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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. "iC": The manipulator (M) intercepts the pass from A to C. The juggler who was C is the new manipulator, and reads from the manipulator line. 2. "cA": The manipulator substitutes a _pass_ from A to B. 3. "sC": The manipulator substitutes a _self_ from C (to C). The passes _from_ the feeder are not manipulated, the feeder does only normal pass throws to B, C, B

Aidan Burns' Scrambled V Variation (iB cB sA) General information: 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. Walking: After pass three, B walks on a 4-count to the left side of A. All the jugglers are relabeled (A -> B', B -> C', C -> A') and the new feeder A' starts counting the 3 passes, starting with B'. The manipulation: 1. "iB": The manipulator (M) intercepts a pass from A to B. The juggler who was B is new M, and reads from the manipulator line. The juggler who was M now is B. 2. "cB": M carries a club to B. 3. "sA": M substitutes a the pass from B to A. How to do this pattern: We start manipulating the pattern by substituting the pass from B to A on beat three. You can skip the tree bit if you like.

Dolby 7.1 is the latest in the series of patterns that have manipulation similar to the classic Dolby Söround http://juggling.tv/1742 In this new pattern, we add a club to the Dolby 5.1 pattern, first shown http://juggling.tv/16656 Dolby 5.1, Dolby 5.2 and Dolby 7.1 were all composed together as a set. Seeing as Dolby 7.1 is another step up in the difficulty of manipulator patterns I've not gone with a standard pattern video, but instead added some training patterns - like a workshop. Workshop tips: 1. Keep the tempo slow when you are throwing the heffs - you are controlling the pattern speed. 2. The manipulation needs to be a little faster than you might do it in Dolby 5.1, as the tempo is set by the dwell+height of the heffs. Slow manipulation can introduce timing problems for catching the 4p4p. 3. Heffs (4) and double passes (4p) must be the same height in order to keep good timing. 4. The pattern is synchronous.

Fishtail transfers are when you go straight from forwards fishtail to backwards (or vice versa). These are a good way of getting your fishies nice and tight. Also once you have these you can do 360 Fishtails cos you just keep turning the same way.

__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.

Working on BBB a little bit of 5b and knife juggling.

These are something i came up with while on a beach in Thailand so i have fond memories for this move. When passing the staff behind the back give it a little pop up to keep it spinning and to make it a bit easier to catch.

Steve Rawlings showed me this trick in Birmingham and said that he used to do it in every show, but now that he's older (and a little rounder :-) he can't get it every time any more. Steve uses a china plate for this trick, but it works with hats too which is why it's here! :-) Take the hat in your right hand, using an inside grip and hold it so that the crown of the hat is facing to the left. Throw the hat virtically with some spin, and then do the following while the hat is in the air... Put your right hand between your legs Take the hand around the back of the right leg Stand on your left leg and move the right hand & foot behind the left leg Then, catch the descending hat in your right hand, from that position. Without falling over. Top Tips: Practice the "tangle yourself up" bit first without the catch. Keep your eye on the hat as it decends, practice loads... Luke Burrage managed to get this on video within 30 minutes. I've been trying for weeks and can't do it. It's pretty hard.

This move evolved from the inside bit of 5 beat fishtails. Basically you are fishtailing on the inside bit of your thumb between your thumb and arm. This is fairly tricky to keep going so what I do (as you will see in the video) is add extra beats to keep the momentum going, this does technically declassify the move as a fishtail but I think it's quite a fun move and it feels nice to do.

This is basically a 360 fishtail done in one smooth motion. Try to keep your arm straight and follow the staff round in a big circle.

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Here's my second attempt at the final round of sisiround 2. That yank keeps evading me!

Trying to keep up with 12 year olds

SIRKÜS Esitys rapistuneissa sirkusväreissä/nSIRKÜS on hauska ja yllättävä kaikenikäisille katsojille sopiva lämminhenkinen sirkusparodia joka elää ja hengittää menneisyyden sirkusromantiikkaa. Esitys tarkastelee sirkushistoriaan kuin menneisyyden sirkusvaunun rikkinäisestä ikkunasta./nEsityksn esiintyjät muuttavat roolihahmojaan numerosta toiseen, näyttämölle saapuu niin pöyhkeää ranskalaista baskeripäätä kuin kurimuksessa kärsivää sirkuseläintä, ja nähdään esityksessä huima washington trapetsi -numerokin. Ironisen ivallinen mutta kuitenkin lempeä ja herkkä SIRKÜS -esitys iskee silmää yleisölle, koko estetisoiva sirkustaide ja romantisoitu sirkuskuvasto päätyvät näyttämölle koko totuudessaan. Eikä ketään varmasti häiritse, vaikka vatsastapuhuja ei ole kovin hauska, temput eivät aina onnistu, tirehtööri on ylidramaattinen ja orkesteri soittaa vähän sinne päin. Mutta se kaikki kuuluu sirkukseen: mennyt loisto ja jäntevä nuoruus. Sama artisti esiintyy monella nimellä, myy välissä ylihintaista popcornia – taitei

Hold the hat out in front of you, in an inside grip so that the brim is horizontal, and the crown is on top. Pull back on the hat as you throw it, so that it floats, without spinning and catch it on your head. Here's what it looks like from the inside. The key to the trick seems to be to keep the hat level, and pull it towards you as you let go. That and luck, and/or practice.

Tumble - Tumble the hat over the back of the hand Hold the hat crown up in a outside grip. Swing the hat inwards and let go so it can roll up past the thumb onto the back of the wrist. While the hat is above the hand keep the wrist bent so the fingers are pointing outwards and lift the fingers as high as you can. The fingers will touch the inside of the crown and allow you to catch the hat in a inside grip. To repeat the trick throw a half spin and catch the hat back in a outside grip or do a Reverse Tumble.

Keep practice session from when I started with 4 balls

Nice and short one this morning, I've got to get to work! Visit the forum at kendama.co.uk to keep up with the competition

Onehanded, Continuous Tumbles - The hat keeps tumbling, in your hand, continuously, infinitely, forever, or at least until you stop. This trick is an extension of the Tumble - so go learn that one now. You'll notice that after you have performed a tumble, you are holding the hat the wrong way round to perform a second tumble immediately after it. This is where the extension comes in. During the first tumble (which is a standard tumble), the hat rotates 1.5 times. The second tumble is similar, but the hat is thrown without a change in grip, it still does 1.5 spins, which means that it is now facing the same way as when you started! Inorder to give yourself space for the second tumble, it feels like you need to throw it a tiny bit higher or faster. Try to make it all flow together into a continuous movement, the hat shouldn't ever pause, the hand acts more as a guide to keep it rotating in the right direction. A nice variation on this is to tumble the hat infront of you, switching hands between tumbles.

Viktor Kee at TV Show "Le plus grand cabaret du Monde" (2016)

Jeremias` card flipping - cardistry - nice done! Keep it up!!!

Throw to Foot - Throw the hat to your foot as if it was a hatstand. Hold the hat crown up above the shoulder with an inside grip. Lift the leg and keep it straight, flexing the foot as much as you can. With a flick of the wrist throw the hat straight to the foot with a single spin. This trick looks best if the throw is as straight as possible. Foot to Head is a nice return trick from here.

Big Circles - Swing the hat round at arms length - and make it look good. Hold the hat crown forward in an inside grip and swing it at arms length - twisting the wrist to keep the crown forward. At the top of the swing let go of the hat, untwist your wrist and recatch the hat in an inside grip, continue the swing and repeat as many times as you like.