P.S. I often refer to students, athletes and jugglers with the same meaning in mind. I also tend to refer to them as male. This is not due to any sexist attitude but to my somewhat limited writing style. You may replace him... with person if you wish.

Centered Action

Balance and the awareness of oneself in space are skills that each individual spends his or her entire life developing. Whether the individual is aware or not, daily activities require that the human body move in space, dealing with forces that exist within each individual's environment. The most universal of these forces is gravity. From birth, the child begins to oppose gravitational forces by reaching and probing within the child's world. Development eventually takes the body to an upright, erect standing position. This is not something that is taught to the infant, but rather, it is through stages of physical and mental growth that the child eventually is able to stand and walk.

Most never explore beyond this initial "education" in standing, walking and posture. Apart from athletics, our society typically leaves the mechanics of the human body to medical personnel. But, apart from doctors and athletes, there is someone who does have vested interests in the study of body movement - the performer. The ability to mimic life, both + physically and mentally, is the performer's domain. Before the performer can use his body as a tool for the performance, the performer must have a complete understanding of that tool and recognize all potentials and limitations. This recognition comes from "ground zero" - a neutral slate on which the performer can create.

At the center of this neutrality lies the performer's power supply. For the body to be a truly effective tool, this power supply must be tapped directly and efficiently. Quite simply, this power-house of the body is called "the center".

Apart from being the physical center of the body (the pelvis area), the center is also the spiritual center. With this image in mind, the performer is able to focus action by accessing the center directly. Whether dance, mime, acting or general movement, action that has focus has greater depth and believability. This dynamic source gives the performer control over the full range of physical movement. In the same way that an actor has an internal dialogue to motivate and drive the spoken word, the actor also has the center to motivate and drive the physical action. Without this drive, the body's movements become merely a reflection of the actor's environment rather than a reaction. Uncentered action tends to look superficial, often "telling" the action rather than "being" the action.

How Does This Apply to Juggling

Often the beginning student will approach juggling in a naive way. When balls are flying above the head, the inclination is for the juggler to focus the "minds eye" at the apex of the pattern. In actuality, the focus of concentration should be on the body, that tool which is in control of the props. Although watching the objects gives the juggler vital information about the trick, the control comes from the body. When connected with the center, this control becomes focused and strengthened.

An exercise to try is to juggle for five minutes. Any trick which you feel comfortable will do. At the end of the time, label parts of your body with colors. Red - very aware, pink - moderately aware, light blue - not very aware and dark blue - completely unaware. With juggling, often the head and the hands/forearms are red and all else is a shade of blue. (When I first tried this my hands were red, my eyes and mouth were pink and my feet and legs light blue.) The goal is to develop an awareness of the center and how it is connected to the arms and hands.

With an altered focus toward centered movement, one should strive to realize power from the center. The arms are connected to the center through the upper chest and shoulders. Through this connection, the center supports the arms and hands. Without this connection, the arms fatigue quickly because of excess muscle tension required to support the arms using only the shoulders. This concept of centredness comes + quickly for some and slowly for others. However, once it is tapped, the student will realize a new dimension to juggling.

And so, as a performer and as a juggler, continue to explore and search for the key to this power source - a supply that can give color to characters, dimension to stage presence and strength to movement.

This paper will introduce my methods of toss juggling analysis for the professional or the professional to be. The serious juggler must see beyond throws and catches to the underlying technique and subtleties. When one works on a given trick, the technique can be broken down into five distinctly different levels:

1. Body Awareness
2. Rhythm
3. Pace
4. Placement
5. Speed

These levels are the fundamental tools necessary in the analysis of toss juggling. The implementation of this process will be discussed in the conclusion.

Posture -- The correct posture for juggling is a deceptively simple yet most crucial building block for even basic three ball juggling. The body position is fundamentally the same whether juggling balls, rings, clubs or manipulating any of the other variety objects. Even before the student picks up any balls, the preliminary lesson is to establish the correct stance. The juggler stands with the feet shoulder width apart, and the knees slightly bent. The arms hang relaxed and then the hands are raised, shoulder width apart, so that a 90 degree angle is formed at the elbow. The elbows should not point away from the body or be pressed against the sides, but should hand loosely, straight beneath the shoulders. Above all, this posture should be relaxed.

Most beginning jugglers will concentrate so intently on the objects they are throwing that they will unconsciously tense and distort the body. This extra tension only compounds their problem. The juggling posture is a very relaxed and natural stance that should provide optimal movement without the expenditure of excess energy.

1. Body Awareness

The point of concentration is the most difficult aspect of juggling to master. A naive approach to the thinking process of juggling might suggest that the juggler's entire concentration is on the apex of the juggling pattern. Although the top of the pattern is where the juggler watches, the focus of attention should be on the body. When thrown, the ball travels on a parabolic arc to the other hand. Every aspect of the ball's trajectory is determined by the hand that threw it. From the instant that the ball leaves the hand, the juggler no longer has any control over the ball's path. The point of control comes while the ball still rests in the hand. This "dwell time" is where the juggler must focus his concentration if he wishes to achieve any control over the destination of the throw. The ability to watch and gather pertinent information about the juggling pattern while concentrating on the throws themselves is the primary skill to be mastered by the juggler.

2. Rhythm

Each different juggling pattern has its own characteristic rhythm. Most rhythms are even, but a few asymmetric patterns require syncopated beats. Whether straight or syncopated, the important requirement is that the rhythm be steady. A perfect rhythm is necessary for a smooth and controlled pattern. The rhythm is established with the initial cycle and it is at this point that a steady beat is most crucial. The balls should be released from the hands at a steady rate. Depending on the difficulty of the trick, sometimes it is helpful to release the balls at a slightly faster pace than that of the actual pattern. Either when the flash is in time with the pattern rate or when the flash is faster than the pattern rate, the rhythm is steady.

3. Pace

Pace is probably the most illusive of the five levels of analysis. Many beginning jugglers get pace and speed crossed and find learning tricks with larger numbers more difficult than need be. With three, four or even five balls, a fast pace is not crucial, but it is very desirable. With six or more balls, a fast pace is a necessity. Pace is determined by how long the prop stays in the hand. Thus, the juggler wants to minimize the time that the ball rests in the hand and maximize the time that the hand remains empty.

4. Placement

Placement is simply the point(s) where the balls are intended to reach the apex. When working on placement, one is actually working on the body position since it is the body which influences the arc of the ball. At this point in the hierarchy, subtle variances in the overall pattern position should be analyzed.

5. Speed

Varying the speed of a trick without changing the pace, simply dictates that the height of each throw be either raised or lowered. The most comfortable speed for a given trick should be determined by the individual juggler. Any deviation from the optimal speed should be strictly for visual and artistic effect.

Conclusion

This analysis of technical juggling is one that can be used by the juggler as well as the coach or trainer. The hierarchial checklist provides a clear progression for the juggler to follow. This progression should be approached in its correct order. Each level builds on the assumption that the previous level has been developed and any bugs in the juggler's technique concerning the previous level have been worked out. This does not mean that once the juggler demonstrates satisfactorily on a given level that this level is checked off permanently.

On the contrary, technical juggling requires constant maintenance. The juggler might be working on developing pace for a certain trick, yet at the beginning of each practice session he might have to backtrack and rework posture and rhythm. Keeping this method of analysis in mind, the juggler can efficiently and quickly attain higher and more complex juggling skills.

The Birth of a Sport

For centuries juggling has entertained audiences all over the world. As an art form, and as a performance medium, juggling has withstood the test of time. There are records of jugglers working for the crowds in many different cultures dating as far back as ancient Egypt. One cannot even begin to imagine how many people have watched and wondered in amazement at what seemed to be an impossible feat -- juggling.

Until recently, the juggling skills were exclusively passed down from generation to generation. This skill, to the performer who makes a living at it, was a very well kept secret. Outsiders were not instructed or encouraged to develop juggling skills on their own. Jugglers were private and exclusive about their work.

One of the major changes in this attitude can be seen in 1947 when the International Juggler's Association was founded. The IJA's intent was to teach the art of juggling to any one who had the inclination and the motivation to learn. This organization produced a new kind of juggler, not one who needed to work at throwing and catching for his livelihood, but one who juggled for recreation. As the organization grew, annual conventions were held, separate chapters began to organize and competitions became popular. In the 1970's, the IJA held the first U.S. Nationals competition and juggling was showing a new life, that of a sport. This new label has inspired a different approach in terms of learning for the juggler. A professional juggler now must not just be a manipulator, but must also be an athlete with a carefully planned training program.

THE TRAINING PROGRAM

The circus arts student must initially realize a training program in order to maximize practice efficiency. The training program shall be used as a guide keeping both long term and short term goals in focus. Without a master plan, the drive of the student can become undirected and listless. The training program is by no means steadfast, on the contrary, it can be constantly modified and adjusted to meet the students needs.

The structure of the training program shall be introduced in two levels. The first level is the annual calendar. This schedule takes the form of pre-season, main-season and post-season. This level will be discussed later. The second level looks at the program in more detail, concentrating on the specific issues which need to be assessed by the student. The training program must prepare the student for the tasks ahead. The most frequent element of this preparation is practice. The focus of practice is to rehearse and build skills. In addition to practice, the student must develop the body. Physical training must be constantly expanded to enable the student to be able to learn new skills. Often these issues are not clearly seen by the student and outside assistance is needed.

Athletes in many other sports, such as basketball, soccer, golf, etc. typically work with a trainer or coach. A point of view outside the athlete's is an invaluable tool for the athlete. The responsibility of developing and maintaining the training program is lifted from the athlete when a coach or trainer is available. This leaves the athlete more able to focus on himself. The athlete should only need to concentrate on the tasks at hand and not concern himself with the overall training program.

Most students of the circus arts are not in the position to have a second person present to guide the training program. It is in this situation that self-analysis has to be a substitute for the coach or trainer. When training alone, the aspiring juggler must don the hat of trainer, coach, athlete and performer. This feat can often be a greater juggling act than that with the actual props.

The different roles that must be filled, whether by the juggler himself or by some other person, will be discussed individually. Those considered include the trainer and the coach. Each of these "people" play a crucial role in the development of the juggler's skills. One should note that in addition to these, there are other roles that are involved in the performance process. Other hats that may need to be worn by the circus arts student involve the jobs of the writer, director, actor, scenic designer, set builder, prop builder, lighting designer and performer. These do not pertain directly to the juggling skills and will not be covered within this text.

THE ROLE OF TRAINER

The body is the juggler's ultimate tool. It is through physical contact with the environment that the juggler manipulates objects and develops his craft. With the image of the body/tool, it is clear that within the training program, there must be an emphasis in the development of the body. Strength, agility and coordination are all facets of the body/tool that must be worked with by the trainer.

The Role of Coach

The role of the coach is one of a benevolent dictator. The coach must be able to listen to suggestions and consider them, but ultimately have the final decision about procedure. It is through a strong ruling hand that the coach earns respect and confidence from the athlete. This is the bond that enables quality work to be accomplished.

The coach provides the outside perspective, or "third eye". An objective opinion is required to keep the training program in perspective and on track. Often the student will be so focused on the specifics of the work (which he is supposed to be), that the student loses sight of the bigger picture. It is the coaches responsibility to keep the big picture of the training program in mind and monitor the student. The coach must be on the look out for potential injuries, burn-out and inefficient use of time and energy. Often the coach is able to prevent these problems by keeping the student from pushing too hard. On the other hand, the coach must be prepared to motivate and drive the student to the limit of the student's abilities when the student's desires falter.

Analysis

Self analysis is vital for the technical juggler. Juggling is a complex skill that requires concentration on many different levels. Technique analysis provides a method for the juggler to efficiently divide a large and involved task into smaller and more manageable ones. This "divide and conquer" philosophy is a common approach to problem solving in fields other than juggling. The technique checklist provides a step by step problem solving method for the self-coached juggler. It helps the juggler identify the problem and take corrective action.

By recognizing the different roles that must be filled, the student may be more prepared to change perspective when analyzing himself. At one moment, the student might have to realize the role of the coach and correct his posture, or realize the role of the trainer and note that he needs to work on flexibility to complete a certain move. If the roles of coach, trainer and athlete are clearly defined within the single mind of the student, he will be more equipped to accurately self analyze and develop proper corrective measures.