How to jugg dance

I would also like to note the following styles: puzzle style: combining shapes from objects, claymotion style, reminiscent of otedama; pinball style - a combination of rolling balls over the body with classic tricks, the most striking representative of this style, which is, apparently, its founder, Komei Aoki.

In the spring, inspired by all this Japanese lawlessness, I asked myself: is it possible to build your own juggling system? Not just an original trick that no one did, but a dozen tricks connected by non-trivial gluing. As a prop I chose a rare one: two thirty-two centimeter rings and a ball eight centimeters in diameter. Juggling with two rings and a ball I saw only in one video, but there was only one trick and rings of 40 centimeters - it's easier to throw the ball into the ring. The elements came along with their names, as soon as the trick happened, his name was pronounced by itself. Bee, Flying Geese, Reverse Forest, Clock, Rails, Well.

There were days when he practically did not part with the props, the props became an attribute, he fell asleep with thoughts of manipulation, juggling turned into a dream. In a dream, you can twist, it is more difficult to toss, it is very difficult to catch. As a result, in four months of practice, I composed a system consisting of various tricks and connections between them. Two rings and a ball is a system with a marginal element. The ball lives a special life, it is always singled out, it rushes between its freedom and relationships with the rings. It looks something like this:

For example, from 1:25 there are gluing “reverse forest” with scrolling, then “flying geese”, glued with rolling on the back. The “clock” glued to the “well” is what is visible at 2:00. There are a lot of tricks in juggling, even with three balls. A natural question arises: how to encode them, and different answers come to this question. There is, for example, the standard siteswap system, in which the sequence of moving objects is encoded using numbers. When manipulating heterogeneous objects, in which not only sequence plays a role, but also the behavior of the object itself (for example, twisting a ring, clashing clubs), more sophisticated coding systems are required.

When I was working on the ring-ring-ball system, I wrote down the tricks that came in in a checkered notebook, it was reminiscent of drawings with little men dancing kingtut - what we had in notebooks in the 90s.

I'll tell you how I got into manipulation. I began to move strangely towards the end of the 90s, it all started with an imitation of broken cars. No one has seen wrecked machines do this, but it is intuitively clear that they should do just that - move convulsively around the stage, fixate, shudder from the current passing through the mechanical body. We came to discos, in a sports outfit, in red bandanas and snow-white sneakers, formed circles and took turns showing broken cars. The rest of the disco is a completely healthy sexually oriented field, the boys are looking at the girls, the girls at the boys, and on the periphery, somewhere at the far windows, human robots are flickering, as if rejected by human society - ridiculous, strange.

I was lucky, I had a chance to learn from people from the first wave of domestic breakdance, from the 80s. Few people then had VCRs, they had to look for, beg for, look through the already worn cassette of overseas jams, battle ecstasies until destroyed. People passed the secrets of dance elements by word of mouth, coded patterns of movements in checkered notebooks, gathered in basements, filled with convulsions and awareness of inhuman subjectivity.

As a child, it seemed that all boys were divided into two categories: those who played cars and those who played soldiers. And this is an archetypal batch that carries the encoding, aesthetics, plans. I liked the soldiers, I wanted to portray the mental illness of the machine, to make the machine a strange person, and not vice versa. And so it went. Performative themes appeared, far from breakdancing, Yes, if we knew about butoh, but we didn’t have the Internet, but we didn’t have video recorders, what kind of butoh was there. Here, 98th year, we move in the swamps as best we can.

Years passed, we gathered in Moscow on Akademicheskaya Street, in a small dance hall, doing the same thing: showing fellows, ghosts, crawling monsters of a semi-mechanical, semi-animal nature. “We must open our mouths wider during the dance,” I quoted my old teacher, teaching a new generation of people of obscure search. And one day it happened. The door swung open, a sad clown appeared. He took out knitted balls stuffed with small stones from his bag and showed us juggling. And rushed.

It seemed that juggling was exactly what was lacking in movement and perception of space. And soon this video appeared and we learned about Komei Aoki, Yuri Yamamura, Masaki Hirano, Murakami, about this incredible movement, a real subculture of non-standard manipulations. Komei is an amazing juggler, winner of many championships, for many years he has been developing a daggling system (dance + juggling), combining popping, electric boogie with manipulation.

Somehow Komei made a brush on his head to catch the ring, like a third hand. Quite. In women, after all, hair is involved in the dance as a full-fledged part of the body, why not use it in juggling. The usual cascade is mastered in three to five days, "tennis" - in another week, in a month it is quite possible to learn how to hold four balls, in another month - the main average tricks such as "mills-mess", "factory", "tic-tac".

In three or four months of daily hard work, it is quite possible to master three dozen tricks. Another couple of months - throws behind the back, blind throws, connections with contact topics such as butterflies. Many of those with whom I started juggling then soon abandoned these topics, everything turned out as in the 90s: a year or two of doing waves, style, power moves, acrobatics and ... the inevitable question of meaning. And I was lucky again: I was invited to a psychiatric hospital, offered to conduct classes. Juggling turned out to be the entrance to psychiatry. After all, we are patching up the psychic body, doing weaving. Working in the hospital forced me to rethink the whole experience of movements, manipulations, perception of space. Juggling has really turned from an occupation with no one knows what into a language in which communication with the psychiatric space is possible. A ship of broken rhythms, torn patterns. Everyone has their own role. My role there is that of a juggler who teaches how to patch up the inner abysses in the psychic body.

Now about the structure. My main profession is related to the study of soft spaces. A year and a half ago, my Chinese colleague and I were building a machine that pierces spaces with X-rays, snatching out potential gluings. Gluing, spilling, tearing. After the x-ray reveals a potential bond within space, another machine is launched there to explore the possibilities. Most often, these spaces are multidimensional, and the transition from one dimension to another is carried out at the level of enrichment of the alphabet, with the preservation of grammar and semantics. I remember that the first machine showed a potential fusion in 17-dimensional space, and the second machine did not find any fusion there. We sat for several weeks, from morning to evening trying to figure out if this gluing was there. I really wanted her to be there. Soon my Chinese colleague, with his super-technical equipment, discovered the scattering and the absence of this gluing, and then we decided that, well, it's all in the ass.

Joining and joining juggling tricks - the same theme, in order to glue two tricks, you need suitable beginnings and ends and rhythms. And juggling may well enrich the intuitive field of gluing theory in general. We started building the cubic machine at the beginning of 2015. Her task was to run around the cubic zone of the metalibrary and control possible merging. It seemed that it was possible to create machines that produce "that" - and this thought became scary. Machines that produce parts for metaphysical constructors, for sign systems. The car broke down in April. I was standing at the hospital window in the art therapy department, students were working around. Well, let's portray a broken car? It seemed that one could choke on glues and glues of glues.

Juggling or don't juggle, but there are far more glues than brains, and local control over them is nothing more than another trick and pleasantness. Glue intoxication is a reality. How is a worn wool sock patched? It is mounted on a light bulb, darned with a sharp needle. Also, every day, tens of thousands of weaver bees diligently patch up God knows what with invisible threads, guiding and twisting objects in visible space.

Today is a good day for juggling. See, for example, how Tony Pezzo manipulates the rings - take the oranges and go!

Juggling

Juggling trains rhythm, dexterity, coordination. By itself, this skill can be useful in various plays and interludes resolved in comedy and eccentric manner.

Students juggling technique offered - first two, and as you master skill with three balls. Later in the exercise turns on the melody, and students, juggling, hum and move to the music. As a musical escorts can be

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used dance tunes eccentric character, as well as combining slow and fast pace.

Elements juggling ¹

"The subject juggling can be any a small thing, convenient to throw and fishing.

For training sessions are used: balls or balls the size of a tennis ball.

by the most essential juggling moment is staging hands Hands should be freely bent at the elbows, almost at a right angle, palms up, and slightly apart. Such hand position is set for all throwing exercises object from hand to hand.

Curve the flight of the ball must be in a plane, parallel chest. The top of the curve should be at eye height.

Sight heading to the center, in the highest point of the ball's flight curve, but is not followed by him on the way. ..

Conduct juggling lessons should be with musical accompaniment, music greatly facilitates the assimilation juggling techniques that are built on a strict and precise rhythm.

Exercises

one. Throwing and catch one ball. Take ball in the right or left hand with the palm up. Slightly lower your hand throw the ball up. At the moment of falling ball on the palm of the hand goes down at the same time with ball, as would keep moving it down like that, so that the ball does not hit the palm of your hand.

That same: with the other hand.

That same: toss with your right hand, and catch left and vice versa.

2. Exercise with two balls. Take a ball in each hand. toss right hand the ball and catch as directed in exercise 1. As soon as the ball touches right hand, immediately throw up and catch the ball with your left hand, etc. Gradually speed up the movement, almost without delay ball in hand.

That same: start moving with your left hand.

3. Throw two balls from hand to hand. Take a ball in each hand. toss the ball right hand up towards the left arms. After him toss the second ball with the left hand towards the right hand. Catch a ball thrown with the left hand right and then right hand - thrown left.

That same: starting the throw with the left hand.

Note. This movement is also a preparation for throwing three balls.

four. Throwing two balls in a cascade. Cascade two balls are made

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So the same as one. Taken in each hand ball, and at the moment of throwing one ball up the other throws itself down into the hand that threw the ball up, etc. Hands and direction change balls.

5. Throwing two balls with one hand. Take two balls in one hand, placing them as follows: one ball is placed in the center of the palm and adheres the base (softness) of the thumb and bent little finger and ring finger. Another ball leans against the first and held thumb, index and middle fingers. Relative to palm balls arranged diagonally from index finger to the wrist. Throw and catch balls alternately along two parallel vertical lines. To complete the movement catch both balls.

Having caught one ball, you need to quickly put it in the center of the palm and release the large one, index and middle fingers, which and catch the second ball without letting it hit the ball in your hand.

6. Throw three balls from hand to hand is made just like tossing two balls, but one ball is constantly in the air. The movement always starts with the hand, in which contains two balls.

Note. Throw balls need a slashing motion, then there is a ball under the ball. brushes describe the right circle inside and out."

Further juggling classes are held in throughout the course. They are aimed at improving technology and compiling a variety of musical exercises and studies.

By as the student masters the technology it is proposed, juggling, to change the pace and the nature of the movement, humming a melody. It is important that the student's imagination be aimed at finding character and character traits to work teacher helped to reveal nature future actor.

AT mass composition offered teacher, the whole group participates. The composition may consist of various movements and end with juggling three balls. Everything obeys the melody and rhythm of musical accompaniment. AT this exercise is very important the moment of organizing the whole group into a single musical rhythmic and plastic figure.

Example compositions (to the music of the waltz "Tales Vienna Woods” by J. Strauss)

Group built in two ranks along the walls audience facing each other. During performance students hum and dance to the beat of the melody. An exercise consists of four phrases, and the accompaniment must consist of eight phrases (sixty four bars). In the hands of students one ball.

one. The first beat of the waltz is celebrated hitting the ball on the floor. On the second beat, be in balance, on the third beat partners throw balls to each other the fourth catch them. These movements repeated for twenty-four cycles.

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2. For the next eight measures of the waltz partners throw balls to each other already on the first and third bars, and on the second and the fourth catch them.

3. Further partners, waltzing sixteen cycles, move towards each other, throwing ball from one hand to the other, and change places.

four. For the remaining sixteen bars, all juggle three balls having prepared them), the movement begins on third beat.

An exercise ends with a general exclamation of "Ha!" on the last measure.

Along with a common composition, mandatory for all, each student is offered write your essay. In this job initiative, taste, feeling humor, ingenuity. Etudes can be solo, couples and group in depending on the imagination of the students. students together with the accompanist select music and tempo. So arose sketches "Traveling circus performer", "Unsuccessful magician", "Hello sweet potato" and others, invented and detailed developed by the students themselves.

Examples juggling sketches

"Vagabond circus performer.

Sounds like melody, a circus performer appears on the stage with a small rug, raincoat, balls and other accessories.

He notices those looking at him from different windows floors of spectators, welcomes them, spreads the carpet, makes a few acrobatic numbers and bows. Then he takes out the balls, juggles two, three balls from different positions - sitting, standing, rising. The study ends bow. After that, the circus performer bypasses with a hat to the public, but no one has money gives, he, distressed, collects his things and leaves, or, conversely, they throw him coins, and he leaves, overjoyed.

"Rivals".

Two children sit and eat apples, which their pockets are stuffed. There's a melody and a girl appears. The guys notice her and, trying to attract attention, get up and start juggling two and three apple balls. Each trying to be original then running up to the girl, then dropping kneel in front of her, etc. Girl with watching their competition with interest, but no one prefers. Then one of them throws an apple-ball to her, she catches and throws him up, the other throws her second, she immediately starts to juggle them, then the first one throws her another one, and she juggles three balls. Guys watching the girl juggle giving nothing away to them. Then they get from the pockets the rest of the apples and juggle the three of us, dancing at the same time and, singing, they all leave together.

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"Hello, sweet potato.

humming famous tune, a pioneer comes out. AT He has a large cardboard pot in his hands. He approaches the imaginary fire, draws water in the "brook", takes it out of pockets three "potatoes" and throws them into saucepan. All movements are performed rhythmically.

Potatoes ready, he is trying to get out of the pan potatoes, but they are hot, he starts toss them from one hand to the other, as if juggling, simultaneously blowing on them, trying to cool them down.

Pioneer continues to juggle three potatoes, but they are still hot and burn hands. Then he puts one in pocket without ceasing to juggle with the other two, with his left hand he quickly reaches big fork out of your pocket and on the fly strung on her highly thrown potato. Then alternately strings on a large fork the remaining two potatoes. Delighted by the successful trick, he pours water from the cooled pan and puts it on his head like a hat. Melody ends, the horn sounds, and the pioneer runs away.

"Scary sleep"

Friend in front of a friend at a distance of one meter there are two students. One juggles then two, then three balls, stops, juggling again. Another, his doppelgänger, at the same time, as in a mirror, repeats all movements. But the first one stops juggle, and the doppelgänger continues. Surprised and frightened, the first one starts again, and the double freezes. Fear is growing. Double "comes out of the mirror", again juggles and vigorously advances. The first, stunned, backs away in horror back and falls, covering his face with his hands. Double under the "devil" music dances, juggles and laughs evil, celebrating victory. Pause - the double freezes and to elegiac music, moving smoothly, disappears as if in slow motion.

"Automatic"

To "automatic", which holds three balls, a young man comes up. He also has three ball. He drops a coin into the "hole". Music is playing, the "machine" has earned - throws and catches the ball with one hand; the young man repeats after him all the movements. But now the plant is over - the "automatic" is motionless. The young man tosses another coin; playing again music, "machine" juggles for two balls, the young man repeats his movements. After 10-15 seconds, the plant ends; the young man lowers the third coin, "automatic" juggles three balls, and the young man repeats movements. He has already learned juggle, but the factory is over again. The young man throws the fourth coin, "machine" comes to life: he dances, sings a melody and juggles three balls. young man repeats the movements of the “revived automaton”, and both, satisfied, juggling and dancing and singing, they leave.

"Grooms"

Sounds like solemn melody appears "princess" and sits in a chair. Then one by one, after a short pause, each to the appropriate tune, three applicants for her hand come out and

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heart, kneel before her and alternately offer their "heart" - throw red balls.

Princess considers suitors - whom to choose, their "hearts" - red balls - and suddenly starts juggling them. The grooms are confused. In this moment a cheerful eccentric melody is heard, appears on an imaginary horse lover of the princess. She throws he has three balls - "hearts", and he, dancing and singing, cheekily juggles them. Grooms can't stand such impudence, take away "hearts" and knock him off his feet. Juggling first, trying to find your "heart", the same the second does the most, but they do not can determine where whose "heart" is. Only the third, juggling, gives it to everyone "heart", and the suitors, offended, leave.

Princess brings a lover to life and gives him his "heart" - the ball.

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