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3 balls working , box , carry , orka mess variations...

The technique and the presicion in addition to a constant study to carry out the site numerology waps of both sides, a resistance of the trick is equivalent to that the trick in itself is clean, much effort, too many hours, too to train to train, and to continue to train everything. I hope the video likes and inspires many people.

Fishtail, then as you come back in front twist your hand inwards and carry the staff across holding it between your thumb and your wrist.

Roundabout based on the 4-handed siteswap 756; carrying every third pass. See end of video for notation./nSee also https://passing.zone/manege-a-trois/ for similar (but harder) pattern

This came about through me and Tim messing about with antispin contact ideas and trying to work out how to antispin a fishtail. We came up with the antispin fishtail fountain and realised it could be done without antispin (obviously). Surprisingly the antispin version is easier as it doesn't try to fly off your hand as much. Starting in reverse do 1 beat behind you then go straight into a 180 fishtail carry downwards and in a straight line. Because it's antispin you need to move pretty fast in straight lines. When you get to the other side move your hand straight up and then straight across. This needs to be done in 1 beat. Try going through this holding the staff to your hand before fishtailing it to get used to feeling the path of spin.

This came about through me and Tim messing about with antispin contact ideas and trying to work out how to antispin a fishtail. We came up with the antispin fishtail fountain and realised it could be done without antispin (obviously). Surprisingly the antispin version is easier as it doesn't try to fly off your hand as much. Starting in reverse do 1 beat behind you then go straight into a 180 fishtail carry upwards. As you come out of the 180 do 1 beat of forwards fishtail behind you and pull it out into a low 180 carry back the way you came. Repeat.

Stalling fishtails is a nice way to go into other moves and can be the saving grace when you cock them up. If the staff starts sliding off your hand go into a stall and strike some cheesy pose (everybody loves cheese) and then just carry on. Throws are quite nice from stalls but you can also go into a halo roll or many varients thereof

2Travel:/nA lonely traveller: Where is he coming from? Where is he going? What is he waiting for?/n2Travel is based on the lonelyness of a traveller and how he deals with this. To make the waiting more comfortable a juggler picks up his clubs. But isn’t it nice to have someone there to watch you? The juggler uses everything he is carrying to create a fellow traveler, a friend. The quest has started and leeds to a poetic play with clubs, suitcase and pieces of clothes.

Manipulator passing pattern for four people. The base pattern is 4 count between two jugglers. Below is the Aidan notation for the pattern. There is one round of four count and then the pattern begins A: ps |ss |ps |ss | Becomes juggler B B: ps |ss |cs |ss | Becomes juggler A M: SA-B |SB-B |IA-B |CM-N | Becomes manipulator N N: SB-A |SA-A |SB-A |SN-B | Becomes manipulator M "ps":= pass self "ss":= self self "cs":= chop self "SA-B":= Substitute from juggler A to juggler B "IA-B":= Intercept from juggler A to juggler B (note that at an intercept instruction the juggler that was the destination of the club and the manipulator that performed the intercept change places) "CM-N":= Carry from manipulator M to manipulator N Starting positions in the video: A patterned red shirt (right) B dress (left) M is blue shirt (middle-right) N plain red shirt (middle left) Oh, and the "niiaoow" noise is a cat-plane hybrid noise, performed on the carry (optional).

Aidan notation for both patterns:/n"ps":= pass self "ss":= self self "SA-B":= Substitute from juggler A to juggler B "IA-B":= Intercept from juggler A to juggler B (note that at an intercept instruction the juggler that was the destination of the club and the manipulator that performed the intercept change places) "CM-N":= Carry from manipulator M to manipulator N/nKennedy notation:/nA: ps |ss |cs |ss | Becomes juggler B B: ps |ss |ps |ss | Becomes juggler A M: SA-B |SB-B |IA-B |CM-N | Becomes manipulator N N: SB-A |SA-A |SA-B |SN-B | Becomes manipulator M/nControversial Kennedy Notation:/nA: ps |ss |ps |ss | Becomes juggler B B: ps |ss |cs |ss | Becomes juggler A M: SA-B |SB-B |IA-B |CM-N | Becomes manipulator N N: SB-A |SA-A |SB-A |SN-B | Becomes manipulator M

Es gibt eine Figur namens Muro die auf Felsplateaus auftaucht, einen Beutel bei sich trägt und dann ein Häufchen Bälle auspackt. Ein Spiel beginnt. Rhythmus ist das Ritual. Er nährt Muros. Und in Muros Welt gibt es keinen Platz für Bälle, die nicht nach seinen Regeln spielen... ~ There is a character named Muro appearing on rocky plateaus, carrying a small bag with balls in it. A game begins. Rhythm becomes a ritual. It nuorishes Muro. And in Muro's world there is no place for balls who break the rules of his game... Design & Performance: Matthias Buhrow Kontakt: [email protected]

Panto, juggled by Graham, Joanne, Danny and Ed. Part of the Aidan Burns Project to juggle all 27 of his variations to the Scrambled V. Notation: __1__2__3 A: ps ps ps ->B B: ps ss ps ->C C: ss ps ss -> A M: sC iA cB -> M The feeder is "A", the juggler to the feeder's left is "B" and the juggler to the feeder's right is "C". The feeder counts "1 2 3" to make it easier to keep track of where we are in the pattern. On beats 1 and 3, A (the feeder) and B exchange a pass. On beat 2, A and C exchange a pass. On 3, juggler B catches the carried pass and walks on four count (rotating the positions anti-clockwise). 1. "sC": The manipulator substitutes a self from C to C. This takes place while the juggler is walking on four count. 2. "iA": The manipulator (M) intercepts a the pass from C to A. The juggler who was A is the new manipulator, and reads from the manipulator line. The old manipulator, reads A's line. 3. "cB": The manipulator carries a club to B. We found it useful for the manipulator (who was the feeder for 1 and 2) to say 3 during the carry, for continuity. All the jugglers are re-labeled and the new feeder starts counting the 3 passes. Panto gets it's name from the pass from A to B on beat 1, the club is quite close to the back of the manipulators head (He's behind you!).

The classic Roundabout pattern revisited in the Rhonda Style to create "Rhondabout". Rhonda Style came about from the pattern MinuEd http://juggling.tv/15002, but it is possible to Rhonda any pattern using these simple rules: 1. No Zipping! 2. No Flipping, apart from on a carry where you must flip both clubs. MinuEd is here: http://juggling.tv/15650 Try and Rhonda a manipulator pattern today!

__1__2__3 A: ps ps ps ->B B: ps ss ps ->C C: ss ps ss -> A M: sC iC cC -> M The feeder is "A", the juggler to the feeder's left is "B" and the juggler to the feeder's right is "C". The feeder counts "1 2 3" to make it easier to keep track of where we are in the pattern. On beats 1 and 3, A (the feeder) and B exchange a pass. On beat 2, A and C exchange a pass. On 3, juggler B catches the pass and walks on four count (rotating the positions anti-clockwise). 1. "sC": The manipulator substitutes a self from C to C. 2. "iC": The manipulator (M) intercepts a the pass from A to C. The juggler who was C is the new manipulator, and reads from the manipulator line. The old manipulator, reads C's line. 3. "cC": The manipulator carries a club to C. This carry is performed as an over the shoulder move. All the jugglers are re-labeled and the new feeder starts counting the 3 passes.

Backseat - A pair of throws and catches that Mike discovered while sitting in the back of a car. Grab the side of a hat in a pinch grip, and carry it down in front of you so the crown is downwards. Flick it up so it spins 360 degrees, and catch it in another pinch grip at the back of the hat. Quickly push it up and forward, spinning the hat 180 degrees and catch in a pinch grip once again. Stick it back on your head. To perform the trick most effectively aim for one slick movement rather than two separate parts. From the TricksWithHats archive

Chest spin - Spin the hat down the arm, across the chest and out along the other arm. Hold the hat crown down in a outside grip. Flick the wrist inwards as hard as you can so that the hat spins fast and strikes the inside of the wrist. Allow the spin of the hat to carry it across the body and along the other arm. Catch the crown as it reaches the other hand. From the TricksWithHats archive

Hold the hat by the brim in an outside grip with the crown facing forwards. Swing your arm up infront of you, until your hand is about eye level, with the hat tilting slightly upwards. If you let go at the top of the swing, the hat's momentum should carry it through, and it will roll down your arm. The movement that follows is similar to the one arm tumble. Look down your arm, tuck your chin in, and raise your arm slightly so that the hat rolls downhill and on to your head. Once you can do that, try throwing the hat from your left hand, and using the right hand to guide it into a dynamic arm tumble.

Place the back of one hand against the front of the crown and the palm of the other hand against the back of the hat. Lift the hat off and roll the hands round each other so that the hat tumbles through one complete spin as you carry the hat down to waist level. Reverse the process to return the hat to the head.

This is a combination of parts of two other tricks, so it would probably help to learn them first. They are the Arm Roll and the Wipe Up Start with the hat on your head. With the right arm, do the first part of a wipe up, just to the point where the hat comes off your head. However, instead of carrying it out to the side, push the hat back on your head so that the bottom of the brim comes into contact with your shoulder blades. Use your upper arm to push the hat off and to the left, so that it can roll down your arm as though you were doing an Arm Roll, catching it in you hand as you do so One variation that Mike is fond of, is to grip the front part of the crown with the crook of the elbow. Mike claims this gives him more options, and more control over where the hat goes. Try it, it may work for you too!