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Hold the hat by the brim with your left hand so that the crown of the hat is facing away from you. Take the stick in your right hand.
With a flick of your wrist, throw the hat up slightly so that it starts spinning anti-clockwise. As the hat descends, hit the brim with the stick slightly to the right of center, such that the stick curves slightly upwards and outwards. This will cause the hat to spin as it rises into the air. As it descends again, repeat the hitting action.
The idea of the basic spin is to keep the hat in the air by hitting it repeatedly with the stick in this manner. I find it helps if you look at the top portion of the inside of the hat.
Adjusting the spin rate and direction:
Hitting the hat nearer the center will give you a slower spin and more height, nearer the edge will give you a faster spin but less height. Obviously striking the left side of the brim will reverse the spin and cause the hat to go clockwise.
From the TricksWithHats archive
00:05
2952
0
24-01-2015
[1]
The hatstand made its debut at chocfest 7, where I was compering. After a period of prototyping and refining, I built the version that worked. I demoed this a couple of times then it broke. I replaced the elastic and set it up for the big day, used it on stage and it worked, then broke next time I used it.
Be prepared to spend significant tinkering time in between uses, and for frequent breakdowns. That said, it's never let me down when I've needed it.
All in all I've found it a great way to get chicks[1], if you don't count the long evenings spent honing the design and strewing the house with geeky construction equipment, and the fact you'll be laughed out of most nightclubs if you go in wearing a topper. But on stage it works, and it has drawn admiring glances from fellow jugglers and even won us a bag full of croissants on one occasion.
Sweavo, June 2003
[1] facts may vary
From the TricksWithHats archive
00:07
3266
1
24-01-2015
[1]
Iteration 111 of the endless combo
00:16
1657
0
23-01-2015
[0]
I'll film another time soon if this is feeling good enough that I'm sure I can do considerably better.
00:40
2978
1
22-01-2015
[2]
I've been putting a lot of focus into my 8 ball pattern and it's taking off! Hopefully I can get a world record run on camera soon.
00:60
2930
0
22-01-2015
[0]
Songs: How To Party (Ft. Batts) & So Run, of SamyO/nProbando los cubiletes que compré hace dos días (literalmente).
Un malabar muy poco conocido y muy interesante. Si ya controlas un poco en malabares con giro (como mazas o sombrero) resulta relativamente fácil realizar los movimientos básicos y se presta mucho a la experimentación.
También puedes realizar algunos movimientos de pelotas con ellos, e incluso he visto usarlos como cajas chinas.
04:25
2853
0
21-01-2015
[0]
Working on a new act, and here is my first draft.
03:53
1509
1
20-01-2015
[2]
Luke's Monster Yo-Yo Mount (easy mount) - Demonstrated by Luke Renner. Yo-Yos featured the new 2015 MagicYoYo Silencer and MagicYoYo K5. Special thanks to MagicYoYo in Shenzhen! Filmed in Northwest New Mexico December 2014 and January 2015. The Monster Mount is being released for new tricks coming to the StringSlingerNM channel (see the K9 training). Music "A Shot in the Dark" by El Patapsco. Monster footage is in from the public domain from public domain movie trailers.
01:43
4509
0
20-01-2015
[1]
This is how Ari and I spent New Years Eve. A lot more fun than the traditional sort of celebration in my opinion!
03:19
2657
0
19-01-2015
[0]
Scrambled V variation '3' juggled by Christian, Michael, Mark-Jan and Juli at PassOut 2014-2015 in Someren, NL.
1 2 3
A: ps ps ps
B: ps ss ps
C: ss ps ss
cC sA iB
Music: RiGNA FOLK - Criminal Part 1
00:49
3355
0
06-01-2015
[0]
Part of the Aidan Burns Project to juggle all 27 of his variations to the Scrambled V./nJuggled by Becky, Christoph, Iain, and Michael./nApologies for the poor video quality.
00:38
3259
0
06-01-2015
[0]
__1__2__3
A: ps ps ps ->B
B: ps ss ps ->C
C: ss ps ss -> A
M: iB cB sB -> 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. "iB": The manipulator (M) intercepts a the pass from A to B. The juggler who was B is the new manipulator, and reads from the manipulator line. The old manipulator, reads B's line.
2. "cB": The manipulator carries a club to B.
3. "sB": The manipulator substitutes a pass from A to B. All the jugglers are re-labeled and the new feeder starts counting the 3 passes.
00:31
3196
0
06-01-2015
[0]
__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.
00:30
2976
0
06-01-2015
[0]
__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. "sB": The manipulator substitutes a pass from A to B.
2. "iB": The manipulator (M) intercepts a the self from B to B. The juggler who was B is the new manipulator, and reads from the manipulator line. The old manipulator, reads B's line.
3. "cA": The manipulator carries a club to A. All the jugglers are re-labeled and the new feeder starts counting the 3 passes.
00:31
2682
0
06-01-2015
[0]
Nevrotiq, from névrose (neurosis), a strange atmosphere video
http://lnk.nu/youtube.com/1d6kh
03:09
1963
1
05-01-2015
[3]
02:24
1873
0
30-12-2014
[2]
Desafío propuesto por un amigo mientras grabábamos un vídeo de malabares
04:06
1905
0
30-12-2014
[0]
new video for christmas
03:17
2318
0
26-12-2014
[1]
Just for remember some beautiful months in spain
[email protected]
http:/
apidodiabolo.weebly.com/
06:25
1765
0
25-12-2014
[1]
Hom(m)
Un enfermement volontaire pour libérer les désirs
Loïc Faure s'enferme pour inventer un nouveau chemin vers la liberté. Enchaîné à sa cage, il grimpe, jongle, s’obstine et déborde d’énergie. Le corps se forge, les balles s’apprivoisent, le spectaculaire se mêle de virtuosité et de poésie. /nAcrobatie au sol ou sur mât chinois, cascades, tour de force, Loïc Faure pratique un théâtre physique où toujours il jongle. Épris de défis, il cultive sa passion en l'assaisonnant d'embûches. Avec Hom(m), il faudra entrer dans la cage-matrice pour s'adonner au désir irrépressible de jongler. Et comment s'y prendre quand les mains sont entravées ? En persistant, quitte à jouer de la tête, des oreilles, des pieds.
02:14
2409
0
24-12-2014
[0]
Trailer
Création 2014
Music : Jack The Ripper - Liberation/nPetite forme d’extérieur : jardin, roseraie, place,
parc… Duo dansé, jonglé, objets volants./nConception et interprétation : Isabelle Avid et Albin Hédon/nIsabelle Avid
61, rue Gérard Duvergé 47000 AGEN
[email protected]
cielecorpsage.com/
Téléphone : 06 31 95 15 55/nPour trouver la légèreté au propre comme au figuré,
Connaitre son poids est une nécessité.
Que ce soit le corps du danseur, du jongleur ou celui de l’objet,
le poids seul permet de trouver l’envol : se soulever, oser la vivacité,
s’offrir l’agilité, à contrario de l’immobilité.
Et pourtant nous ne sommes pas oiseaux, la légèreté peut
se passer ailleurs que dans le battement d’ailes.
Elle peut se nicher dans les recoins de l’être, aux confins de sa danse,
de son équilibre.
On se sent alors plein d'une Légèreté cristalline, vibrante.
Et que dire du parfum des roses ?
02:52
3242
0
22-12-2014
[3]
