm or elbow. it is possible to make more complex passes – palm-palm passes with the wrists crossed. For the most common form. place your right hand in front of you pointing to the left. The "cheater palm-palm pass" is based on a lazy way to do the classic palm-palm pass. Roll the ball from the right palm.called the "classic" palm-palm pass because it's the most basic method to do it. As long as the ball passes from one palm into the other without too much messing around in between. which is good for stage work. you should start with your right palm facing up. hold your forearms together so they're pointing in front of you and up. across the knife-edges into the left palm. palm down. The choice of which you use at any particular time is aesthetic – whatever looks best is best. Place the ball in the right palm. and roll it across the heels of the hands to the other palm. For the "chalice palm-palm pass". with the right fingers pointing right. and a ball in the cradle. This pass allows you to make the movement quite large. The left hand is also palm up. and the left fingers left. with the heel of the hand touching the right hand’s fingertips. palm-palm passes over the fingertips. sliding the hands towards the left all the while so you end up with the hands pointing left. The ball rolls from the right hand to the left. but smoothed up. and the left little finger is touching the right knife-edge of the palm. This position is similar to how a baby is held against the chest. right little finger against left knife-edge. Place the left hand so it’s pointing the same direction. The palms should face upwards. palm up. palm-palm passes with the forearms twisted right round. Place your hands together so they're both pointing right. it is a palm-palm pass. For the “baby pass”. From those four basic passes. the little finger next to the left armpit. This is kind of an awkward position. I call it the "chalice" palm-palm pass because of the shape the arms and hands make.
The ball passes from the right palm over the base of the thumb to the left hand. so fast passes can be corrected by raising the fingers. the ball is passed from the cradle back up the arm and off at the wrist to the other palm. place your hands in the beginning position again. place your hands in line. In this move. keeping the heel and fingertips together. In the less common one. The right hand is placed palm up. right hand pointing left with the palm down and the fingertips touching the left heel. The most common two methods are similar to the two most common Back-Palm Passes. but in the opposite direction. even “isolated”. parallel to the chest. with the little finger next to the left armpit. movements. Palm-Back Pass This is just the opposite of the previous pass. Simply pass the ball along the fingers to the left palm. The first form is good for large movements. left hand pointing left and palm up. The right hand is placed alongside the left forearm with the thumb pointing downish so the left index finger is fully in contact with the 28 . and is good for passing during “twirling butterflies” parts of your routine. Pass the ball from the left hand to the right. both wrists touching. and the left hand above it. or quick. There is a “Baby Pass” version of this as well. yet the look of the move hasn’t degraded. palm up. For a more comfortable form of the above move. The ball is passed from the palm of one hand to the cradle of the other. This version of the back-palm pass is used in the “horizontal circle”. This must be done relatively slowly. then. The second is good for tight. The more uncommon pass is done by placing the right hand palm down. as it is difficult to correct high-speed passes in that position (the hands aren’t too maneuverable like that).positions after it’s learned. making the ball slow. the right hand has more movement available to it. move the left hand forward. You’ll find that the angle becomes less awkward. For the most common version. and can be performed slowly.
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. Place the left hand in front of it so the base of the index finger is against the right wrist. To start off learning this pass. though – persevere! You will get it.right forearm. 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. If you find that the ball continues too far and falls off. Tip the hands over to the right so the ball rolls over the right knuckles and is stopped by the left hand’s fingers. until you can take away the right hand. you can slow its progress by raising the left fingers up at an angle to 29 . That method is only good for learning the move – it will hinder the speed at which you can perform moves at a later stage. Back-Back Pass The Back-Back Pass is the more difficult of the basic passes. Starting again in the same position. The ball is rolled from the right hand along the arm to the left. Start with a ball in the right cradle. arm parallel with the chest. There is a groove between the index finger and thumb that slides very nicely against the opposite forearm. Tip the hand further and further so the ball is supported more and more in the left cradle. tilting hand so the ball rolls to the left hand. Don’t worry. lift the right fingers up to about 30 degrees. and can be very frustrating for the beginner. so we’ll learn to improve it now. The ball should have enough speed to continue on to the left cradle position. passing on to just behind the left knuckles.
This caused bruising on the backs of my hands that took weeks to get rid of2. This pass is not yet complete. and the hands are pulled from under it. keeping the same movements of the hands. This gives the effect that the ball is floating. you are passing directly from the cradle to the opposite cradle. hence Walkaway. Be careful. To make it look a lot better. and looks like the ball is rolling left to right. the quicker the ball will slow. you can lengthen the move out by passing to positions further down the hand and back of the arm. too). but the ball doesn’t move. The move can then be repeated over and over. The effect is that the ball is “walking away”. You will need to step forward to be comfortable with this. all the while walking forward. Back-Back Walkaway This move is based on a variant of the Back-Back pass. It is also a good idea to move the receiving hand slightly in the direction of the ball’s motion. The best place to pass to aesthetically is possibly the position near the base of the radius and ulna bones. bringing it to a halt smoothly. this feels great. and looks best when isolated. 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. and increase the control you have over the action. 2 It also caused my to learn very. then bring your right hand under the left to the other side and pass again from left to right. which are very heavy and very hard. Start with a ball on the right cradle.cause the ball to have to climb uphill. hand pointing forwards. 30 . though – I used to practice with glass balls. Now. Done continuously. very quickly (through something like shock therapy). Pass from the right cradle to the left cradle. but not so near that the ball hits the lump of the ulna’s base (that can hurt. but I don’t recommend you learn that way. As it is. This move can also be isolated – the ball stays still. The further you raise the fingers. You can practice this using a move called the Back-Back Roll. which is a point of all isolations. repeat the same move onto the right hand.
31 . and then roll the ball forward onto the right palm.You can also reverse the move. of course. you should find this simple to learn. then repeat back. picking it up with the opposite cradle. place the right hand in front of it so it’s heel touches the left fingertips. grabbing it in the left Thumb Hold. so the ball is actually coming back towards you. I guess further instruction would be very redundant. It is exactly as you would imagine. etc. Twirl the hands as you would a normal Twirling Butterfly. Continue the twirl so you end up in a mirror image of the starting position. If you reverse this move. Hold a ball in the left palm. it becomes the Back-Back Walktowards (imaginative naming scheme!). Start with the right hand over the left. You can. and looks out of place with most other moves. crossing at the wrist. In this case. Palm-Back Walktowards. Palm-Palm Walkaway After learning the Back-Back Walkaway. If done right. variate this idea further by having BackPalm Walkaways. this makes the ball appear as if it’s moving smoothly along a path which is being created as it moves. pausing at the palm-palm position to roll the ball from the right hand to the left. Thumb-Thumb Pass This is part of the Twirling Butterfly suite of moves. you start with the ball on a cradle. A ball is held in the right Thumb Hold. and roll the ball backwards. Then repeat with the left hand in front.
To entertain your audience. which said to me that the fact the CJer had not moved his legs made the legs stand out more than the ball. or whether he/she is wearing an outfit. All that matters is the interaction of the hands with the object being manipulated. but the balls are rolled all over the arms and body instead of thrown in the air”. 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. learn the most difficult moves you can learn. 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. You must avoid this. and is what I live for as a CJer – the idea that someone could dance. This gives a mental image. you might say something like “It’s like normal juggling. Compare close-up magic and stage magic. Pretend the ball has a life of it’s own.Body Rolling When you first describe Contact Juggling to a person who has never heard of it. A fantastic contact juggler can practice for weeks. The commenter did not say anything about the CJing itself. all the while rolling a ball on the body as though strings are attached. however. Unlike Palmspinning. In close-up magic. body rolling is large and expressive. you have to become large and expressive as well. One comment I heard about a CJer I knew years ago was that he never moved his legs. the magician’s body language is all important. In stage magic. which is fascinating. By all means. which is a very “close-up” art. 32 . you concentrate on the hands (usually) – it does not matter what expression is on the magician’s face. or mime. and be baffled about why the audience is not impressed if he/she forgets to include the whole body with the move.
The audience will pick up on your focus. The next step is to learn to balance in the middle of the forearm. so that’s all the better. and to the palm of the hand. so it is best to learn with the fist open. move the arm further right to compensate. you should first learn to balance a ball on the inside of the elbow. and the muscles form a curve. This agrees with a lot of people’s ideas of how contact juggling should be done.Move your body to focus the audience on the ball. When the fist is closed. If you straighten the arm even further you’ll notice the area flattens out even further. This will take much longer than the elbow. and therefore easier to balance on. through the middle balance point. Close your fist and open it to see the difference. Forearm Roll After the butterfly. 33 . Place the ball on that area. it is a simple matter to roll a ball from the elbow. to make the action sink in. and watch it themselves. The forearm roll is much easier than the Backarm Roll (yes. or you’ll find it difficult to correct the balance of the ball. If the ball moves left. If the ball moves to the right side of the arm. Hold your right arm out in front of you so it is almost straight. it took weeks of practice to get to the stage that I could walk around with a ball there. You can balance the ball to the right of this. and learn to balance there. move the arm left. now balance the ball there. In my case. arm rolls are the next learning block. you will notice that there is a tendon that connects the biceps to the forearm. the arm is tense. but not so much that the elbow is stiff. Don’t straighten so far that your arm is stiff. If you feel the elbow area. which makes balance a little more difficult. I made up the word “backarm” – what else would you call it?). This should be fairly easy at the elbow. It will take a while to become consistent with them. Feel the area. Don’t look around while performing – examine the ball. Okay. but you should practice this balance point a lot. as the forearm is very smooth. When you have practiced sufficiently (in your opinion). To learn.
pass it onto the other elbow and roll back. then you simply move the right arm to the right and lift it – this will cause the ball to move left. If you want to learn this with larger gap between the elbows. Ferret came up with a pass from one elbow to the other. This stops the ball. You will notice that the backarm is much lumpier than the forearm. If you roll it right. If you’re rolling from the right to left. you can add it into your practice routines. You could stretch out your Back-Back Butterflies. it is important to first get a feel of where the muscles are. This is a variation of the catch principle. which I’ll explain later. When the ball is just reaching the elbow. palm down. Before beginning your rolling. You can also do this in the opposite way. hand muscles. The ball slows to a halt. If you tense your 34 . Now that you can roll the ball up and down the forearm. pull the elbow back a little. for example.Learning the other way around is a little more difficult. but the elbow isn’t. while pulling the arm in towards you so the ball is not really moving. You can even just do continuous arm rolls – balance the ball on the elbow. then you should learn Elbow Catches first (described later). and slow it to a stop. you should plan out where are the points that the ball should stop or go through. When the ball reaches the palm. Backarm Roll The “backarm” is the side of the arm opposite the forearm (duh!). yet isn’t as clumsy as a sudden stop. Roll from palm to elbow. then roll the ball onto the other elbow. bringing the other elbow in close to it. and arms. and roll to the palm. When you are learning to roll on the backarm. Try it and see. Run your hands over the arm while alternatively clenching and unclenching your fist. then the ball should just roll on down the other arm. Hold your arm out in front of you so it is parallel to the chest. by doing a forearm roll every time you butterfly into the palm. The hand is used to catching things. at the same speed as the ball. then just toss the ball from one to the other and continue the roll. This is why you should learn forearm rolls first.
and the left arm should be pressed against the right. They are difficult to see. with the ball on the cradle. Then bring the right arm under the left (if you bring it over. This is for two reasons: 1) you will know what you’re doing at all times. This is a very extended Back-Back Pass. and the left arm behind. and mentally plot a course from the cradle to there. A variation of this is called the “Genie Roll”. Now. It is much easier to do a Backarm Roll if you don’t have to worry about stopping the ball. with the thin end at the elbow. Luckily the backarm doesn’t really get bumpy until near the elbow. Of course. Each of those areas will help you during Backarm rolls towards the elbow. so you are in the opposite starting position. Start with the right arm in front with the ball on the cradle. Place the right arm in position. making the physical act much easier. so we’ll learn with the arm bent at a right angle – parallel to the chest. hand resting against the upper arm. with the appropriate muscles tensed. yes? It gets easier with practice. The right hand should rest on the left bicep. This is one place you could stop the ball. Roll the ball right down to the elbow. and 2) you will have accomplished the move already in your head. you’ll see that the backarm muscles form a triangle. which then rolls to its 35 . you’ll see that a flat area appears on the inside of the elbow. Choose which spot you want to stop the ball in on the elbow. and then pass the ball forward to the left hand’s cradle. but if you tense the back of the upper arm. Difficult. Concentrate on the stopping position so you really know what you’re doing as the ball gets there. the muscle helps form a wall just above the elbow which may help while you are learning. If you straighten out the arm. This makes it difficult to roll with a straight arm.biceps. it will obscure the audience’s view) and bring it against the right’s. then place the left arm in front of it. you will have to be feeling the area in order to notice this. Roll the ball down to the elbow. Another is at the base of the biceps – it is not necessary to tense anything to balance here. roll the ball. The balance point in the middle of the backarm is directly on the opposite of the one for the forearm. and pass back to the left cradle. Make sure that the elbow is in the right position.
start with a ball in the right palm. butterfly it to the cradle. By varying the pass. The receiving hand should be poking out past the starting arm’s elbow. ready to start again. This can be done to extend the roll in as long a line as possible. as you have to figure out how to get into a position where you may have to roll from the elbow to the cradle. Place the right arm over it. Rolling down the backarm is a bit harder. you are learning both to strengthen your backarm rolls. Place a ball in the left cradle. allow it to roll slightly up the upper arm. For a continuous Backarm to Forearm Roll. arm parallel to the chest. and toss the ball to the right elbow. 36 . or behind the upper arm. and bring the forearm up and over in an arc as if you were performing a Windshieldwiper. Backarm-Forearm Roll When rolling from the Backarm Roll to the Forearm Roll. and also essential moves for recovering mistakes. The more ways you can do a move. A lot of people simply roll the ball right off the elbow in a straight line onto the opposite arm’s cradle. This can be done with the exact opposite move as just above. It is called the “Genie” Roll because of the position the arms take. A very good way to practice your backarm rolls is to vary how you pass from one arm to the other. extended to the right. This can be continued on the opposite arm then. and roll to the cradle – if you toss it with a lot of sideways motion. and you will end up with the ball in the palm again.elbow and passes forward to the starting position again. you will not have to balance on the elbow before starting the roll. Backarm to Forearm Roll it. the more likely you will be able to recover it smoothly when something goes wrong. you should first make sure that the backarm roll is performed 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. then allow the ball to continue its roll down the forearm. extended to the left. As the ball reaches the elbow. Of course. the above variations can be reversed as well.
Therefore. as when you are turning the forearm over. 37 . so it ends up in an Open Fist Hold. but getting into a position to use the hold is a bit awkward. it’s just the opposite of the continuous Backarm-Forearm Roll – start with a ball in the right cradle. you’ll have to roll along the edge of the forearm. bring the forearm straight up so the ball is in a Stretched Three Finger Hold. It is easy to balance here as it is very flat. almost onto the backarm – the tendon from thumb to arm and the wrist bone tend to be a it bumpy. and back to the Elbow Hold. To do this. From there. Roll the ball down to the hand. possible giving it a little “hop” with the elbow to get it over to the outside of the elbow. over the fingertips. The Backarm Roll seems to be the most aesthetic one for long rolls. For continuous Forearm to Backarm Rolls. Chop Roll An extreme form of arm roll is the Chop Roll. butterfly to palm. From there. Start with the ball held on the Elbow Hold. you should roll the ball a little further than you would normally. thumb up). so use that one. “simply” roll back up the arm. It may help to learn this in a point-to-point manner. which means that your ball may drop on the inside. and you will end up with the ball in the cradle again. Armroll to Shoulder Hold This is just a roll along the arms ending at the shoulder.Forearm-Backarm Roll Rolling from the Forearm Roll to the Backarm Roll is slightly harder. Carry on from that so the hand goes back behind the head. ready to restart. 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. Forearm-Backarm Roll it. The hand is held in a chop position (knife-edge down. and the ball rolls down the backarm to rest on the extreme opposite of the Elbow Hold. the elbow rises up on the outside.
it is then rolling on the backarm. Allow the ball to continue up the hand and into the Tripod or Three Finger Hold. but as it rolls. 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. As the ball approaches the hand. The ball is still in the same position. Start with a ball at the Elbow Hold. The second one can be used to go either back down the same arm. Spiral This move looks fantastic when accompanied by a lot of body movement. Helicopter This could be thought of as the opposite of the Spiral. Using the elbow as a pivot point. or nudge it out with your chin. From there. Roll it along the backarm until it reaches the middle of the backarm. you should turn the arm under it so as it is coming up to about 2/3rds of the arm. both arms at once. slightly toss it forward and up to give it a bit of momentum. and between the clavicle and pectoral muscle. 38 . Greg does several variations on it – pirouetting. Start with a ball in the cradle. and the ball halted above the clavicle). 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. swing the arm in towards the chest so it ends up with the hand pointing palm down and held above it’s own shoulder. across the chest into a chest roll. or down the body to your legs. In the video “Contact Juggling: Part One”. The ball rolls up the forearm. over the shoulder towards the back of the neck.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). and straightforward. you spiral the arm around it so the ball curves around the heel of the hand and into it’s palm.
but it is easier for the beginner to learn Forearm Chest Rolls. As the ball comes towards the armpit. In greater detail. I like to do this move. but difficult. 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. encouraging the ball to speed up to cross the chest – this movement is subtle. it is a great idea to plot out the ball’s route before journeying out. It is possible. lean back. 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. it is time to decide how are you going to encourage it to take that route. then move your entire body in the direction the ball should go. crossing the chest below the collarbone (another bumpy area). to do multiple Helicopters – when the ball arrives on the forearm at the end of the spin. To do these. 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). Forearm Chestroll You will find after a while that it is easier to do Backarm Chest Rolls. get an image of how you will be standing – you will be standing leaning slightly back. Rolling up the forearm is easy enough. up the inside of the upper arm (avoiding the biceps). the ball will take the smoothest path possible. crossing to the chest just above the armpit (avoiding the shoulders).Continue the pivot. twisting the hand palm-up so the ball rolls onto the forearm and the arm ends up pointing away from you again. Let the ball continue its roll to the elbow. The ball will travel up one arm. Just like learning the Forearm and Backarm Rolls. First of all. across the chest. you should be proficient with Forearm Rolls on both arms. and down the other side in the same method. and down the other arm. and continue with a Chestroll followed by a Spiral in the opposite arm. and start a new spin. with both arms outstretched. as if inviting someone to hug you. and you 39 .
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. The ball travels up the backarm. we start by figuring out how we’re going to stand.won’t notice it after a while. and is a lot smoother in the end. The roll down the other arm is just a controlled fall from there. along the outside of the biceps (which is lying flat because of the pose the arm is in). and along the chest just under the clavicle. It can also be repeated over and over. midway between the armpit and shoulder. The ball will again be traveling by the smoothest route. making for a good pause in the routine. The index fingers should be about a foot apart (30cm). I use a novelty 6” tennis ball to learn long body rolls. It is a good idea to imagine the ball rolling smoothly in a circle along the arms and chest. This time. Backarm Chestroll This chestroll is a bit more difficult to learn. 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. back tilted back a bit. The route down the other arm is just the same. 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). The ball should move just fast enough to reach the other side before starting to fall. 40 . Stand straight. the route is clearer. and arms held out palm down as if they were around a large barrel. Again. but ends up being easier. Don’t forget the small nudge in the direction of movement that you should do is the ball reaches the shoulder. it is best to start with a large ball before gradually using smaller and smaller ones. a chest roll thrown in at an appropriate point is a real crowd pleaser. To learn this chestroll. and make sure that the pressure is the same at all points.
A video I saw once (at yo-yo. Rolling behind the neck is more difficult than via the chest. Don’t forget to practice doing this in both ways. At this point. then passing to the opposite hand. This is partly because you will have to lean the head well forward. Taking more from that video. and then practice the whole move from cradle to cradle. practice rolling right to the elbow and onto the opposite hand. however. you should move as if to perform a Backarm Chestroll. 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). which can confuse. but can you do it with one more?” is “yeah. but can you do it in the other direction?” Neck Roll This is also called the Back Roll. 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. It is easier to perform this using the Backarm Roll than the Forearm Roll. having the palms facing up causes the shoulders to rise slightly.org) showed a good example of when to allow the ball to drop at the middle of the chest. as some people call a Back Roll the roll of a ball from the neck to the lower back. did a chestroll. you should bow the head forward. an awkward move if your palms are facing up. it may help to stop the ball in a neck hold. you can turn the head to watch the ball 41 . Also. but you could say that the CJ equivalent of toss juggling’s “yeah. To do this easily. but that doesn’t matter if you have practiced the other Chest Rolls thoroughly. When the ball reaches the shoulder. which will make later stages difficult. An added difficulty is the inability to watch what you’re doing. to allow you time to think about getting the ball back down the other arm. I think) sat down on the floor. The person performing the routine (someone called Mike. You may never get as proficient in one way as the other. Mostly. practice rolling to the opposite shoulder before passing to the same hand you rolled from. Using a large ball again. this is because of the shape of the shoulders – they are concave to the front.
In this move. if you can imagine it. but you don’t want to learn that until you’ve learned to do it the old fashioned way. a loop is where the ball travels from one position. Of course. you’ll probably come across one or two things that you absolutely need to iron out. and returns to the cradle. try slowing down the move.org. the ball starts in the cradle. which I would have thought is impossible beforehand. Basically. Congrats to Michael Glenn for creating this gem. and stand up a bit more as the ball goes behind the neck.org. After you practice this for a while. If you find that the ball keeps falling off when it hits the neck. and have at least reasonable success with your Backarm Neckrolls. it may be advisable to either have it loose. try leaning the head forward more and pulling the shoulders back a bit. 42 . If you have long hair. Neck Loop On contactjuggling. If the ball goes around the neck. or tied into two separate ponytails. It should feel like you are ducking under the ball – as if the ball was coming for your head and you were avoiding it. as we always say on . and raise the shoulder the ball is heading towards – when the ball goes behind the head. This move can look very good if it is alternately combined with Backarm Chest Rolls continuously. hunch your shoulders to slow and stop the ball. Before you start this move you should be very confident of your Backarm Chestrolls. If you find the ball rolls onto the opposite shoulder blade before falling behind you. rolls round to the back of the neck. but I think a “Loop” is more evocative of what is going on here. I suppose you could get around that by hopping the ball directly over the neck using the shoulders. this is called an “Around the Neck Roll”. rolls to the chest. but then drops directly in front of you. then you are not leaning the head far enough forward. rolls around something. Having a single ponytail makes an awkward obstacle at the neck.approaching. then you can do it. and returns to the original position.
Basically. Roll the ball as for a Backarm Chestroll. Pirouette Neck Roll This form of Neck Roll is surprisingly easy to do. for the left hand). Back Roll For this move. as the neck is passing around the ball’s route. It is important to keep a rounded shape while doing this move. duck your head as if for a neck catch. The usual Neck Roll can be done in any old rickety way. As with a Neck Roll. but in order for this version to come off properly. as usual. it is absolutely essential that the ball roll smoothly. I was pretty excited when I got it the first time.Start with the ball in the right cradle (reverse. you’ll notice that the ball isn’t so much passing around the neck. once you can already do a normal Neck Roll. Some people consider this to be one of the hardest commonly known contact juggling moves. the idea is to twirl your body whole performing a Neck Roll. this isolates the ball. 43 . and raise your left upper arm so the ball is passed back to the back of the neck. In effect. The ball is returning in almost the exact path it used to get there in the first place. When the ball is there. with the roll traveling in the Chestroll route right up until it hits the middle of the chest. so it seems that you twirl under the ball. because this involves half of that move. pass the ball onto the left upper arm. raising the head and bringing the ball safely down to the right cradle. you have to either be very flexible. concentrate on getting the ball into a solid neck hold before letting it past onto the right upper arm. and the ball doesn’t move. or be ready to get into some rather strange positions. Now. If you’re paying attention. but lower the arm so the ball is more on top of it than in front. Learn to Neck Roll first.
Okay – roll a ball up the backarm and duck your head so the ball goes into the neck hold. Hold there for a moment so the ball loses momentum. 44 . you can simply roll the ball down the other (or the original) arm and into the hands. The ball should roll back into the neck hold. As the ball comes up towards the shoulders. Keep your legs straight. From there. and very carefully lean your head back so the ball is pushed over the shoulders and onto the lower spine. Curve your back upwards to make a cradle for the ball to roll in. Getting the ball back up is interesting. You may need to spread your legs quite a bit in order to keep your balance. flexible way is to do the same as above. Now. stand up quickly. and bend at the waist. Drop your upper back so the ball rolls towards the shoulders. you have to decide how to do this next one – the lazy way is to drop carefully to your hands and knees. and curve your back back to its original shape. remembering the curve of the back. but while standing. The non-lazy.
46 . and bring them both to a smooth halt. etc). Put your catching arm directly out in front of you. This can be seen in action by examining how you catch a ball in the open palm (without using your fingers). but not quite. The area is easy to balance a ball on. and when the ball is nearly in the right position. Bring the elbow to a halt. Now. you move the limb to meet the ball. First of all. Just before the ball hits. Watch the elbow while you alternatively push the hand further out. start to bring the elbow back down. You match the speed of the ball with your hand. and you bring the hand up to meet it. you should practice without a ball. the feet. Bring the elbow down at the same time as the ball. the elbow sinks. As the ball approaches the elbow. straight) with the hand at a level just below the shoulder. and balance the ball. palm up. 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. and it can easily be moved up and down – the directions you will usually have to catch a ball in. and bring it back in. and toss it in an arc about a foot high towards the elbow. The ball comes down. straighten the arm to bring the elbow up to meet it. the forearm and biceps.Catches All contact juggling catches are based on the same method – you plot the approach of the ball to the catching limb. the elbow rises. Elbow Catch The Elbow Catch is an ideal way to start learning contact juggling catches. smoothly bringing them both to a halt. so the ball doesn’t just bounce right off again. and then move the limb in the direction of the ball’s path at the ball’s speed. elbow bent at about 150 degrees (almost. As you push the hand out. place a ball in the palm of the same hand. and as you bring it back in.
As the ball approaches. if you want. This method of catching is best used for catching balls tossed from the opposite side of the body. and slow it to a halt. the side of the elbow facing upwards is known as the “outside” side. then. with the ball describing an arc with its apex about a foot higher than the elbow. at the same speed as the ball. The point below the clavicle is best for low tosses where you plan on leading the ball out with an Armroll. by leaning your head over to grip the ball between shoulder and jaw. Basically. Some such spots are mentioned in the Backarm Roll section. There are two points at which you can hold the ball here.Outside Elbow Catch If you place your arm in front of you as if to perform a Backarm Roll. The toss to the upper point is caught by raising your shoulder to meet the ball. you can see how the elbow is to move when it is catching the ball. a toss to the lower point is caught by leaning back at the same speed as the ball is moving. If you read what I’ve written about the Head Catch. 47 . If you raise the elbow while keeping the hand still. of course). Bring the elbow down. Shoulder Catch This is done using the same method as the Head Catch. as pointed out in the Armroll To Shoulder Hold. You can help the catch. or tosses from behind the back (a toss from behind the back to the Shoulder Hold is called “The Ungodly Jose”). The point between the clavicle and trapezius is best for throws that are mostly vertical. Toss from the opposite hand to the elbow. The goal of this move is to catch the ball on a stable spot there. and then dropping your whole body with the ball. you can use all the tips in there to help you with this (apart from furrowing your forehead. lift the elbow up to meet it. but is obviously much simpler because less caution is needed.
An ideal place to catch the ball is just behind the second and middle toes. It is best to drop from about 1. raise the foot to meet the ball. He used larger balls.jugglingdb. Raise the toes to create a groove to hold the ball. It is best not to learn this while wearing shoes. you will wear out the footwear. your ball will not reach the foot.com website. you will have the respect of the whole contact juggling community. This is easier to learn with a large ball and work your way down. If you were wondering what could be done once you have the ball on your foot. or runners (or “sneakers” as Merkins call them). bringing it to a halt. One example from one of his videos is to roll the ball from the foot. as eventually.Foot Catch This is easier to do in bare feet or wearing pumps or some similar tightly shaped footwear. Learn the Shoulder Catch first – it uses practically the same motions. practicing balancing the ball on the foot. then twist around to let the ball roll up the back and down one arm. and when you replace it. I’d recommend watching some of Francis Brunn’s old videos. and then drop the foot at the same speed as the ball. I learned it with a soccer ball. It is a very good idea to spend some time. and will give you practice in the technique needed. boots. As soon as you’ve dropped the ball. Drop the ball from about waist-high. 48 . and worked my way down through my trusty novelty tennis ball to a standard 2. but there is no reason why smaller balls can’t be used. up to the waist. before attempting this.5” acrylic. You can find some through the www. You will need to be very flexible to perform that move. but as incentive. you will have to learn all over again.5 to 2 feet in front of the body to allow the leg room to maneuver – in order to lift the foot. Head Catch Do NOT practice this with a hard ball until you are certain you have it down with a softer one. the knee must be lifted. If it gets in the way.
then try furrowing your brow and pressing your eyebrows in towards each other. 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. start again with the ball held just before the chest. After you get this smooth and can keep the ball there for a while. we can start learning the catch. Use your head to bring the ball under control. First of all. Now that you have a place to stop the ball. try learning to bring the ball up and roll it into the balance point from an inch or so below it. Bring your hand up as usual. it will not be moving upwards anymore. The only speed you’ll have to match is it’s backwards motion. then bringing it up in a smooth slow arc to sit on the balance spot – holding it in your hand all the while. If you can’t find a suitable place to hold the ball. you must be able to move in the same direction as the ball. which means that when the ball reaches the forehead. For example. but not impossible – don’t try it until you’ve learned a simpler way. For the first toss. then the only way to bring the head down at the right speed is to use your whole body to move the head. This will be difficult in the case of the head. you should practice for a while holding the ball just before the chest. Remember that in order to successfully slow the ball to a halt. Most people have a fairly flat forehead (except me… courtesy of some nasty falls in my past). We’ll start with the simpler way. Before tossing for the first time. This will cause your forehead muscles to bunch. The top of the forehead is at the apex of the arc’s path. It is important to learn this at this point. making a cushion for the ball to sit on. you will not have your hand to bring the ball under control. release the ball with a little push so it is 49 . if you toss straight up.The head catch is one move where the direction of the ball’s throw is very important to decide before trying the catch. This is difficult. which would end one foot behind the chest. decide where you are going to catch the ball. so you should be able to balance the ball easily without too much correction. as when you toss the ball for the first time.
and bring your arms up. you should be able to make the toss longer and longer as you lower the hand. You keep your head level so the spine curves to catch the ball – not bounce it off. An acrylic is much lighter than a cannonball. try the toss again. 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. creating an added cushion. 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. There was a 19th century performer who used to perform the neck catch with a cannonball. and finally onto your regular ball. 50 . and the spine is not to be trifled with either. Another danger is that you cannot see what you are doing. Neck Catch This move is even more dangerous than the Head Catch. and your arms are brought up to bunch your shoulder muscles. so make absolutely certain you can do it with a soft ball before moving onto a hard ball. Now. allow it to fall a few times to make sure you have it right. but bend forward. If you have the distance right. toss it up six inches above your head so it would fall about a foot in front of your face. Starting with a large ball. I’m sure it is possible – I have seen Francis Brunn do it with a larger ball. then the ball will either land on your shoulders and neck. you should be careful. In fact. or bounce off them. until it’s straight from the chest. keeping your head level. but nevertheless. Gradually. but we can work around that. You must be aware of the dangers of this move before trying it.tossed to the point just before the balance point and rolled into place. He died when he misjudged the toss and hit the back of his head with the ball. 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…). The back of the head is a dangerous area to mess around with.
You should be wary of it as well. for example. then throw the ball further forward – a foot and a half in front of the face. or you’re bowing too soon. 51 . When you have the catch down with a large ball. or bow further forward after the toss. Before catching with a hard ball. Certainly. If you hesitate at all. and the bow should start off slow. You can bring the ball off the neck by either reversing the bow while leaning your head downwards then flicking it up. and slow to a halt after the ball has landed. The ball should clear the head just before you start your bow. or by rolling down either of the arms. throw it closer to your face. If the ball bounced off the neck. then you are not bowing fast enough. move a bit faster as the ball approaches the neck. try making the ball smaller and smaller until you think you’re ready for a hard one. then the catch will be wrong. Make sure you are doing a low catch before you try tossing higher up. If it hit your head. and you may hurt yourself. make sure you are completely confident with the catch.If the ball hit your back. I wouldn’t like an acrylic slammed into the back of the head.
about waist height. Drop the ball from the cradle to the palm. about waist height. so the audience watches it instead of the left. then the ball seems to float upwards and stop right on the hand. the ball would hit the finger tips before falling back. then reversed. The ball goes up so that if the left hand fingers are kept still. That is the Elevator. Curl the fingers so the ball goes just above hand height. To help with the illusion. you can use your body movement to try bring attention to the top hand. palm up. or you may have trouble catching it and keeping still at the same time. The ball should not go any higher than the hand. Elevator This wonderful move looks fantastic when the body is held as still as possible. If you get the toss just right. Bring the cradle up to about eye height. then straighten the fingers out again. I like to do a finger-flourish to distract the audience. 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. That was not the Elevator – that was the reverse of it… Imagine what you have just done was filmed. yet have made it into the contact juggling repertoire. with the other hand above it.Misc “Tricks” This chapter describes some moves which are not palmspinning. about eye height. Hold a ball in the right palm. and are not ballrolling. Edson’s Enigma Greg’s Grip 52 . cradle up. Your other hand is directly below it. bring the ball forward to the fingers. without moving the hands or body beyond what is necessary to get he ball moving. Start by holding a ball in the crade of your left hand. Using a wave motion.
Back-Back Pass the ball from the right cradle to the left cradle.One Ball Combinations This chapter is a list of combinations of moves that are common in the CJ world. then produces a crystal and manipulates it. Okay – time to learn with a ball. Keep the hands palm-up as long as possible. and the left hand pointing left. as you will be doing it with a ball next. both hands palm up. From there. Unfold again. To learn it. and the left hand closest to the body. “I’ve brought you a gift”. repeat them a few times to get the movements smooth. keeping the hands palm-down until the last moment. and a ball in the right palm. the hands palm up. then learn it one piece at a time with a ball. butterflying the ball at the last moment into the cradle. bringing them palm down at the last moment so they’re flat against the opposite arms. fold your forearms over so the right forearm is closest to the body. Concentrate on making the hand motions as smooth as possible – the motions should not be jerky. 53 . Go back to the beginning position – forearms raised. Now that you’ve gone through the motions. but with the right arm on the outside. Now unfold the arms again to the original position. then bring them palm-up again to the original position. Most of that manipulation is the Back-Back Butterfly. 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. Now fold the arms with the right arm closest the body (on the inside). While the arms are unfolding. first learn the movements without a ball. Now repeat the fold. Keeping your elbows still. Start off with your forearms pointing up. keep the hands palm-down until the last moment. the right hand pointing right.
with the ball’s arm always butterflying to the chest-side of the other arm. Start with both hands in front of you as if you were to do a Back-Back Pass from the left to right. with no hesitations or halts. right over left. and very good for practicing your cradle balance and choosing which Palm-Palm Pass is best for you. first start with the hands crossed. I then described some variants of it leading up to a four-ball move. Up to you. Remember to try to keep the arms’ movement symmetrical. that there was nothing that can be done with it. Place the ball in the left palm.org website. If you want it to be as large as possible. butterfly the ball into the cradle. If you want to do a quick move. Reverse the move to complete. To do the Palm-Palm Twisting Butterfly. Try to make the ball’s movements as smooth as possible. Palm-Palm Twisting Butterfly When I placed a video of the Twisting Butterfly on the contactjuggling. right hand palm-down and left hand palmup. Butterfly the ball out of the cradle and into the right palm. 54 . From here. Palm-Palm Butterfly This is the opposite of the Back-Back Butterfly. The ball should be in the right cradle. it’s up to you which Palm-Palm Pass you do. bringing both hands together as if to prepare for a BackBack Pass again. maybe you’ll choose the Chalice Pass. this time with the left hand in front.Butterfly both arms out so you’re in the starting position but the ball is on the opposite side. After you have passed to the left palm. I had one person comment that it was pointless. and keep track of the movement the ball makes. choose the Cheater Pass. Now repeat the above move. The point here is that even the simplest moves can be extended to create great new moves.
When you have learned this move.Now. Flytrap The Flytrap is a variation of the Palm-Palm Butterfly. This move is a good one to move into or out of a Cage section of your routine. Keeping the hands touching at the wrist. Back-Palm Pass. fingers pointing forward and up – pass the ball from the left palm to right palm (using the Chalice Pass) and complete the movement. The right hand is then placed on top of the left cradle-up. and always have some moves to fall back on when you are fed up trying harder ones. You have gotten past the difficult part of the learning curve. Simple! 55 . The ball should now be in the left palm. You should now be in the opposite position from the starting one. The ball is placed in the right cradle. Circle This movement is a reason for great happiness when you are learning contact juggling. Do so. You should now be in a position to do the Chalice Pass. and then butterfly the ball into the left cradle moving only the left hand. butterfly the ball into the right palm. Start with the left hand palm-up in front of the chest pointing to the left. Palm-Back Pass. and can intersperse it with Back-Back and Palm-Palm butterflies at will. Back-Back Pass. you can say you have truly accomplished something. The movement of the hands makes the ball travel through a circle – hence “The Circle”. moving only the right hand. When you get to the point where both hands are symmetrical – forearms together. Some people call this “Around The World”. start twisting the butterfly. Start with a ball in the palm of the right hand. 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. Walking Halfpipe This is an extension of Back-Back Rolls.
the Palm-Palm Pass. This move adds the last. Back-Palm. Greg Maldonado and Owen Edson like to extend this even further by bringing the ball up to a Tripod Hold. Horizontal Circle The Walking Halfpipe uses three of the four Basic passes – BackBack. or raise both ends of the pattern (so the ball travels in a ‘U’ or “Halfpipe” shape). Then. until the fingers almost touch – let the ball roll over the ends of the fingers to the opposite hand. start to do it so the Palm Holds at the endpoints are facing away from you – the fingers are pointing forward. doing it flat. and you can repeat the whole movement over and over. and Palm-Back.You can do this flat. Learn the Walking Halfpipe. then you can bring the palms even closer. You can extend it further again by bringing it to a Three-Finger Hold. to make a full workout for your passes. Spiral Curly Backwards Prayer Backhand Roll 1b MillsMess Circle 56 . If you do the Back-Back Passes so the fingers are pointing about 30 degrees forwards.
Palmspinning looks easy. This can be seen very effectively when you learn to spin a 4stack with large balls. and you are just providing a platform for them. when done smoothly. then. Try them anyway when you feel like it – it may just be me… 57 . where parts of the patterns stay still in space. Palmspinning can be performed with a minimum of one ball. The groups of balls may break apart and reform into new patterns. In fact. In the beginning. the movements in palmspinning are extremely subtle – slight shifts in balance are all that is needed in most cases. Whereas bodyrolling uses expansive gestures to move the balls. This effect is evident because of one of the differences between palmspinning and body rolling. so make sure that is solid. and up to eleven have been used to form patterns. but it is easy to understand when you start learning – the 1b palmspinning moves are much harder than the 3b moves. is used in all sorts of alternative health plans. it looks like the balls are doing all the work. using the various shapes of the stacks to define your routine. The easiest pattern. no matter what else you practice. I would encourage you to learn all the 2b moves before going onto anything else. I’ve placed them after the four. with balls interchanging and swapping hands at any time. or it can be complex. For details of how palmspinning affects your health. Some of the more mesmerizing patterns incorporate isolations. You might be surprised that I leave one ball moves until after the four ball moves.com. or separate completely and revert to body rolling.Palmspinning Palmspinning is the simplest way to contact juggle more than one ball. It is the art of spinning balls in your hands so they form what looks like “bubbles” that move in entrancing ways. Palmspinning can be very simple. and other parts of the pattern and the body revolve and rotate around them. the 2b Palmspin. see the website www.handhealth. and I believe harder than the 4b – therefore. 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.
The fingers should be relaxed and in contact with both balls. The 2b Palmspin is very well known all around the world. The thumb loses contact with the ball and the little finger loses contact with the back ball. The back ball may start rolling towards the thumb now. and side of the middle finger. It is used in oriental alternative medicine as a method of stimulating points of the hand (and meanwhile giving them some exercise and flexibility). Straighten the little finger and curl in the middle finger slightly. When the ball is behind and to the right of the front ball. most of which have small bells in them. but not so much that the ball falls off the hand. The balls are larger. and the movement of each ball can be individually controlled. The second is held between the thumb. Place two balls in the right hand. The first should be in the palm near the heel on the little finger’s side. 2b is short for “2 ball”. the 2b Palmspin is taken a few steps further. Straighten out the ring finger and curl the index finger in so it pushes the ball further left. which tinkle when you roll them.Basic Palmspinning (1-4 balls) 2b Palmspin In contact juggling “notation”. index finger. If you go into just about any alternative health shop you will find a set of “Chinese Medicine Balls”. The index finger should curl in slightly to stop the ball from rolling too far. we don’t isolate ourselves to rolling in just one direction. forcing the fingers to exercise more. Forgetting about the back ball. curl in the little and ring fingers to make the front ball roll back towards 59 . In CJ. Push the thumb downwards so the back ball rolls towards it. straighten out the middle finger a little and push the front ball to the left with the thumb.
Thus. The importance is in the overall movement of the balls. so practice the normal palmspin in both hands and directions well before you start on it. If this happens. the balls retain that spin. and push the thumb-side ball to the back with the thumb. so if the balls started out clockwise. whereas a transfer is about moving two or more balls from one hand to another while retaining their pattern. uncurl the little and middle fingers. This is difficult for beginners. but it is not a sign that you are doing it “wrong”. Now you can practice this move over and over. you can start learning to palmspin without the balls touching. index finger. Soon you will be doing it without thinking about it. If you practice for a long time. stop practicing and relax for a while or practice in the other hand. This is called a “pushing” palmspin. with one addition: To start off. the tendons on the back of the hand may start hurting or becoming warm. Some people find the clicking that happens with palmspinning to be a nuisance. while keeping the palmspin going. 60 . The first is simply to move the motion over. This will push the back ball further to the right where the thumb. based on the thumb’s motion. 2b Palmspin Transfer The difference between a transfer and a pass in CJ is that a pass is simply a way of moving one or more balls from one hand to the other. The second is to reverse the spin. There are two basic ways of performing a transfer.the heel. Start with the two balls in the right hand. Just go through the steps one at a time in reverse. they end up anticlockwise. To keep the same spin. not in a precisely kept distance between them. you have to learn to spin both clockwise and anticlockwise in both hands. a 2b Palmspin Transfer is about moving the two balls from one hand to the other. so that if the spin was clockwise. Learning in the opposite direction is difficult for some people. and the side of the middle finger can stop it. spinning anticlockwise. When you get really good.
Place three balls in your palm such that one is in the palm held at the heel.contactjuggling. 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. it’s the same as when it wasn’t moved at all. If you think about it. as the balls chase each other from hand to hand. and move the palmspin over so both hands are performing it at the same time. and the fingers hold the other two. This is wrong. you’ll see that they are chasing each other in a figure eight pattern. To reverse the spin. 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.Place the left hand next to the right. Place the left hand next to it. or “my fingers don’t move that way”. they decide that it’s impossible for them to do it as “the balls are too large”. you start with the anticlockwise spin in the right hand again. raise the right hand. At this point. because the left thumb pulls the ball into motion. Now. The center of the palmspin should be between the hands. you can spin three balls in your hand. allow one of the right hand balls to “escape” into the left hand. 61 . As has been said many times on www. if you can hold three balls in your hand. Now. This is called a 2b Palmspin “Chasing” Transfer. The other ball chases after it so you start a clockwise spin in the left hand.org. so it’s heading for the heel of the hand. tilting the palmspin so it moves on to the left. If you continue transferring the balls from one side to another. After trying it for a while. you are now doing a “pulling” palmspin. 3b Palmspin The 3 Ball Palmspin is a problem for many people.
For the “pulling” spin. Keep the front of the hand slightly downwards to counter this. In the left hand. though. making the balls want to roll back. Watch TV. Start off with small balls – perhaps pool or snooker balls. This will allow you to get the motion right without worrying so much about the balls always rolling off the hands. all that’s required is to repeat this move twice more to complete a full circle. For the “pushing” spin. so here are a few tips to note. causing the entire pattern to start its spin. and curl the little finger to the outside of the pattern to encourage it’s ball to move towards the index finger. completing a one-third rotation. this is reversed. and when it’s possible. Your fingers will stop the ball from rolling off from the front. Your hands will eventually accustom themselves to the movement of the balls. 62 . and you will find that you are learning the move smoothly without even trying.There are two directions in which the balls can be spun. for later moves that sometimes depend on them. An anticlockwise spin is “pulling”. and curl the little finger in to pull its ball towards the back. Now. and as there is already a ball at the heel in some positions. you curl the index finger to push it’s ball back. and a clockwise spin is “pushing”. and a clockwise spin is called a “pulling” spin. move the thumb behind it and push it forward to complete one third of the spin. Some people find pushing spins easier than pulling spins. As the back ball comes forward. No just repeat this twice to complete the circle. or whatever. It is your decision. the front balls therefore roll off beside it. Practice while doing something else. It is important to learn both. It is a habit of a lot of people to raise the front higher than the back. we start in the start position. A lot of people find this move tricky to get. or read a book. which you learn first. pull the ball towards the back of the pattern. Allow the thumb to slide under the index finger’s ball as it approaches. In the right hand. an anti-clockwise spin is called a “pushing” palmspin (based on the movement of the thumb). Straightening the thumb allows the back ball to roll forward along its length.
if you're wondering what other Toss Juggling moves made the translation to CJ. etc. but very difficult. you must be fluent in spinning in both directions in both hands. Also. Now spin the left balls clockwise before passing one of the balls to the right hand. If you'd like a challenge. then pass one of the balls to the left hand. but otherwise.: the balls are held in both hands at the same time). 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 can also do this the opposite way . In order to learn this transfer. Start with two balls in the right hand and one in the left. to do a 3b Palmspin with the balls completely separate from each other. it is an added benefit to be able to palmspin in both directions using both hands (i. 63 . there is no need to go that extra yard. then the move becomes a 3b Palmspin Walk – try to keep the palmspin in one location. Spin the right balls anticlockwise. Rubenstein's Revenge. you end up spinning in the opposite direction to "normal". or try make up your own version of a popular Toss Juggling move . and then simply pass it from one hand to the other without stopping the spin. It is essential to learn it that way if you are using balls that do not slide against each other. try The Box.it's harder than it sounds! Or. 3b Cascade This is a horizontal version of Toss Juggling's Cascade (the easiest 3 ball juggling pattern).It is possible.Burkes Barrage. or Mills Mess. Dancey's Devilment. If you transfer the balls forwards over the fingertips.spin the right hand clockwise and the left hand anti-clockwise. 3b Palmspin Transfer In this transfer. try isolation one of the balls while continuing the cascade pattern .e. you palmspin in one hand. pulling the hands in towards you as you transfer the pattern.
The opposite applies in the opposite hand. literally adding another dimension to your juggling. of course. Now. while shifting all three clockwise to bring the stack into position to do it again. While this transfer is easier than the normal 3b Palmspin Transfer. etc). you should concentrate on the ordinary one more . A ball should be resting against the index and middle fingers. not touching any fingers. that means anti-clockwise. but in the opposite direction. For me. then clockwise. and follow the first one into the opposite hand. By alternating the direction of spin (first clockwise. and pass one ball into the opposite hand. One ball is in the center of the palm.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. bending the fingers up so the ball resting against them is pushed right over the other two. 3b Pinkylift With the lifts. balance it with the thumb. and another between the pinky and ring fingers. bring the palms together. 3b Thumblift This is slightly trickier that the Pinkylift. where the spinning continues.the more you practice difficult moves. The other balls continue spinning. you could do it anti-clockwise. you cascade the balls. Start by spinning in your normal way in the right hand. but it is simpler and usually more visible to the audience if you do it clockwise. then anticlockwise. and that difficulty is more pronounced as you learn to use more balls. Of course. we bring palmspinning out of the flat plane. As the ball comes down the other side. Carefully. alternating the spinning direction is known as the 3b Pinkylift Cascade. Hold three balls in the left hand. 64 . the easier all others get. Therefore. straighten the pinky and ring fingers.
and very slowly start to spin. 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. then practice that before learning clockwise. but easier to learn it (for me. and the last one is right at the front. then you are doing what is known as the 3b Thumblift Cascade. you should be very practiced in the 3b Palmspin. If you alternate the direction you shift the pattern in. Before you learn the 4b Stack. before shifting the whole pattern clockwise. Bend the hand down at the front. bend the thumb and push the ball over the other two balls with the thumb-tip. but I like to differentiate between flat patterns (palmspins) and patterns in 3 dimensions (stacks). As the thumb reaches the highest it can go. the pressure of the extra ball will push the bottom balls apart from each 65 . You will find that at some points. It is better (more visible) to shift the pattern anticlockwise. the Stack was called a 4b Palmspin. If you find anticlockwise is easier. On the other side. Some people call this a 4b Palmspin. the ball is helped down by the ring finger. Place the extra ball on top of your 3b Palmspin. there is another move more rightly called a 4b Palmspin. at least) clockwise. Besides. and press the base of the thumb upwards so it’s ball is pushed up.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). For a long time. but there are ways of performing a Palmspin with 4 balls that are more appropriate to that name.
This will allow you to keep the balls together. but there are some small differences. With the 3b version. and sort-of flow the thumb upwards. Learn to tilt the hand in such a way as to minimize this. though has the thumb holding one ball as usual.other. the move looks haphazard. and ring fingers holding the front ball. and the other two balls held with two fingers each – this is a very secure way of holding three balls. This difference is because with a lot of the move. 4b Stack Pinkylift This is just like the 3b Pinkylift. so it is best to have as many fingers free as possible to manipulate the moving balls. The smaller size of the top ball will make it more difficult for the ball to be thrown off. and a smaller ball on top – maybe 2. but not so much that the top ball falls off. The 4b version. 4b Stack Thumblift This lift is similar to the 3b version. the index. the front face of the stack is balanced against the back ball. Drop the ring-finger side of the stack slightly. and the last ball is held securely between the pinky and the heel of the hand. For this move. 66 . it is best to start with large balls on the bottom. Extend your thumb up to catch the falling top ball as soon as possible. The pinky curls over the ball to hold it secure. which you should be aware of. you start with one ball held against the length of the thumb. Stretch the index and middle fingers downwards so the stack face can be held smoothly at all points. more pressuring than pushing the thumb ball to rise up over the stack. and its smaller weight will lower it’s tendency to tear apart the base’s pattern. If you don’t keep the balls together.5” acrylics on the bottom and a pool ball on top. middle. but more care is needed when you are settling the new top ball on the base.
hold three balls in the palm as if you are doing a 3b Palmspin. From there. and the short axis runs through the two balls beside the new one. and then concentrate on learning it so the fingers hardly move. Now. but the second ball is not there. When you spin this. you pass the finger so it’s held between the index and middle fingers. Learn this until you get it smooth. The reason for this is mostly because you are spinning a ball as if it were one of a pair of balls. and gently ease the ball down. This move. Place one more ball beside any other two to make a flat diamond shape. at the second knuckles. reach up with the ring finger. until it is held by the pinkie and ring finger. You learn to hold the ball in each point the ball passes through.As the old top ball starts to fall over. roll the ball back to the heel. Pass the ball along each finger like this. move the ball forward and to the right so it is held by the thumb and index finger. 1b Palmspin Despite only using one ball. meaning there is no helpful pressure to keep the ball from rolling to the center of the palm. you have to be careful to keep the short axis balls together. Possibly the best way to learn this move is using a point-topoint system. This is your starting position. Start with the ball held at the heel of the right palm. though. 4b Flat Diamond Palmspin The “Flat” part of the name is there because there is a stack palmspin called the Diamond. 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. From there. There are two axes here – the long axis runs from the just added ball to the ball on the opposite side of the pattern. the 1b Palmspin is about as difficult as the 4b Stack. but when it is 90 degrees 67 . is not stacked. Using smaller balls than usual. and also so the ball travels in as wide a circle as possible.
but it does solve a lot of problems.rotated. a 4b Flat Spin is a group of four balls arranged in a square. You will find after a while that a lot of the motion is performed by the thumb. and the front of 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. this move is difficult to learn . 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 tip I’d give here is to bring the pattern forward when you are moving the long axis balls to the side. I’d recommend bringing the shape forward onto the fingers. You will still have to stretch your thumb and pinky out to the sides to do the move. which will allow you more room to play with. 68 . 4b Flat Spin Also known as the 4b Palmspin. When you bring the pattern forward. the balls will be supported mostly by the fingers. like the Flat Diamond version. Basically. which moves in a wave-like motion to bring the balls along. Stretch your fingers before attempting this. and spun in the palm. and move very slowly until you are certain of the move. Try to bring the center of balance of the pattern close to the thumb to take advantage of this.so learn slowly. Again.
2b Ratchet This move is half isolation and half joke. Transferring this palmspin takes a bit of thinking. and one or more others are "orbited" around it . You can’t just transfer it as normal.like the moon around the Earth. wait for the moving ball to come closest to the left hand before starting the transfer. and try to keep the ball still relative to that point. follow it with the left hand. Concentrate on one ball. Maybe you should learn them both at the same time. You can learn to do this with the balls not touching.learning the 1b Isolation first would help very much with this move. Pick a spot on the floor. as you see from learning the 1b Isolation. taking control over the pattern. because you have to keep the location of one of the balls precisely still. Without the second ball.More Palmspinning (1-4 balls) 2b Orbital Isolation An “Orbital” Isolation is when one ball is isolated. and the arm going out in front of you. It's not really clear which should be learned first . with the elbow held in front of the chest. If you are spinning anticlockwise in the right hand. Start learning by spinning very slowly. the ball tends to try moving to the center of the palm. The second ball presses against the isolated ball. or a corner of the room. 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. and try to get it to stay still in space while the other one is orbited around it. Start with two balls in the right palm. 69 . but also learning this move first would probably give you a basis for the 1b Isolation. which actually helps with the isolation.the 1b Isolation or the 2b Orbital Isolation .
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.
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.
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
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. Note that if you bring the right hand under the left. rather than the ball moving to the points. Continue pinky lifting the remaining balls . A ball has momentum whether it is moving or not.Pinky-lift the stack so the top ball falls off into the right hand. trying not to apply any additional pressure to the ball. Start learning this the same way you learned the 1b Palmspin – by moving from point to point. The points the ball moves through actually come to the ball. This.this is just to continue the illusion of fluidity. and ends up as the top ball of a new stack there. 1b Isolation The 1b Isolation feels similar to the 1b Palmspin. When you are moving from point to point. so physically. and then switch over to the other hand . For added kudos . 4b Curl This move can be seen in many different forms of object manipulation – ball spinning and plate spinning being the most common. Bring the ball upwards so it slots into the pinky lifting in the left hand.continue the pinky lifting for a moment or two. but the movements are the same. and pull the hand under it. though – keep the ball still in space. you may block off the ball's visibility . The pressures are slightly different.you isolate the pass as well so the ball doesn’t move. is easier to learn with a heavy ball. The ball is usually passed from the index finger onto the opposite hand’s heel. like all isolations. 73 . as heavy balls resist changes in their momentum much more than light ones. It looks very good when you isolate in one hand for a while.get around this by exaggerating the movement. all you’re doing is moving your hand.
simply continue the twist around until you are back at the starting position. When it reaches there. so make sure that you are limber before you attempt it. Continue twisting the stack under until the arm is pointing almost directly right of you. 74 . Don’t come crying to me if you can’t go to work the next day because your arm doesn’t work.Start off with a 4 Stack held in the right hand – do not spin it. You do not want to try this spinning until you have learned it still (acrylics hurt – especially on the head). This move poses strain in a few directions on the shoulder joint and blades. From there. Your arm should have the forearm facing up now. and the elbow pointing out in front of you. following the stack with your eyes as you pull it over your face and off to the right. Continue the twist slowly so the stack approaches a point a few inches in front of and above the head. That is an awkward position. I disclaim all responsibility of you ignoring this point. so raise the stack (or lower your body) to ease the strain. Lean your body forward and twist the hand in until it is directly under the shoulder. start leaning back.
You should be accustomed to the moves in the 1-4 ball chapters before trying these. If you really want to do over four ball work. and 75 . so you may find one or two surprisingly easy. Most of them involve combinations of various lower-number palmspins. 5b Cascade 5b Linespin A “linespin” is a palmspin with five or more balls which consists of two lines of ball. In toss juggling. each of them touching two of the front balls. Treat the two front left balls and the back left ball as 3b Palmspin pattern. one held by the fingers.Basic Palmspinning (5 ball and above) While this chapter is titled “Basic Palmspinning”. It is not essential to be able to perform large number palmspinning in order to be a successful contact juggler. and the other two as a 2b Palmspin pattern. but find these moves difficult. you can do up to eight ball palmspinning without learning the moves in this chapter. Hold five balls in two lines with both hands so there is a line of three balls at the fingers. and two balls behind them. This chapter is about the fundamental moves for five ball and above. don’t despair – remember that the first Basic Palmspinning chapter was about up to four balls in one hand. 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. and the other by the heels of the hand. it is far from easy. That means that by using both hands. the difference between five ball juggling and seven ball juggling represents a huge difference in skill.
5b 2h Palmspin This palmspin is a circle of five balls following each other.this one is essential. Try it and see for yourself. There are two paths to follow in order to learn this spin. and gradually gets more circular. Shifty.rotate each anticlockwise until there is a line of two at the front and a line of three at the back. it is very important to learn the 5b Linespin . the movement is a 3b anticlockwise palmspin. The second is the 4b 2h Palmspin (also called the 4b 2h Flatspin). First off. 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. Start off simply . Surprisingly. that if I am spinning anticlockwise. in a way. as the 5b 2h Palmspin is. simply a variant on it.small gaps. simply try to keep the balls separate in the center. so the ball starts off as two rows. grows into an oval spin. 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. 6b Linespin This is simply two rows of three balls. you'll see a large depression the fingers help to make a bowl that the balls roll around. If you examine the shape your hands make like this.</p> You may find it easier to perform if you overlap the fingers of both hands. In this case. This idea will help woth larger patterns as well. where balls get passed from one pattern to the other. Then. came up with a whole gamut of new moves like this one. this style of palmspinning wasn’t noticed until a new CJer. If have found for example. Make sure that the balls are touching at all times. who had been practicing only about a year.</p> Once you are comfortable with the 5b Linespin. This is 76 . treated just like in the 5b Linespin.
When you have it smooth. and also notice how the heels of both hands interact. and the heel plays a much bigger role 6b 2h Triangle Palmspin This one can be a pain to get. It may help to remember that you only need to learn to spin 120 degrees around 77 . place an extra ball in the center. 6b 2h Stack Want a surprise? Once you learn the 5b 2h Palmspin. the n the right heel acts like a boundary wall that stops the base from escaping over it. I found that the easiest way to spin the pattern was also very awkward on the arms. this move is incredibly easy!</p> Spin a 5b 2h Palmspin for a while. Now.in this case.</p> Spinning this pattern is tricky . the 6th ball is below the base ring of 5 balls. angle the hand inwards so the line of balls is parallel with the chest . If spinning anticlockwise. the 4th and 5th fingers are still overlapped. Hold a 3bPalmspin pattern in the right hand.You have to somehow slip your hands under the pattern and slowly spin it around.</p> You may find it easier if you overlap the pinky and ring fingers of both hands. and bring it inwards so it slots against the left hand and the balls form a large triangle.</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. so it is held up by the base 5 balls.</p> Start by placing three balls in the left hand so a ball is on the fingers. In this case. This is much easier to learn than the lower-numbered stacks.you can use the chest to help balance them if you need to. another is in the palm. When learning this.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. 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. and the last is held at the base of the forearm.
you can see that it really cries out for a third dimension. and being supported by four balls. When the hands are right next to each other. 7b Stack Linespin Spin a 6b Linespin for a while until it is very comfortable. and three behind. When you start the spin. 7b Linespin This is done the same way as the 6b and 5b Linespins. Simply at a ball to one of the 3b Palmspin patterns. This provides a little difficulty if your 6b Linespin is not smooth – the smoothness 78 . it is difficult to control the back middle balls. but starting with four balls at the front. To make it even simpler. another facing off to the right.a triangle. you can imagine the starting pattern . with a base at the chest. This seems to allow more room for the fingers to move. When spinning anticlockwise (reverse the tip for clockwise). and you will add that 3rd dimension.the rest of the spin is the same. The next 60 degrees is just bringing the pattern back to the start position again. 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. do it slowly – you’ll see that stack alternates between being supported by three. If you look at it. where you cannot easily control them. 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. as they pass over the heels of the hands. and a 3bPalmspin pattern in the left hand.
so anything that can be down with a 79 . the ring of balls. The back middle ball of the pattern is difficult to control when it is passing from one heel to the other. 7b 2h “Cheater” Flower Palmspin 8b Stack Linespin This is a 6b Linespin with two balls on top of the 3b Palmspin patterns. 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. To minimize this. It is a 5b2h Palmspin with a ball above. is necessary for the top ball to keep it’s place as one ball is transferred in and another out of the supporting base.the line. The figure on the left shows the various places a ball can be stacked on top of the 6b Linespin I various configurations. try leaning your hands downwards at the front. and another below. and bring the balls a little further forward so it is controlled more by the fingers than the palm. If you feel that this move is a little to asymmetrical. 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…). You will find it maybe a bit easier if you let the pinkys overlap.
…almost everything). Using that as a gobetween. you could finish the black/white move I described above. You can use the 9b Stack Linespin to move patterns from one hand to another. try spinning a 4 stack in the left hand. After bringing both hands together to form the 9b pattern. With care. you can move the base pattern into a 7b Blossom. the two balls have plenty of room to move. 9b Stack Linespin The 9b Stack Linespin is done by placing two balls on top of a 7b Linespin. 8b Linespin For this linespin. 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). which will allow you to rotate the top balls. composed of white balls.stack. 10b 2h Pyramid Stack 11b 2h “Cheater” Flower Stack 80 . as the pattern makes an extreme stretch necessary for the hands. but moving the colours completely to either hand. Because the 7b Linespin is so large. 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. Practice your 4b Flat Spins thoroughly before doing this. can be done with this pattern as will (well. and a 5 stack in the right hand composed of black balls. and a 4b Stack in the right hand – black top and white base. For example.
fold the right arm back in so it ends in the starting position. Butterfly the right arm in so the cradle ends up resting at the left elbow. At the same time. As you can see. Butterfly the left arm out so it’s pointing straight out. making it easier to control. Both arms point out in front of you. What one person finds difficult. the instructions are easy to follow. 81 . but can look complex if you learn to do it smoothly and quickly. Butterfly the right arm out so it ends up in it’s original position. you are only moving one arm at a time. butterfly the left arm in so the cradle ends up at the right elbow. 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. these moves are ordered by approximate difficulty. Butterfly the left arm in so it’s cradle ends up resting by the right elbow. At all times. Butterfly the left arm out to it’s original position. 2b Folding Butterfly This is probably the ideal introduction to 2b CJing. A ball is in the right cradle. At the same time.Multi-ball Ball-Rolling Again. Butterfly the right arm in so the cradle ends up at the left elbow. Now repeat on the other side. hand at the left cradle. Butterfly the right arm out so it ends up pointing straight out. Start with a ball in each palm. The move is very simple. Butterfly the right arm so it ends up pointing straight out. another might just breeze through. Don’t be afraid to try moves. which I might say are harder than others. arm pointing straight out.
with the arms crossed. Grab the right ball in a Thumb Hold. and you’ve already performed the Asymmetric Butterfly. which is resting at the right elbow. then butterfly the arms back. and the movement of the upper arms can feel very restricted if you don’t stretch your upper chest very often. Start with a ball in the right palm. The left ball is in it’s cradle. so the arms are crossed again. so could probably be learned at the same time as the Symmetric butterfly. but there are a few things that make that difficult. you are given a small rest while the folding is completed. right arm in front. moving the other arm in the same way. Start by placing a ball on each cradle. though. arm pointing out in front of you. and butterfly both arms open so you have two balls in the right palm. 2b Back-Back Butterfly You will need to learn the 2b Symmetric butterfly in order to get this one. Because the Butterfly involves the elbow moving in front of the chest. Pass the left ball onto the right cradle. Now. having two moving at the same time poses problems. Butterfly both arms to palm position. do the same but in reverse. Keep the original 82 . hands in Back-Back Pass position. It is simple.2b Asymmetric Butterfly Learn the second version of the 2b Folding Butterfly. Butterfly the left arm out so it matches the right arm’s starting position. At the same time. fold the right arm in so it’s cradle is resting on the left elbow. they tend to bump into each other if you try to make the Butterfly large. To learn. 2b Symmetric Butterfly This move should be simply a matter of performing a butterfly in both hands at the same time. Alternate which arm butterflies nearest the chest. start by learning with one ball in one hand. The reason you learn the 2b Folding Butterfly first is that after every Asymmetric Butterfly.
You are now in the starting position again. The heels of the hands should be close together. 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. all the Twirling Butterfly moves can be done within a space of about a foot cubed. while mirroring the hand motion with the left hand. but this time. you need to move slower.right-hand ball in its Thumb Hold. and is up to the individual performer. place a ball on the right cradle and another on the left palm. a ball on each palm. and Back-Back Pass the ball back to the left cradle. Butterfly the arms crossed again. To do that. Immediately. Now. In most cases. keeping the left ball in a thumb hold. the 2-ball Circle is very easy. palm-palm pass the original left ball to the right hand. 2b Circle Despite seeming impossible when you first think of it. 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. this time with the right arm at the chest. Start with both hands held palm up. ‘simply’ butterfly them. 83 . Now. like you’ve just passed one ball from palm-palm. Pass the cradle ball from the right hand to the left. 2b Twirling Butterfly This little move is an example of how to make a very tight contactjuggling move. You should now be in backback pass position. Butterfly the right ball to the cradle. You’ll see that it’s difficult to keep the movement smooth and keep the wrists together. Start by learning the one ball version. do the same steps with the left arm. Then. like in the starting position of the one ball version. cross both hands at the wrist with the right hand on top. The left hand goes in front of the right.
The right ball reaches the elbow. Roll the right ball towards the elbow. You can repeat this over and over. Bring the right arm in so the hand touches the left elbow. The original left ball reaches the left elbow as you are turning the arms. The right arm is pointing straight out in front of the body. but that makes the move trickier to get smooth. roll the left ball towards it’s elbow. The left hand’s fingertips touch the right elbow.Personally. Back-Palm Pass the cradle ball to the palm of the right hand. From there. and another in the left cradle. and looks harder than it is. Cross the hands at the wrist as if you were going into a Back-Palm Pass. and you balance the ball on the elbow while completing the arm’s turn. After starting the roll. Start with a ball in the right palm. toss the palm ball over it so it is caught by the cradle of the right hand. 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. 2b Back-Palm Shower This little move is similar to the 2b Palm-Palm Shower. You are then able to turn the left arm so it is pointing straight out. 84 . you are in a position to repeat the move with the opposite arm. and pass the elbow ball into the palm. or move into a Palm-Palm Shower and through that to a Back-Palm Shower in the opposite direction. I don’t allow them to touch. and is passed onto the left palm. Immediately.
To make the move more symmetrical. but this can also “easily” (with practice) be done as a backarm roll. 2b Backarm Roll Transfer This move is similar to the 2b Back-Palm Shower. in the CJ world. is any roll where 2 balls are rolled as one – one ball follows directly behind another. Start with a ball in the left cradle. It lands already rolling for the cradle. This is accomplished by tossing so the highest the ball goes is just enough to bring it over the elbow. To smooth the catch on the elbow. Now. and prepare for the three ball version. The original move was a forearm roll with two balls. butterfly the left hand out so it goes palm up. and I’m sure with enough time put in. When the move is complete. You are now in a position to repeat the move again. Stretch the hand out a bit to the right. Try to control it so it moves at an even speed. left hand under right elbow and stretched out to the right.2b Train This move was created accidentally by Ferret. and toss the palm ball over the dropping ball so it lands on the left elbow and rolls to the left cradle. 85 . as well!): Perform the 2b Backarm Roll Transfer as described above. A “train”. as if you'd just caught the ball off a left Backarm Roll. It's almost a stretched out version. a chestroll would be possible. try this variation (it's great for practicing the move. reach up to catch it with the right palm. The left hand is held palm up. stretched out under the left elbow. try to toss the ball so it never actually stops on the elbow. and butterfly the right hand over the left so you end up in the opposite of the starting position . roll the left-cradle ball down the backarm and off the elbow. bring the right hand around so it is almost parallel to the left. with a ball in the palm. arm parallel to the chest. Continue the movement of the left hand towards the right.right hand stretched out to the left. As the ball comes off.
Stop both balls at the elbow and cradle respectively. Start with two balls in the right palm. This is a very smooth 2b move that is great for practicing your Backarm Rolls . It is done in almost exactly the same way. 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. you should be very proficient at the BackarmForearm Roll and the Forearm-Backarm Roll. butterflying the other ball at the same time.Perform the 2b Backarm Roll Transfer again (opposite of above). Butterfly both arms back to the starting position again. This will allow you the ease of only having to control one ball at a time (sort of). For an even easier version. 2b Simultaneous Back-Forearm and Fore-Backarm Rolling It is possible. to do both the Forearm to Backarm Roll and the Backarm to Forearm Roll at the same time. As the rolling ball is reaching the palm. this is very difficult. In fact. 86 . Backarm to Forearm Roll the elbow ball. but difficult. You know what to do from there. don’t toss the balls over each other – simply palmspin them. toss the cradled ball over the rolling ball so it continues rolling towards the elbow. butterflying the cradle ball to palm. but with the satisfaction of having done a really difficult move. toss the palmed ball over it so it continues rolling towards the elbow. as it is reaching the cradle again. Roll one of them to the elbow. On the cradle side. but not impossible! 3b Forearm Roll Cascade This is an extension of the 2b Forearm Roll. Proficient enough to perform both while butterflying a ball in the hand of the same arm at the same time. I originally called this simply a 3b Forearm Roll before noticing that the balls were cascading. Then. and Forearm to Backarm roll it.especially those difficult rolls from the elbow to cradle.
this makes the move even easier . Then.Start with one ball in the right palm. 3b Backarm Roll Transfer Once you have learned the 2b Backarm Roll Transfer. The thumbed ball is held still all the while . Turn the right hand over. bring the left arm so it is pointing out from the body. another at the right elbow – the right arm pointing out from the body. and you are cascading using Forearm Rolls. The right arm comes in at the same time so it’s hand is beside the left elbow. You will end up in the opposite position as the start. beside the right elbow. This is more obvious if you use different coloured balls.a ball in the left cradle. and over the forearm onto the right cradle. and another in the right palm. and palm-palm pass one of the left hand balls to the right hand. Do a 2b Backarm Roll Transfer. A third ball is in the left palm. while 87 . Start as with the 2b Backarm Roll Transfer . you simply repeat the above in the opposite direction. like the right arm’s starting position. Now. Roll the left ball towards the left elbow. which starts in a left Thumb Hold. roll one of the left hand balls down the forearm. the three ball version is a simple progression. To make this a proper three ball move. passing the right elbow ball into the left palm to replace it. As the ball is rolling to the left elbow.you only move two balls at a time. so it's ball goes into a Thumb Hold. That’s it! Just repeat the same movement with the arms reversed. the very act of making this move symmetrical does the job. raise the right hand above the left elbow. The way I prefer to swap the directions for this move is to butterfly the left hand well out to the left side. you should find some way of bringing the third ball into the mix. then butterfly the right hand so one of it?s balls goes to the cradle. Add a third. The simplest way of reversing the positions of the balls and hands is to butterfly the left hand out. From there. Luckily.
Now. but still tricky – thankfully there are no other balls in the arm to think about! At that point. Start with a ball in the left Elbow Hold. you can start the 2b Backarm Roll as the left arm is swinging into place. When done smoothly. Forearm Roll the right ball to its palm. and then butterfly the arm back to its original position. and the tossed 88 . Butterfly the left hand to the right elbow. The left hand is out to the right side with a ball in it’s cradle. the fun begins! As the ball approaches the cradle. 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. 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. you are in the reverse of the beginning position. toss the already cradled ball over it so the rolling ball rolls into the cradle. held under the left elbow. so simply start again but using the instructions for the opposite arms. you must be comfortable passing a ball from the Elbow Hold to the Outside Elbow Hold. This involves a move from the Outside Elbow Hold to the Elbow Hold.swinging the left arm round so the left hand goes into start position. In order to learn it. another in the left Palm Hold. Pass the left cradled ball to the right Elbow Hold. Easier than last time. you should be learning something different!). and roll it towards the left cradle. Start with two balls in the right palm. 3b Backarm Cascade You will probably benefit hugely from learning the 2b Back-Back Shower before learning this move. This also involves transferring the left Elbow Hold to the Outside Elbow Hold. Toss one of the right hand balls up onto the left elbow. You should also know the 2b Backarm Roll Transfer very well.
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…
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
92 . and all of them decide independent of each other what they are going to do at any moment. 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. but it looks more impressive to keep them spinning as if nothing out of the ordinary has happened. judge the roll so it flows nicely into the pattern. to make room for the rolling ball to slide directly into palmspinning position at the thumb side. When you roll the ball back. at the little finger side.not to drop the palm ball when you make corrections in the other ball’s balance. you can. 3b Palmspin Escape This is a harder version of the 2-ball Palmspin Escape. Don’t pause the motion – allow the roll to smoothly carry through. When the rolling ball is returning. Because you keep the balls spinning. the tendons in the forearm move constantly. and back again – ideally pausing at the elbow a moment for effect. The secret to bypassing this difficulty is to ignore the balls in the hand – after all. bring the palm ball to the front of the hand. which makes the forearm roll much more difficult. 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. The two balls in the palm should be at that moment held by two fingers each. 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 not because it involves 50% extra balls. with the thumb held aside so the rolling ball can flow in. Your job is to get that ball safely up the forearm to the elbow.
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. then the spin can be restarted. 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. up the forearm and then back down to reform the 4b Flat Spin. Lift the front ball so it becomes the top ball of a new stack. As usual. Another way of releasing a ball is to allow one of the bottom balls to “pop” out of the pattern onto the forearm. and the position of the palm balls needs to be in such a way that the hopping ball is not knocked aside as it tries to regain it’s position – try to get two balls near the wrist so they “guide” the ball into position. and make the back ball roll out of the palm – you can now spin the three remaining balls while doing your forearm roll with the escaped one. and the top ball to replace it in the base. and how are you going to place it back in again. Collapse the stack. This takes a bit of judgement. Bringing the ball back into the stack can be done in a few ways. Then the stack spin can be continued.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. To take a ball from the stack is surprisingly simple – learn the 4b Collapse And Rebuild move. Squeeze the diamond in. 93 . 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). One way is to stop the palmspin. Another way is to roll the ball back up to the palm so you have a diamond shape (stop the spin when the ball reaches the other three). and roll the spare ball quickly up the forearm so it hops up on top of the other three. which will leave you with a diamond shape with the shortest axis leading from the forearm to the fingertips.
The stack was twirled in the left hand for a while. not the arms. so you can do pretty much anything with the arms while the ball is still on the chest. 94 . As the ball traveled across the chest the remaining 3b pattern was passed immediately into the right hand. A nicely done pass I saw recently (July 2002) was the passing of a 4stack from the left to the right hand. The first time I saw him pass while Chest Rolling was when he started with a ball in the right hand. and a twirling fire-staff in the left. He started a Chestroll. but the potential for the move was very apparent.tryouttoys. The key to this move is hidden in the paragraph above – “as the ball was traveling across the chest”. so the ball arrived at an empty hand. but decide for yourself. the body controls it. and straight into a Chestroll. This ball was passed at the elbow to the right cradle. The pass of the 3b pattern was unfortunately not smooth. incorporating a chest roll. and as the ball was traveling across the chest. and the ball was passed from the cradle onto the 3b pattern.this is more aesthetic with the palmspin continuing all throughout the move. The remaining ball rolled down onto the now empty left arm. Combining Chest Rolls with Hand-Hand Passes Michael Glenn (www. he passed the twirling staff into the other hand. and then the top ball was dropped into a forearm roll. When the ball is traveling across the chest.com) does a lot of work in this area.
and catch the thrown and dropped balls. When creating a combination of toss and contact. you can repeat the movements. I’d recommend learning the move in order to get this move 95 . for one. but can be used effectively as part of a contact juggling routine. so the right hand is in front of the left shoulder. In the rec.juggling archives (see www. The Factory is much more difficult. and the left hand is in front of the right side of the waist. Toss the left ball upwards so it will apex at shoulder height. then vertically – forming floor.and Contact-Juggling The moves in this section could possibly be described as tossjuggling moves. Now.juggling. Quickly. The left ball is simply dropped. You could say that. Someone on www. 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. but there are slight differences. but you won't find them in many toss-juggling books. The left hand is held about waist high. palm up on the left with a ball in the palm. move your hands back to the original positions. roof.contactjuggling. with a ball held in the Thumb Hold (or just grab it normally. while learning). and sides of a box or “square”.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.org described this as part of the 3b toss juggling move The Factory. Start with the right hand held shoulder-high in front of the right shoulder. as they each have a CJ streak.Combining Toss. and mentally change one movement at a time into something involving contact juggling. Bring both hands horizontally to their opposite sides. or rolling up the arm to the elbow and back before returning to the original move. The effect is that two balls move simultaneously horizontally. 2b Square This move is most definitely a toss juggling move.
Start with a ball in the palm. 96 . toss the held ball towards the elbow. for example). This is the basic throw and catch of toss juggling. If you plan on doing this quickly (in preparation for the 3b version. As the ball approaches the hand. Roll one to the elbow. where tossing from the palm only involves the fingers. Catch the tossed ball on the elbow. though. causing the ball at the elbow to be tossed in the air (hopefully. As the ball reaches the palm. 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.down. I’m sure that with a lot of practice. and immediately toss it back to the palm. catching the already thrown ball. it may be best for you to practice catching the ball further up the arm than the elbow. Start with two balls in the palm. If the ball lands on the bicep (which is not horizontal). towards the hand – work on it). 2b Elbow Toss Shower This is the exact opposite of the 2b Elbow Catch Shower. but have not managed it myself yet. as tossing from the elbow involves the whole arm. Just before you catch it. it will naturally start the roll without you needing to do anything yourself. Bend the arm slightly and straighten it with a jerk. this could be done with three balls. This is quite a bit more difficult than the 2b Elbow Catch Shower. and another in the elbow of the same arm. toss the other ball towards the elbow with your fingertips. start the other ball rolling to the elbow. 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.
as it absorbs the landing a bit better. tossing b1 in the air sort-of towards your left. The images show the transfer in one direction – learn it in both (reverse the instructions to learn the other way). I have found that the threefingered cradle is best for this. I’ll go through the CJ version step by step. you should first learn toss juggling’s Mill’s Mess. Uncross your arms. but you will find it a lot easier to learn if you already know the toss-juggling move. I have heard of some people who managed to put a butterfly somewhere in all that motion. Start with a ball (b1) in your right cradle. as all that is changed is that the ball is “stalled” at the end of each move.3b Mill's Mess with Cradle To learn this move. a ball (b2) in the right Thumb Hold. reducing the ball's tendency to bounce straight off the hand. tossing b2 a bit further left than b1. 97 . and catching b1 just after tossing b2. and another (b3) in the left palm. The right hand should be crossed over the left. Cross your arms the other way. 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. and catch b2 in the cradle. which any experienced juggler will show you.
in reverse. and therefore probably easier to do. Start with a ball in the Thumb Hold and cradle of the right hand. which is held about chest high. 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. which would have looked very much like clockwork (and a bit like toss-juggling’s "5b multiplex cascade”). you will realize that it really is just a small extension that any toss juggler could do. so the balls roll along the backarm from the cradle. Back-Palm Pass the cradled ball (call it b1). I had a five-ball variation in mind. right hand palm down. Start with a ball in the left cradle. Another nice thing to do here. In that case.. is to exaggerate the pass from Cradle to Palm. so you can immediately do the above movements again. and feels very nice. The left hand is held about stomach high. bringing the left hand face up so it’s ball (b3) is on top. b2 comes down and you toss b3 upwards before catching b2 in the palm and crossing the hands. to catch b3 in the right cradle. this move is a lot slower. I'm not sure now that the five-ball version is possible.3b Back-Palm Mill’s Mess After you’ve learned the 3b Mill’s Mess with Cradle. I originally called it a Mesh because the movements reminded me of clockwork. you could call the move the 3b Backarm Roll Mill’s Mess. Uncross the hands. 3b Mesh Here's a little move that can be easily expanded on to make some very complex moves. The hands are now in the opposite Back-Palm Pass position. with the right hand in front of the left. Both hands are in Back-Palm Pass position. another in a Thumb Hold in the left hand. 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 a third in the palm of the right hand. and drop off the elbow. 98 . Naturally. and immediately toss the palm ball (b2) straight up and hold b1 in the palm. but you never know..
The tossed ball is then caught by the right cradle. Let one of the balls in the left palm roll down to the elbow and off into the right hand. In effect. you’ll see it’s just a variation of the Forearm Shower. The right hand should be next to the left arm’s elbow. The first toss is a high toss. bring the left hand up to catch it. If you study a shower. you are moving all the balls around in a circle. the only difference is the amount of balls in the air (and the added difficulty. As the ball is being passed from the left elbow to right hand. 99 . 3b Forearm Shower This move is based on toss-juggling’s Shower. After three Mesh movements. As the ball drops. but try to let it go at the last moment so it doesn't just drop straight down. Start with your left arm extended in forearm roll position.Move the right hand in a butterfly-like motion so the cradle ball is brought into a Thumb Hold. which is the more visible one. I’ve done this with three balls. Place two balls in the palm. with two tosses causing the pattern. At most. The original Thumb Hold is thrown/dropped towards the left. 3b Baby Pass Shower When you examine this move after you’ve learned it. This second toss can be replaced with a forearm roll. After all. but I’m sure it could be extended to four. tossing it's own ball at the same time. with the tossing hand held on the opposite side of the arm. the balls are back in their original positions. let the remaining ball there roll towards the elbow. bringing you back to the starting position. toss the ball that is already in the right hand up towards the left palm and catch the rolled ball. As the tossed ball is reaching the left palm. The second is almost a direct pass from one hand to the other. you will see that the balls move in a circular fashion. which is where we started. It's difficult to control the dropping ball while performing the butterfly. of course).
starting the loop all over again. As it arrives. and right hand beside left’s elbow. toss the already held ball from the right hand up to the left hand. It has the added difficulty of being cross-armed. left hand up by right upper arm. I’m certain it is possible to do this with more than three balls. roll the remaining ball down the arm. right arm under left. Catch the rolled ball.Start in Baby Pass position. As with the Forearm Shower. Two balls are held in the left hand. and one in the right. but the potential is there. As the tossed ball comes to the left hand. Let one ball roll down the forearm from the right hand on into the left hand. 100 .
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. In fact. I’d recommend it as a step towards learning all head moves. The temple is a very dangerous area to make mistakes. Every other part of the body is either very flexible. Allow the ball to continue over the head to the other side. Henry VIII learned to head roll (the juggling type). and is difficult to learn to use. I use my trusty novelty tennis ball to learn the moves. When you can butterfly and get the head into position smoothly. and bend your head and body so the ball can roll straight off the fingertips onto the temple. In this region. or is easy to balance on. bringing the head down and your other hand up so you are in a symmetric position to how you passed the ball onto the other 101 . bumpy place. butterfly the hand higher than usually. The head is a stubby.The Head Head rolls are another one of those contact/toss crossovers that crop up now and then. but that would be a bonus. After a few instances of the combination. It is extremely important that you do this slowly. try to lift your head back into position so you are facing upwards and the ball goes into the Forehead Hold. 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. The head is probably the most difficult part of the body to contact juggle with. and finally my acrylics. and then move onto a smaller bounce juggling ball. Start by Back-Back Butterflying slowly. which shows that contact juggling is much older than most people realize. Butterfly W/ Head Butterfly This move can be learned before the Head Butterfly has been properly learned. It is not important that you be able to stop the ball at that point.
but rather flexibility. Learn to balance a ball on the side of the neck (I call it the Side Neck Hold. Balancing on the side of the neck is easy once you keep your head bent . You will need to be able to hold the ball in the Chest Hold. then drp your body while shifting it so the ball moves to the chest. Make sure to keep control of the ball as you do this – don’t just “drop” the ball off the other side. This is another flexibility hold. this move will seem impossible to you. the neck. Neck Butterfly This move has more body movement than ball movement. Shifting from the side of the neck to the chest is a lot trickier . Maybe it is best to learn as a smooth movement . 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.you have to lift your body sideways to give the ball some vertical motion. You must be able to balance a ball on the chest (sternum).temple.if you are balancing on the right side. If you are not flexible. so watch yourself .when you can move from the side of teh neck to the Chest Hold comfortably.this creates a concave surface for the ball to rest in. because I'm fantastically creative). If you can.a non flexible person can be hurt easily by overdoing this.unless your routine is dancing heavy or something. and either side of the neck in order to so this. then let's go. as starting the ball in motion from the Chest Hold is difficult. 102 . and go back to your BackBack Butterflies. so may not be best for your routine . Roll the ball onto the other cradle. This involves a bit of bending backwards. Shifting to the other side of the neck is a bit trickier.not because of balance. but I suppose this move can be used as a workout like those aerobics things that so many people are hooked on. which is the usual reason. Neck to Chest Circle This move is very difficult . then bend the head to the right .
your temple holds should be good enough for you to learn it in reverse. the throws do not cause the ball to leave contact with your head..the back muscles of the neck tend to be rather broad. If you have done it correctly. then.this is probably the most difficult part of the whole move. That is is actually the hard way to learn it. but just as the final throws when you were learning the Windshieldwiper. or side. Once you can do the Neck Butterfly. Learn to move from the Side Neck Hold to the Neck Hold .so the ball is "thrown" upwards. and the body should not be offcenter. though. raise the body slightly. is like the Neck Butterfly. then you move your body to the right..Practicing this move can get quite painful after a while.. From there.if you start with a Temple Hold on the right side of the head. Head Butterfly Remember the weeks you spent learning the Windshieldwiper and Butterfly with your hands? Time to revisit that. The reason for this is that it is easier to balance a ball on the forehead than the temple. but with a twist.this just involves a drop and twist of the body. then drop it quickly so the ball goes over that ridge . 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 . and you will hurt your back.. After you have learned to roll from temple to forehead successfully nine times out of ten. it gets a bit simpler.. 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. or abdomen.. 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. 103 . so it is easier to stop a roll on the forehead than on the temple. then carefully flick your head up straight and move the body back to the left . I'd recommend you practice this only a few times per day . The way to learn it. as you must then somehow stop the ball from going too far and falling over the other side.too much. the ball should be in Forehead Hold position.stop and go do something else. The most difficult part is to move from the Neck hold to the Side Neck Hold .
The ball now rolls up the stretched neck muscles. and do not allow the ball to move one millimeter out of your control. perform the move slowly .so the ball is only moving vertically. then. you would now duck your head down . or straight over the head.instead. This is important. it is probably best to minimise the sideways motion of the ball . then start on the Forehead Hold. you can do the exact opposite on the other side .this will help in the long term. and you straighten up into a Forehead Hold. learn it slowly. but ends up in the Temple Hold. When you try it the first few times. A more impressive version of that is to do it from the opposite shoulder .either by the neck. Of course. you could learn to roll from a Neck Hold straight up and over to the forehead. The ball will travel up the left backarm to the left shoulder. then move your body (not the head) slightly to the right. Then allow it to continue into a neck roll to just before the left shoulder. In the beginning. Learn the Head Butterfly and Neck Roll fluently. You will have to practice each stage a bit at a time. If you are rolling to the right Temple Hold. If possible.rolling the ball down behind the ear and off down the right arm. but this is a simpler. we'll trace our route. raise your left shoulder to halt the ball and then 104 . In the neck roll. as what I'm about to show is a variant of the same motions.Rolling from the forehead to the Temple Hold is "slightly" trickier. From the Forehead Hold. moving the body further to the right so the ball practically stays in place. Again. Arm Roll to Forehead Hold To get to the forehead strictly rolling the ball. First off. you'll notice the ball tends to roll straight off the head . From there. more impressive way. being very aware at all times of your position in relation to the ball.roll the ball from the right cradle to right shoulder. for example. behind the ear. If you straighten up too quickly after the roll. that was the simplified description. you risk throwing the ball off to one side . duck it down only slightly and well to the right. and bend the head to the left.do every move very carefully. Bend your torso to the right to emphasize the bend.
and reverse directions again to neck roll down to the left arm. 105 . then when you have both solid. The Arm Roll to Forehead Hold has all the description you need. This can surprisingly be done early on in your learning if you use a large ball. simply continue from one into the other. they run into each other. all moves are new to you .reverse it's direction. If you want to be extra slow learning this. You could even use it as a loosening up move for athletics. Head Circle Like getting dizzy? This move is for you. You could combine this with the Neck to Chest Circle visually. You could learn this before the Arm Roll to Forehead Hold. then repeat on the other side. try learning to bring the ball from a Neck Hold to a Temple Hold and back. roll to a Temple Hold. really .but I find that it is usually better to learn the moves cautiously than continuously . They both use the same moves . You can then roll down the right side of the head.ie. or you could learn this first. and then carefully navigate the ball up the other side of the head back to the Forehead Hold. and continuing the workout theme.start on a Forehead Hold. continue to a Neck Hold. 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 have the familiar arm rolls and neck rolls with the occasional new roll to a Forehead Hold. but here. in the former move.so make sure you practice the Arm Roll to Forehead Hold first. Practice this in conjunction with your head butterflies. The ball can now be rolled up onto the forehead as described before.
Through the Body This move involves an element of misdirection. As I said way back at the beginning of the book. I’ll show how to combine some easy magic effects with contact juggling. belittles the skill needed to perform it. and most contact jugglers go to great pains to point out that not only is it not a trick.org). my first experience of contact juggling was of a guy in a nightclub. It is incredibly easy to perform. A lot of people do not like the idea of putting magic into their contact juggling. In this chapter. without the ability to direct (or misdirect) the audience’s attention. The effect of the trick is that you finally pass from the right hand to the left (or left to right – whatever). Start by performing a few rolling moves using the hands and arms. but no “stage presence”. and contact juggling is openly taught. but will only work right if you have the misdirection down pat. who had a lot of skill. and push it through your body to appear in the right hand! 106 . that a great contact juggling routine is about the routine itself – not the performer’s skill. but that anyone can do it! This is one of the main differences between magic and contact juggling – magic is traditionally a secret art. and always watch the movement of the ball very obviously (this is part of the magic). I believe. and Canada’s Matt (chat with them at contactjuggling. Use a few passes. Magic is all about stage presence. and in the process.Combining Magic with Contact Juggling Many people think that contact juggling is a magic trick when they first see it. bring the ball around behind your back. it just doesn’t work! Good contact jugglers that use magic in their routines include the UK’s Silver. as it somehow makes it all look like magic. though.
Because the audience has been watching what you watch. is not actually a pass at all. that means 2. it’s best to use balls that are just smaller than the width of your palm. 107 . The final pass. A second or so after you have done the pressing. You simply act as if you are passing. you quickly move the left hand behind the back (so the audience doesn’t catch on). then you can fool them into seeing something that’s not there.The secret to the trick is in the watching – if the audience pays attention to what you pay attention to. wipe your right hand over it. they see the ball pass through your body.org). The smaller the ball. from the right hand to the left. Next. and instead. but the harder it is for the audience to see what’s happening. press the ball against your chest with the right wrist (to show the right hand is empty). Colour Change For this trick. and cup your left hand as if it has received the ball. 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. with the left hand still behind the back. A usual-sized person can do this with a ball that’s up to about 3” in diameter. The effect is that you show a coloured ball in the left open fist hold. For me. the audience will see through the trick. so make sure to use the biggest balls that you can. On the other hand. and it is suddenly a different colour. and move as if to press the ball into the spine. Use a lot of body movement to accentuate the move. 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. if you repeat it once or twice immediately after each other. pull your right hand back to grab the ball and bring it forward. the audience will not have time to know what to look for.5” balls. if you repeat a move too often. the easier the move.
The right hand is held so it’s ball is hidden. Keep the hand kind of loose. you should have a bit of body movement in your routine. and pick up the first ball in the Thumb Hold as the second ball reaches the first ball’s original position. 108 . so it looks like a natural empty hand. Looking intently at the first ball. you could keep the original ball hidden. The original trick involved a stick with a ball stuck to the end of it. 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. bringing the first ball down into the Open Fist Hold. 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). giving you a moment to drop the original ball into the pouch. so they still don’t know what’s going on. When you have turned to the right. further up towards the wrist. keeping it hidden. First off. Keep your eyes on the ball while doing this. Continue the wiping motion to reveal the “magically” colourchanged ball. and immediately swing it around to show the audience closer. turn 180 degrees to the left. this is a stylish thing. but you must practice it to get it smooth – the tiniest sound or pause in the wrong moment might break the spell. It could be worthwhile looking it up to see if you can get a better adaptation out of it than I did. bring the right hand up. to reveal it momentarily. as if you have just produced two balls out of one. so it doesn’t look strange when you turn 90 degrees to the right and your right hand is not visible. the first ball should be in the left hand – bring it up into a long hold. and sit its ball right next to it. Push the second ball towards the first. All the action is done with the palm and thumb muscles – the audience should see no finger movement. such as a stretched 3Finger Hold.The method is simple. Now. Alternatively. To the audience.
Get a loan of a scarf from an audience member. Hold a ball in the left 3-Finger Hold. and hold the holding hand straight out in front of you. With a lot of tension on the scarf. 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). but the rolling along the scarf can be done. you can narrow the width needed. about three-four inches in width appears. The hand should be held in such a way that the palm of the hand is not visible to the audience. When you stretch your hands apart. you take it with your right hand. With an extreme amount of practice with the above method. Ideally. The easiest way to manage this is to face the audience. and seemed to float at some points. You should practice this in front of a mirror in order that you get the angles and actions right. keep one with your other props.Basically. so the audience can’t see that there is part of it not shown to them. you will see that a large flat area. the scarf should be plain (no pattern). and made of a thin material. Hold one corner of the scarf at the base of the left thumb with the left ring finger. and you balance it there. and then you open the right hand to show that the ball has vanished. ducked under it. 109 . you can roll a ball back and forth along this area. 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. by holding the corners further up towards the thumb. and the rest of the edge dangles down. It should ideally be very strong. Hold the right side of the scarf in the same way in the right hand. With a lot of practice at this. the zombie ball involved a ball that rolled along a scarf. I haven’t found a way to emulate most of it. Just in case. The secret to balancing the ball on the edge. 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.
I think. and bring your right hand behind the back. you’d have to move your left fingers). You could forgo the revealing. 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). or whatever). and cup the hand around the Carefully drop the ball into the left palm. A better one. and take out an identical – now you can somehow reveal the hidden ball in a “multiplying balls” type trick. A number of options sound good.ball. still cupping the hold. so maybe you should use the right hand to nudge it so it drops (otherwise. though. then reach into your ball pouch (or box. Make sure that the ball is not visible to the audience. going into the “Through the Body” trick. Reach over with the right hand. to reveal the disappearance. The initial version I saw of this revealed the illusion by bringing the cupped hand up to the mouth. That doesn’t give a hint of what to do with the hidden ball. and “blowing” the hand open. 110 . ending up with two balls where the audience thought you only had one. would be to reveal the disappearance. and pull your right hand towards you.
The legs can be treated like the arms – albeit very limited arms. I’m sure. A lot of arm work depends on the forearm and backarm. though – butterflying between outside and inside of biceps. Another contact juggler told of his time playing with balls on his ankles. 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). Beyond the arms. girls can have an advantage here. etc. Not much work seems to have been done on the more extreme positions. could be trained to handle two balls at a time – showering. rolling from chest to back of neck and back again. Below the chest is the waist. The balls can be balanced or rolled between the knees and waist. 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. With practice. You can balance in the small of the back. 111 . which our bellydancing anecdote shows can be used effectively. simply because people practice with the arms more than with the body – not because the body is more difficult to use. or breakdancing if you feel really adventurous). Try learning to butterfly from one side of the waist to the other. then possibly bring the ball right around the body and back again (would look good while lying down. and successfully butterflying from one side to another. “palm”spinning. I believe. then hop the ball back to the original knee. then pass to the opposite leg and down to it’s knee. This is.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. we have the chest – as Mistress Meghan says. The chest. Try rolling a ball right down from the knee to the waist. contact juggling with the hands behind the back.
Enrico Rastelli. 112 . All the points I have mentioned here can be linked. and rolled coloured billiard balls all over his body into pockets sown into it. about a hundred years before this book was published. With a bit of flexibility and perseverance. and wrist. cradle. wore a green velvet suit. you can balance on the top and sole of the feet.The feet and ankles are similar to the palm. This was before contact juggling was given the attention of hundreds of creative minds. you should find it possible to roll a ball from any point of the body to any other point. Think what is possible now. You could balance on the inside and outside of the ankles. You can toss from one foot to the other.
as most likely they're moves that a lot of people overlooked. Think also of rhythmic gymnastics. They have great potential as well. If that could be combined with contact juggling – and I'm sure it could – it would yield some pretty impressive moves.Creating New Moves The best way to create new moves is to have to learn contact juggling from scratch with no references. Up until recently. there are the “body popping” and “break dancing” dance-forms. 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. which explains the huge amount of diversity and new moves. Or. An idea that could give some amazing new moves turned up recently (2001) on the contactjuggling. 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. 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. Also. 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.org website – there is a kind of dance related to break dancing which some people call "liquid hand dancing". or “liquid popping” – where the hands and arms are used to create mesmerizing fluid movements. 3 Paraphrase from Greg and Owen’s video – Contact Juggling Part One 113 . Although the ball moves in that art are relatively simple compared with CJ. it looks stunning. most contact jugglers developed their skills in isolation. If you have learned everything in this book from beginning to end. and adapt them to the contact-juggling world. which are always turning up. Remember – Allah loves variety! I’m sure YHWH does as well.
then eventually. You don’t have to give these things up – just be aware of these things so you can be careful of your diet in case you are doing a show on a specific date. I try to beat my last record at the first try. Alcohol can severely disrupt your control. or performing several times a night. it is important that you take care of your body. If I don’t beat it. you’ll find that it hurts.Practicing. 114 . I haven’t beaten it). and make sure it fits your goals. Exercise is a definite must. causing ridiculous amounts of embarrassment as you fail even the simplest moves (don’t I know it…). and put it into a routine. and Conditioning In order for you to consistently perform your routines without fault. it is more difficult to regulate your diet and exercise. Moderate. Each time I go through the list again. your “records” each time. trying to beat. and practice them regularly. Personally. This will affect you most if you are a busker. and write down how many times in a row I get the move right. Perhaps the best exercise a juggler can get is to juggle regularly – write up a list of moves you need to practice. I have a list of moves I want to practice. Take note of the effects of anything you eat or drink. This method will tell you soon what your strengths and weaknesses are. making it difficult to perform slow or involved movements. 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. If you go without exercising your arms for a while. Decide a point at which you have achieved “perfection” in a move (whatever that is). Coffee can make you shake slightly and lose focus. or at least equal. then try to spin a 4-stack for a few minutes. but there are flaws as well – if you are trying to beat your records all the time. As CJ contains a lot of precise movements. then I try to equal the record on subsequent tries (if I haven’t beaten it on the first try. You should choose your own exercise. This does not mean that you should be getting up every day at 6am to run around the town.
and got 14 catches. Carefully watching your diet can give advance warning of such potential problems. with the toes crossed. While I was “resting” from the practice. If you sit cross-legged. you should be aware of any deficiencies in it. A note on the sitting position – it is probably best for you to sit on your heels. This is important for when you decide to go onto multi-ball CJing. and never get more than 10 or 11 catches. you are learning to perform the moves based on feeling rather than sight. so it is a great idea to have a subconscious feel for the move. When I was learning the 5 ball cascade in toss juggling. it will roll further away from you. and timing. In multi-ball CJing. yoyo and toss juggling teach you to become more aware of the motions of the objects you are manipulating. you are inviting damage to your shins. 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. you are forcing yourself to take command of the ball. practice while watching TV or reading a book. 115 . then when a ball drops.If you are on a special diet. Two very good practice hints other CJers give are to practice blindfolded and to practice sitting down. When you practice blindfolded (or with your eyes shut). When you practice sitting down. I’d practice for hours each day. and if you sit on a chair. magic. I tried it again. As a vegetarian. etc. Next week. even giving up the practice for a few days can help sometimes. my subconscious was working out the necessary movements. acrobatics and BMX teach spatial awareness. so even if you don’t like closing your eyes. In fact. reflexes. it is difficult to watch all the balls at the same time. for example. Practicing other forms of manipulation is good for conditioning your body for contact juggling as well – martial arts teach you precise movements. I gave up one day and went back to regular juggling. skateboarding. the ball does not lead you around the room – you lead it around your body.
Start with basic one-ball moves before getting complex. 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. 116 . you will be skipping out on practicing the basic moves necessary for multi-ball work. You need to give your body time to adapt to 1 ball before moving to 2 or more. If you never practice with lower numbers of balls. you are inviting tendon and muscular damage. This is for several reasons: If you go from a cold-start to a complex run.Always warm up before moving onto your more difficult moves.
forehead. Popular places to catch at are the elbows. the soft part of the elbow is 117 . and brought to an immediate halt when it reaches it. This can be amazing to see. Catching in the palms is not really impressive. the right arm is known as the “inside arm”. Orbital – one or more balls spun around an isolated ball. Butterfly – a movement of the hand where a ball is rolled between the hand and cradle. Hold – a balance where a ball is held in a location around the body. Catch – a ball is tossed to a part of the body. Escape – where one ball is rolled out of a palmspin. Inside – the side of something that is closer to the body. Body-rolling – a style of contact juggling. Flyaway – a move where a ball is tossed from one position to be caught in another. If you hold your right arm against the chest. Usually meant as parts other than the hands and arms.Glossary Backarm – the opposite of the forearm. This can be as simple as holding a ball in the palm of the hand. which involves rolling the ball over various parts of the body. and the left arm against the right arm. Isolation – a move where at least one ball is held still in space while everything else is in motion. and the palmspin continues with the remaining balls. If you hold your arm up in a natural position. 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. so isn’t usually done. or as tricky as holding a ball on the extreme outside of the elbow. The spinning balls seem to “orbit” the stationary one. and neck. Outside – the side of something that is further from the body. Flourish – a small movement of the fingers or hands meant to impress subtly. Line – three or more balls moved so that there are always at least two of them in a straight line. Cradle – a position on the back of the hand where a ball can be held on two or three fingers.
Stall – a pause in a move. etc. where balls are thrown into the air so that there is usually no more than one ball in each hand. etc. the ball is held in an awkward hold. Transfer – a transfer is a pass that keeps a pattern. See the various palm-palm. palm-cradle. Windshieldwiper – the movement the forearm and hand makes when moved in an arc. 118 . keeping the elbow in one stationary point. Usually. which is palm-down.nearer to the body. Palmspin – a style of CJ where multiple balls are spun in circles around each other in the palms of the hands. where the position of the ball is highlighted. Walk –a mime that suggests the ball should be moving in a direction yet is isolated. An example is a 3b Palmspin Transfer. Some people can spin some patterns upside-down – the pattern is held by the fingers of the hand. walks. Usually. 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. so the pointy side is known as the “outside elbow”. this is either from hand to hand or elbow to elbow. Toss Juggling – the usual form of juggling. where the Palmspin is obviously still a 3b Palmspin after the transfer. Pass – a pass is simply when you move balls from one place to another place.
“Sphereplay” by Michael Glenn. then goes through it step by step. This issue contains a very good article about palmspinning. and was the basis of the existing CJ community. “The Art Of Contact Juggling” by David Pennington. which is extremely simple to follow. but have been told that it is a tutorial. “Contact Juggling: Part One” by Greg Maldonado and Owen Edson. and the second is stack work. Jim Henson’s film contains two scenes of contact juggling – the first has a little butterfly work. I haven’t seen this video.Bibliography There are not many books or videos on this subject. which is different to the above. Kaskade. Books/Magazines Contact Juggling by James Ernest. The first starts with 8 balls and moves down one by one to 1 ball. which makes it possibly easier for the aspiring CJer to get almost everything existing on the subject. I haven’t seen this pattern performed yet. This is a tutorial video. This contains two contact juggling routines by Michael Moschen. “In Motion with Michael Moschen”. which can be compared to David Copperfield’s style of magic. Michael shows a one ball routine. but includes a lot of extra moves. with descriptions of many moves. The second is a routine with 1 ball. This book describes almost every move that Moschen has in his routine. teaching a contact juggling style. A pattern with 11 balls is shown. Michael Moschen does the ball work. I’d definitely recommend that every beginning Contact Juggler buy it. 119 . Videos “The Labyrinth”. Another tutorial.
this is the CJ community’s site. and is almost fully interactive. but they just don’t seem to have bothered updating in the last few years.this site sells some very good juggling videos.com .org .net . www.shiftys-spheres.Websites www. It contains a huge amount of submitted videos.jugglingdb.com . despite only starting the art about a year previous to starting the website.peapot. 120 . some submitted videos.juggling.contactjuggling.this is Rich Shumaker’s website. and a lot of forums. This title used to belong to www.This is the personal website of Shifty – a CJer who. www.com . www. has come up with some of the more interesting innovations in palmspinning. The example clips of the “3b Different Ways” show some excellent examples of contact juggling and toss combinations. It has a very well done instructional video.probably the most comprehensive juggling site on the Internet (mostly toss juggling).contactjuggling.org. www.
Still To Do Finger Flip Finger Roll Pilf Regnif Finger Flurry Tripod Pickup Caterpillar Outside Elbow Flyaway 2b Stairstep 2b Tandem Spined Butterfly 2b Mineshaft roll 2b Blackstone’s Balls The Train 2b Back-Back Pass w/ Thumb Hold 2b Upsidedown Palmspin 2b Toss and Catch 2b Palm-Palm Pass w/ Cage 3b Propeller Isolation 3b Mesh w/ Arm Catch 3b Mesh Cascade 3b Mesh 3b Thumblift Isolation 3b Rockabye 4b Isolation 4b Vertical Isolation Floating 4 Stack (aka Half Diamond) 4b Twist 4b Snake 4b Rotating Columns 4b Propeller 4b Collapse and Rebuild 4b Pinky Lift 4b Asymmetrical Orbital 5b Propeller Blossom (5 Stack) 5b Pyramid 121 .
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