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Midwest Flow Fest Workshop Descriptions!
Ping Tom Memorial Park Chicago, IL Saturday, September 9 Area 1 Area 2 Area 3 Area 4 FREE! Intro Contact Mini Hoop Technicality VTG 1:1 with Fans Tutting for Flow Art- 11am Jay Jay Kassandra Morrison Jessica Mardini Dushwam Fancy Feet FREE! Poi Basics Performance 101 No Beat Tosses 12:30pm Perkulator Jessie Wags Matt O’Daniel Zack Lyttle FREE! Intro to Fans Better Body Rolls Clowning Around Down & Dirty- 2pm Jessica Mardini Jacquie Tar-foot Jared the Juggler Groundwork- Jay Jay Acro Staff 101 Buugeng Fundamentals Modern Dance Hoop Flowers Shapes & Hand 3:30pm Admiral J Brown Kimberly Bucki FREE! Fearless Ringleader Paths- Dushwam Inclusive Community Swap Tosses 3 Hoop Manipulation Tosses with Doubles 5pm Jessica Mardini FREE! Zack Lyttle Kassandra Morrison Exuro 6:30pm MidWest Flow Fest Instructor Showcase Sunday, September 10 Area 1 Area 2 Area 3 Area 4 Contact Poi 1- Intro Intro to Circle Juggle Beginner Pole Basics Making Organic 11am Matt O’Daniel FREE! Juan Guardiola Alice Wonder Sequences - Exuro Intermediate Buugeng FREE! HoopDance 101 Contact Poi 2- Full Performance Pro Tips 12:30pm Kimberly Buck Casandra Tanenbaum Contact- Matt O’Daniel Fearless Ringleader FREE! Body Balance Row Pray Fishtails Lazy Hooping Juggling 5 Ball 2pm Jacqui Tar-Foot Admiral J Brown Perkulator Jared the Juggler 3:30pm Body Roll Play FREE! Fundamentals: Admiral’s Way Contact Your Prop, Your Kassandra Morrison Reels- Dushwam Admiral J Brown Dance- Jessie Wags 5pm FREE! Cultivating Continuous Poi Tosses Flow Style & Personality Musicality in Motion Community- Exuro Juan Guardiola Casandra Tanenbaum Jacquie Tar-Foot 6:30pm MidWest Flow Fest Jam! poi dance/aerial staff any/all props juggling/other hoop Sponsored By: Admiral J. -
THE BENEFITS of LEARNING to JUGGLE for CHILDREN Written by Dave Finnigan
THE BENEFITS OF LEARNING TO JUGGLE FOR CHILDREN Written by Dave Finnigan Fitness, Motor Skills, Rhythm, Balance, Coordination Benefits . Students can start acquiring pre-juggling skills in pre-school and kindergarten by learning to toss and catch one big, colorful, slow-moving nylon scarf. Once tossing and catching becomes routine, you can use one nylon scarf anywhere that you would normally use a ball or beanbag for most games and many individual challenges. Just think of the scarf as a "ball with training wheels." Scarf juggling and scarf play progresses in a step-by-step manner from one, to two, and on to three. Scarf play and scarf juggling requires big, flowing movements. Children get a great cardio-vascular and pulmonary work-out when they juggle scarves, exercising the big muscles close to the head and close to the heart. They will find scarf juggling to be a great deal of work and lots of fun at the same time. Once they move on to beanbags or other faster moving equipment, they get exercise not only from tossing, but from bending over to pick up errant objects as well. Once a student can juggle continuously, they can "workout" with heavy or bulky objects such as heavyweight beanbags, basketballs, or other items which provide strenuous exercise while they improve focus and dexterity. Because all of this tossing and catching activity can be done to music, you can use different types of music to help children acquire a sense of rhythm and a natural "beat." By working together, students can participate in a group activity requiring concentration and attention to task and reinforcing rhythm. -
Book Review: the Mathematics of Juggling, Volume 51, Number 1
Book Review The Mathematics of Juggling Reviewed by Allen Knutson The Mathematics of Juggling • (to avoid considering boundary conditions) The Burkard Polster juggler has been juggling since the infinite past Springer-Verlag, New York, 2003 and will continue into the infinite future. 226 pages, $39.95 • The throws come one per second, with right ISBN 0-387-95513-5 throws at even times and left throws at odd times (this can be ensured by reparametrizing Around 1985 three groups of jugglers (in Santa the time coordinate). Cruz, California; in Pasadena, California; and in More notable, though, is the assumption about Cambridge, England) independently created the what one actually wants to record: same notational system for juggling patterns. These • The only information kept about the ball thrown ∈ Z numerical descriptions have been well publicized at time n is when it is next thrown, at time in the juggling world under the name “siteswaps” f (n). (and, even so, continue to be rediscovered by new- In particular, this assumption loses any extra de- comers). tail about the throw like “under the leg”, “with a triple spin” (if the objects juggled are pins rather As we will see shortly upon presentation of the than balls), “while telling joke #1729”, etc. But it basic definitions, a rather simple list of restric- suggests a very nice mathematical theory of cer- tions leads easily to a unique notational system. tain functions f : Z → Z: More surprising is the near-simultaneity of the dis- 1. The function f should be one-to-one, since we covery! The best explanation of this seems to be do not want two balls landing at the same time. -
The Beginner's Guide to Circus and Street Theatre
The Beginner’s Guide to Circus and Street Theatre www.premierecircus.com Circus Terms Aerial: acts which take place on apparatus which hang from above, such as silks, trapeze, Spanish web, corde lisse, and aerial hoop. Trapeze- An aerial apparatus with a bar, Silks or Tissu- The artist suspended by ropes. Our climbs, wraps, rotates and double static trapeze acts drops within a piece of involve two performers on fabric that is draped from the one trapeze, in which the ceiling, exhibiting pure they perform a wide strength and grace with a range of movements good measure of dramatic including balances, drops, twists and falls. hangs and strength and flexibility manoeuvres on the trapeze bar and in the ropes supporting the trapeze. Spanish web/ Web- An aerialist is suspended high above on Corde Lisse- Literally a single rope, meaning “Smooth Rope”, while spinning Corde Lisse is a single at high speed length of rope hanging from ankle or from above, which the wrist. This aerialist wraps around extreme act is their body to hang, drop dynamic and and slide. mesmerising. The rope is spun by another person, who remains on the ground holding the bottom of the rope. Rigging- A system for hanging aerial equipment. REMEMBER Aerial Hoop- An elegant you will need a strong fixed aerial display where the point (minimum ½ ton safe performer twists weight bearing load per rigging themselves in, on, under point) for aerial artists to rig from and around a steel hoop if they are performing indoors: or ring suspended from the height varies according to the ceiling, usually about apparatus. -
JUGGLING in the U.S.S.R. in November 1975, I Took a One Week Tour to Leningrad and Ring Cascade Using a "Holster” at Each Side
Volume 28. No. 3 March 1976 INTERNATIONAL JUGGLERS ASSOCIATION from Roger Dol/arhide JUGGLING IN THE U.S.S.R. In November 1975, I took a one week tour to Leningrad and ring cascade using a "holster” at each side. He twice pretended Moscow, Russia. I wasfortunate to see a number of jugglers while to accidentally miss the catch of all 9 down over his head before I was there. doing it perfectly to rousing applause and an encore bow. At the Leningrad Circus a man approximately 45 years old did Also on the show was a lady juggler who did a short routine an act which wasn’t terribly exciting, though his juggling was spinning 15-inch square glass sheets. She finished by spinning pretty good. He did a routine with 5, 4, 3 sticks including one on a stick balanced on her forehead and one on each hand showering the 5. He also balanced a pole with a tray of glassware simultaneously. Then, she did the routine of balancing a tray of on his head and juggled 4 metaf plates. For a finish, he cqnter- glassware on a sword balanced point to point on a dagger in her spun a heavy-looking round wooden table upside-down on a 10- mouth and climbing a swaying ladder ala Rosana and others. foot sectioned pole balanced on his forehead, then knocked the Finally, there were two excellent juggling acts as part of a really pole away and caught the table still spinning on a short pole held great music and variety floor show at the Arabat Restaurant in in his hands. -
19730007257.Pdf
fit ENG A SPECIAL BIBLIOGRAJ'HY / V '^x £'* "" •' V: WITH INDEXES $'. - • ''? Supplement 23 "13 Ks oo oc NATIONAL AERONAUTICS AND SPACE ADMINISTRATION PREVIOUS BIBLIOGRAPHIES IN THIS SERIES ftttCUftWIt! NASA SP-703? September 1970 Jan.-Aug. |9?0 NASA SP-7037 (Oh Januarv 1971 Sept.-Dec. 1970 NASA SP-7037 f 02) Februar> 1971 January 1971 NASA SP-7037(U3» March 1*971 K'briiarv 1971 NASA April |V?1 March 1971 NASA SP-7037 f 05) Ma> 1971 April |97| , NASA SP-7037 »06) June 1971 Ma> 1971 NASA SP-7037 «. i?) Jul\ !*»?! June 1971 NASA SP-7037 (08) Auuu\t 197! Julv 19" I NASA SP-7037 (09) September 1971 August 1971 ,NASA SP-7037 (10) October 1971 September 1971 'NASA SP- 7037(1 1) November 1971 October 1971 NASA SP-7037 (12) December 1971 November 197! NASA SP-7037 (13) JUmuur> 1972 December 1971 NASA SP-7037 (14} January 1972 Annual Indexes 197J NASA SP-7037 (15) February 19t2 January 1972 NASA SP-7037 (16) March 1972 February 1972 NASA SP-7037 (17) April 1972 March 1972 NASA SP-7037 (18) May 1972 April 1972 NASA SP-7037 (19) June 1972 May 1972 NASA SP-7037 (20) July 1972 June 1972 . NASA SP-7037 (2 1) August 1972 July 1972 NASA SP-7037 (22) September 1972 Aueust 1972 Thi> bibliography w-as prepared by the NAS\ Scientific jnd Tt-'chnical information Fac»Hl\ for the National Aeronautic* j«d Space -Vdmini^ration b\ Informatics Th>co, Inc. The Administrator of the Nat'Onaf Aeronautics and Space Admimsration Has determined that tfte pubiicatjon of this persodtcai is neeessa«y in the transaction of the public business rsqui'ea by law of this Agency. -
Reflections and Exchanges for Circus Arts Teachers Project
REFLections and Exchanges for Circus arts Teachers project INTRODUCTION 4 REFLECT IN A NUTSHELL 5 REFLECT PROJECT PRESENTATION 6 REFLECT LABS 7 PARTNERS AND ASSOCIATE PARTNERS 8 PRESENTATION OF THE 4 LABS 9 Lab #1: The role of the circus teacher in a creation process around the individual project of the student 9 Lab #2: Creation processes with students: observation, analysis and testimonies based on the CIRCLE project 10 Lab #3: A week of reflection on the collective creation of circus students 11 Lab #4: Exchanges on the creation process during a collective project by circus professional artists 12 METHODOLOGIES, ISSUES AND TOOLS EXPLORED 13 A. Contributions from professionals 13 B. Collective reflections 25 C. Encounters 45 SUMMARY OF THE LABORATORIES 50 CONCLUSION 53 LIST OF PARTICIPANTS 54 Educational coordinators and speakers 54 Participants 56 FEDEC Team 57 THANKS 58 2 REFLections and Exchanges for Circus arts Teachers project 3 INTRODUCTION Circus teachers play a key role in passing on this to develop the European project REFLECT (2017- multiple art form. Not only do they possess 2019), funded by the Erasmus+ programme. technical and artistic expertise, they also convey Following on from the INTENTS project (2014- interpersonal skills and good manners which will 2017)1, REFLECT promotes the circulation and help students find and develop their style and informal sharing of best practice among circus identity, each young artist’s own specific universe. school teachers to explore innovative teaching methods, document existing practices and open up These skills were originally passed down verbally opportunities for initiatives and innovation in terms through generations of families, but this changed of defining skills, engineering and networking. -
HISTORY and STAGE METHOD of JUGGLING with HULA HOOPS Oleksandra Sobolieva Kyiv Municipal Academy of Circus and Variety Arts, Kiev, Ukraine
INNOVATIVE SOLUTIONS IN MODERN SCIENCE № 2(11), 2017 UDC 792 (792.7) HISTORY AND STAGE METHOD OF JUGGLING WITH HULA HOOPS Oleksandra Sobolieva Kyiv Municipal Academy of Circus and Variety Arts, Kiev, Ukraine Research the methods of teaching juggling tricks by the big and small hula hoops, due to rising demand for hula hoops in recent years. Hula hoops acquire much popularity both abroad and in Ukraine, and are used not only in school, gymnastics and emotional pleasure, but also in a circus and juggling sports. Also highlights the main directions in the juggling with their features and how the juggling acts itself directly on human health. Also will be examined where this fascinating art form came to us, how it developed, and what kinds acquired in the present. Keywords: hula hoops, juggling, "track", stage technique, white substance, "helicopter". Problem definition and analysis of researches. Today juggling reached incredible development. There is no country where people would not be interested in juggling. There are a lot of conventions and juggling competitions, where people come from all over the world and share experiences with each other. But it should be noted, that there aren’t so much professional juggling schools. And if we talk about juggling by hula hoops, we can admit that there aren’t so much real experts in this field. Peter Bon, Tony Buzan in collaboration with Michael J. Gelb, Luke Burridge, Alexander Kiss, Paul Koshel and many others have written about all kinds of juggling, but left unattended hula hoops juggling. That is why in this article will be examples of author’s tricks with large and small hula hoops with a detailed description. -
Siteswap-Notes-Extended-Ltr 2014.Pages
Understanding Two-handed Siteswap http://kingstonjugglers.club/r/siteswap.pdf Greg Phillips, [email protected] Overview Alternating throws Siteswap is a set of notations for describing a key feature Many juggling patterns are based on alternating right- of juggling patterns: the order in which objects are hand and lef-hand throws. We describe these using thrown and re-thrown. For an object to be re-thrown asynchronous siteswap notation. later rather than earlier, it needs to be out of the hand longer. In regular toss juggling, more time out of the A1 The right and lef hands throw on alternate beats. hand means a higher throw. Any pattern with different throw heights is at least partly described by siteswap. Rules C2 and A1 together require that odd-numbered Siteswap can be used for any number of “hands”. In this throws end up in the opposite hand, while even guide we’ll consider only two-handed siteswap; numbers stay in the same hand. Here are a few however, everything here extends to siteswap with asynchronous siteswap examples: three, four or more hands with just minor tweaks. 3 a three-object cascade Core rules (for all patterns) 522 also a three-object cascade C1 Imagine a metronome ticking at some constant rate. 42 two juggled in one hand, a held object in the other Each tick is called a “beat.” 40 two juggled in one hand, the other hand empty C2 Indicate each thrown object by a number that tells 330 a three-object cascade with a hole (two objects) us how many beats later that object must be back in 71 a four-object asynchronous shower a hand and ready to re-throw. -
Heft-Misterm-201909 95X150 002 PSD Und Druckdaei --- EN.Indd
Same as step 2 but 2 balls in right, 1 in the left hand. throw from one hand Begin with the right hand. Throw 30 throws from left to to the other and to other hand and when the ball is right, then right to left. count loud „1 and 2“ at its highest point, throw number Remember, throw 2, then 3. „1 and 2 and 3.“ Don‘t Then left » right » left. when the ball is at catch the balls. Do this about 30 its highest point. times. Then try to catch only the first thrown ball. Do this 30 times. Then try to catch the first two balls - 30 times. Then try to catch all 3 balls. www.MisterM.net/vid 2 balls, one in the left hand, Use a box and lean onto a one in the right. Throw wall. Roll balls on there and straight up, when the ball is practice step 2 and 3, at the highest point, throw the balls will roll slower. 3 BALL SET 5 BALL SET the other one straight up. Juggling scarves is much Of course, these scarves are not easier than juggling balls Take 2 scarves in only for juggling. Children love because they fly slower, hence one hand. Practice to play dress up with them, hide you have more time to react. lifting and releasing behind them or even make head Start with one scarf. Lift up and just one scarf. Best bands. Let your imagination run over and let it fall to the other to hold one with wild! hand. -
Understanding Siteswap Juggling Patterns a Guide for the Perplexed by Greg Phillips, [email protected]
Understanding Siteswap Juggling Patterns A guide for the perplexed by Greg Phillips, [email protected] Core rules (for all patterns) Synchronous siteswap (simultaneous throws) C1 We imagine a metronome ticking at some constant rate. Some juggling patterns involve both hands throwing at the Each tick is called a “beat.” same time. We describe these using synchronous siteswap. C2 We indicate each thrown object by a number that tells us how many beats later that object must be back in a hand S1 The right and left hands throw at the same time (which and ready to re-throw. counts as two throws) on every second beat. We group C3 We indicate a sequence of throws by a string of numbers the simultaneous throws in parentheses and separate the (plus punctuation and the letter x). We imagine these hands with commas. strings repeat indefinitely, making 531 equivalent to S2 We indicate throws that cross from hand to hand with an …531531531… So are 315 and 153 — can you see x (for ‘xing’). why? C4 The sum of all throw numbers in a siteswap string divided Rules C2 and S1 taken together demand that there be only by the number of throws in the string gives the number of even numbers in valid synchronous siteswaps. Can you see objects in the pattern. This must always be a whole why? The x notation of rule S2 is required to distinguish number. 531 is a three-ball pattern, since (5+3+1)/3 patterns like (4,4) (synchronous fountain) from (4x,4x) equals three; however, 532 cannot be juggled since (synchronous crossing). -
WORKSHOP SCHEDULE IJA Festival, Sparks, Nevada, July 26 - August 1, 2010
WORKSHOP SCHEDULE IJA Festival, Sparks, Nevada, July 26 - August 1, 2010. For updates, see http://www.juggle.org/festival Tuesday, July 27 8:00am Joggling Competition 9:00am IJA College Credit Meeting -- Don Lewis 10:00am 3 Club Tricks -- Don Lewis (BEG) 10:00am Siteswap 101 -- Chase Martin (and Jordan Campbell) 10:00am Stretching and Increasing Your Flexibility -- Corey White 11:00am Blind Thows & Catches -- Thom Wall 11:00am Five Balls the Easy Way -- Dave Finnigan 11:00am Jammed Knot Knotting Jam -- John Spinoza 12:00pm 3/4 Ball Freezes -- Matt Hall 12:00pm Basic Hoop Juggling Technique -- Carter Brown 12:00pm Poi -- Sam Malcolm (BEG) 1:00pm Special Workshop -- Kris Kremo 1:00pm 180's/360's/720's -- Josh Horton & Doug Sayers 1:00pm Club Passing Routine -- Cindy Hamilton 1:00pm Tennis Ball/Can Breakout -- Dan Holzman 2:00pm Intro to Ball Spinning -- Bri Crabtree 2:00pm Multiplex Madness for Passing -- Poetic Motion Machine 3:00pm Fun/Simple Club Passing Patterns for 3/4/5 -- Louis Kruk 3:00pm 2 Diabolo Fundamentals and Combos -- Ted Joblin 3:00pm Kendama -- Sean Haddow (BEG/INT) 4:00pm Beginning Contact Juggling -- Kyle Johnson 4:00pm Diabolo Fundamentals -- Chris Garcia (BEG-ADV) Wednesday, July 28 9:00am IJA College Credit Meeting -- Don Lewis 9:00am YEP 1: Basic Techniques of Teaching Juggling -- Kim Laird 10:00am 3 Ball Esoterica -- Jackie Erickson (BEG/INT) 10:00am 5 Ball Tricks -- Doug Sayers & Josh Horton (INT/ADV) 10:00am YEP 2: How To Develop a Youth Program -- Kim Laird 11:00am Claymotion -- Jackie Erickson 11:00am Scaffolding: