portrait - gandini juggling project • hands on

PORTRAIT - GANDINI JUGGLING PROJECT •
HANDS ON - PALM ROLLING •
FLIC FLAC - THE NEXT GENERATION •
c o n t e n.t . s
....::
....
FEATURES
4
EUROPEAN CONVENTION
8
MANAGEMENT SKILLS
11
UNICYCLING
14
CIRCUS
18
NEW GROUND
PORTRAIT
26
THE GANDINI JUGGLING PROJECT
HANDS ON
32
PALM ROLLING
34
CLUB SWINGING
38
STREET PERFORMING - PART 2
THE REGULARS
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23
BOOKS
30
ODDS&SODS
40
CONVENTIONS AND EVENTS
K*
46
FEEDBACK
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48
SMALL ADS
s\'m~o,o1
49
SUBSCRIPTIONS
50
MEETINGS
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Kaskade/32
Front Cover: Sean Gandini
Photo: Aidan Kelly
editorial
0
NIGHT-LIFE IN TENT CITY
If you were in Leeds, you can re-live the
thrills. If you didn't go, you can find out
what the fuss was about.
By the way: The Sunday Kaskade was there
too.
Plus a foretaste of the 1994 Convention and
news from the ETA.
0
JUGGLING AS A BUSINESS
Tips from the Kooperation
Kasseler Artisten on the
organisational aspects of being
a professional performer:
management, office
organisation, agencies......
fl
ON THE WALL
N
o, I am not able to introduce you to your new Kaskade editor. But my little job ad in the last issue did
prompt a number of you to write in, and it soon became clear that each one had something valuable to contribute.
Graphic proof of that is the work of Jens Eden from Bonn,
who designed the new layout. Less conspicuous but equally
important is what I like to call the "team of international correspondents". Anna Jillings will report from England - in
this issue she writes on her speciality, club swinging. Eva
Corbella has agreed to take on responsibility for Spain.
Wolfgang Schebeczek has his ear to the ground in Austria.
Tommy Alles is our roving reporter-cum-photographer in
Germany. And Eva and Wolfgang from Duo Wirbelwind
have promised to come up with an article in each of the next
issues.
To fill the gaps in our international coverage, we're still
looking for correspondents in countries like Switzerland and
France. Come on, we know you're out there ... It's not a fulltime job, it just means keeping your eyes and ears open and
reporting back every three months on what they picked up.
Anyway, I was very pleased with the response. Working
in a team, even if it's spread over hundreds of miles, is already twice as much fun, and if things go according to plan you
will soon notice the difference, not only in the appearance of
Kaskade but also in the content.
So what are your· New Year resolutions? Have a good one,
anyway!
Boni & Caroli in
China for the Great
Wall Marathon.
Plus: a recordbreaking TandemUni and other
monocyclical titbits ...
I
I
~
THE HERE AND NOW AND THE UP AND COMING
Copy deadline for No.33: 15 January 1994
No.33 due out in March 1994
I bought my Kaskade from:
We report on Circus Flic Flac, the European Circus Youth
Festival in Wiesbaden and the Moscow Nights variety
show.
e
FROM SPAIN TO LATVIA
- what moves jugglers. Ideas,
activities, experiences.......
32/Kaskade
3
FEATURE
N
g h t
I EUROPEAN CONVENTION
e
f
n
From 1-5September1993, Leeds played host to the 16th European
Juggling Convention. It will probably go down in history as the
Convention of Renegade Shows.
City
I
Photos on pages 4-7:
Tommy Allen
Peking Opera
4
Kaskade/32
s this really the place? The night
before the convention and everything pitch dark, not car or
van in sight?? Wait a minute there's a light on over there, and
a couple of familiar faces, the reception desk. Aba, so there's
another part of the convention,
on a different site? And that's
where the night-life is? Shuttle
buses start tomorrow? Ab well,
with a convention of 2,200 people you can't be everywhere at
a
once anyway, but here you had
to decide between two conventions:· the one with the gyms or
the one with the tents.
As it turned out, most people
used the gyms as the daytime
convention venue. A seething
mass of clubs and people, huge
queues at the reception desk,
brilliant sunshine, long workshop timetables (if you wanted
to take things seriously, you
could learn a lot here). The real
obsessives c.ould spend several
hours a day immersed in the art
of the Peking Opera, or compete in one uni-hockey tournament
after another. But if it was food
you wanted, you had to wait till
evening: if the food tent on the
60 hours of
Open Stage
other site was exceedingly good
(you're right about that, Sunday
Kaskade), the on-site canteen
was exceedingly bad.
Night-life in tent city. Music,
Renegade, the Open Stage, and
the UV tent for the indefatigable. What? That little tent for the
Renegade Shows? Exactly, the
smaller the better: cosy, personal, oozing with atmosphere.
Every night two Renegade
Shows running simultaneously
into the small hours - a total of
more than 60 hours featuring the
peak of entertainment ... and the
pits. A healthy mix. Here you
-could see acts that would have
qualified for the public show in
"the good old days": improvised
parodies of convention events,
such as the "Yawn Gandini Project" (clashing metal, someone
reading a dictionary aloud,
someone else gracefully transporting a bottle of champagne
from one side of the stage to the
other) or the Ping Pong Opera.
Or perhaps the Open Stage
F EA TU RE
I EUROPEAN CONVENTION
Sem and Teresa Abrahams
happy till the games started. In
fact, the games provided the
only occasion when you got the
feeling you were experiencing
the whole convention at once and judging by the atmosphere
there, it must have been a really
good convention.
What did Joe Public have to
say? Well, the people of Leeds
went about their business unshould have been renamed The
Peewee Show. Peewee was one
of the comperes, and at least 30
hours of sbowtime were in bis
capable bands alone. The best of
British humour, always ready
with a spontaneous comment on
everything that happened in the ·
tent. Yet at the same time, be
was able to leave the stage so
completely free for the next act
that they were sure to get a warm
reception from the audience.
Peewee didn't turn the whole
thing into a one-man show - be
extended his admiration and respect to every other performer
who ventured onto this difficult
stage, whether it was Oliver
Groszer who brought the tent
down with bis show, ending with
the famous teaspoon and cigarette tricks, or whether it was just
some piss artist who felt the urge
to make a spectacle of himself at
4 in the morning.
But no, let's keep the name
"Renegade". After all, what
would the shows have been
without those little bottles of Renegade Juggling Elixir to keep
us going?
Public Show. Well, every
convention must have one, I suppose, but this time it wasn't very
public. I reckon you could have
counted the locals on the fingers
of one band. The beautiful thea-
tr~ could "only" bold 1500 people, so even the jugglers were
forced to watch in shifts. There
were some good acts in the
show, no doubt about it. Like
Gregor, from the Montreal circus school, with a very amusing
3-ball routine perfectly set to
music; the Sean Gandini Project; or of course the impressive
scenes performed by the Peking
Opera. But somehow the "feeling" was missing - it turned out
to be a fairly straight variety
Public Show
without the public
show (and in front of an audience consisting entirely of jugglers, the nightmare of any professional!). People never really
got into the mood. Why did the
Gandini Project come across so
much better the next day in the
middle of the gym? Because that
was where the real convention
was happening. The public
show was more like a fringe
event.
Parade and games. Well, "parade" would be a bit of an exaggeration, but a few bods did
stroll through the city. Luckily
the Cardiff juggling group had
thought up a few activities
- games with a parachute and a
giant globe - which kept everyone
Gaps fost
creativity
disturbed. Like the council workers who came to paint the lines
on the football pitches where the
tents were standing. They dutifully painted up to the tent, left a
little gap for the tent-wall, carried on inside till they got to the
other side, then went back outside and canied on phlegmatically as though this sort of thing
happened at the start of every
season. Now, as every juggler
knows, gaps foster creativity, so
who knows? - maybe the next
set of footballers got the message!
One workshop took place in
HM Prison Leeds (a dreadful
building, aptly designed to look
like a cross between a fortress
and a factory), which took a few
jugglers beyond the confines of
the convention. Grateful for a
stimulating break in the monotony, the inmates returned the
compliment by giving their own
kind of instruction - like the best
way to break into different
makes of car.
A final word to sum up? It
isn't easy to settle into a convention as big as Leeds was, and
there was plenty of whingeing
on the first couple of days. But
people who were still complaining by Sunday evening had obviously missed the point - and
the convention. You have to ask
yourself why you go to binges
like this. My research suggests
that the amount of time spent
juggling is inversely proportional to the number of conventions previously attended. When I
asked people: "Have you done
any juggling while you've been
here?" they usually said no. So
here' s a tip for the next team of
organizers. Why not set up a
drinks dispenser and a few
chairs at strategic points all over
the site. That would certainly
save gym space.
Money is always a difficult
subject to broach. For the first
time in its history, the convention has actually managed to lose
money, and the organizers are
seriously considering not paying
back the EJ A loan. That is not
exactly the best of news in the
ears of the Hagen organizers,
who would then have to look
around for other sources of advance financing. We probably
haven' t beard the last on that
one. The Leeds organizers, who
invested a whole year of their
free time to build the convention, themselves very much regret
that things didn' t turn out the
way they bad expected.
Incidentally, a number of
items of lost property are still
waiting to be collected. If you
think you left anything in Leeds,
contact Steve Schofield, 42
Woodside Avenue, Leeds LS4
2QX. Unclaimed items will be
donated to a worthy cause.
G.K.
32/Kaskade
5
FEAT u RE
I EUROPEAN CONVENTION
Mass fire swinging routine, clwreographed and taught at the
Convention by Anna Jillings of
Cosnws Jugglers.
Anna sends her thanks to the 29
fabulous club swingers wlw took
part in the presentation.
If anyone would like a sheet of
nwvesfor the synchronized routine, send an SAE to Anna Ji/lings, Cosnws Jugglers, Brinkworth Park House, Elvington,
York, Y04 5AT, England,
Tel. (44) 0904 430472.
1994
The Sunday Kaskade was there
This year, like every year, your
Sunday Kaskade sent a team of
independent, incredibly well
disguised convention inspectors
to the European JC in Leeds.
Here is their official, uncensored
report:
Equipped with various mock
clubs as camouflage we approached the site from a northerly
direction, covering our tracks as
we went. The site itself was conveniently situated one-and-ahalf walking hours from Leeds.
The unemotional reception at
the gate proved the effectiveness
of our camouflage.
After receiving a thoroughly
original convention badge, we
had access to the entire site and
were free to look around as we
pleased. On the huge grounds
we found tents had been pitched
in a totally unsystematic fashion, the smaller ones apparently
intended for private use, the
somewhat larger ones occasionally used for events such as the
open stage, the sale of drinks or
the presentation of black light.
People with pretty-coloured
shirts with the word "Security"
emblazoned on them showed a
spontaneous interest in us and
6
Kaskade/32
our thoroughly original badges.
However, any attempt to engage
these fellows in conversation on
the vagaries of life on the stage
proved fruitless from the outset,
as these people had more important things on their minds - like
the presence or absence of our
Exceedingly good
food tent
thoroughly original badges. It
was three days into the convention before we noticed, on emerging bloated from the exceedingly good food tent, the
absence of a juggling hall.
Experienced conventioneers
that we are, we set off early on
Thursday evening from the exceedingly good food tent in the
hope of ge~ting to the public
show on time. It should be mentioned at this point that Leeds is
probably the only city which has
succeeded in filling 6 miles with
nothing - absolutely nothing apart from a second convention
site, where, as we were later to
discover through conversations
in the e~ceedingly good food
tent, there were indeed juggling
halls. Two ... small ones ... one of
which was guarded by unicyclists to make sure that nobody
juggled in it, and the other was
closed in the evenings.
Well, what can one say about
the public show. "Interesting,"
my granny would have said. At
any rate, the discussions afterwards in the exceedingly good
food tent revolved around other
subjects (the term "loo paper"
kept cropping up). As we were
too late to get tickets for the parade, we had no choice but to
spend the time in the exceedingly good food tent. All in all,
an exceedingly good food
te ....er, sorry, convention.
Your intrepid Sunday Kaskade
reporters
Help, Ws up to us now
... and up to you too. It won' t
be Unna after all. The 17th European Juggling Convention
will take place from Tuesday, 2
August to Sunday, 7 August
1994 in Hagen near Dortmund.
We' re trying - like everyone
who has gone before us, I suppose - to do everything differently. The early timing is not
the only new aspect, we've also
thought of a few new ideas.
What we now need is people
who are willing to help us run a
rather more labour-intensive
convention from the organizers'
... and up to you too
point of view. If you' re interested, please get in touch. We
have plenty of jobs to hand
around: decorating the hall, putting up signs, running the games, etc., etc .... What needs to
begin soon is contact-gathering
- people with tents, caterers, etc.
There will also be the opportunity for one or possibly more
shows in the city of Hagen, both
before and during the convention. So solo and group performers who are interested in being
in the shows should send us their
publicity kits as soon as possible.
We're not sure how the public show is going to be organi-
FEATURE
I EUROPEAN CONVENTION
easy, and here is why:
The three candidates were
Lisbon, Goteborg and Hagen.
Lisbon is where the jugglers
wanted to go, but there isn't a
group of jugglers living there
and we did not want to take the
risk of relying on southern po-
in the French EJA account that
is on its way to Amsterdam, but
when that arrives it must be sent
directly to Hagen. As per the
new statutes, , the EJA must publish its yearly bookkeeping in
January, and this will appear in
the next issue of Kaskade and
The Catch.
Office now open
zed, but if you want to be in it,
please send us a video or your
publicity material.
And here's a competition to
end with: We're still looking for
a convention logo. If you have
any ideas, why not send them in.
The deadline for entries is 15 January 1994. The winner gets a
year's subscription to Kaskade.
Contact address for all correspondence is:
Werkhof Hohenlimburg e. V.,
c/o Achim Schartl, Herrenstr. 17,
D-58119 Hagen, Germany,
Fax: (49) 02334/40998.
EJA update
The EJA office is now up and
running. We have established a
legal foundation in Holland.
Anyone interested in reading the
statutes of the EJA can write to
our office and receive a copy.
There has been more contact
then ever before amongst the
country representatives, and we
seem to be moving slowly but
surely in the right direction.
Every country representative
was consulted before Hagen
was chosen. Choosing was not
liticians again. The difference
between Goteborg and Hagen
came down to the fact that
Achini. Schartl of Hagen had
been working on his ideas
since April, while the Swedish
jugglers started thinking about
the idea only after Leeds. Since
his plan was already further developed, Hagen was the obvious choice. We hope the jugglers in Sweden will keep their
idea alive and arrive in 1994
with a more solid proposal for
1995.
Financially, the EJA is now
broke. There was a bit of money
At last, I want to invite anyone with comments or ideas to
write to the EJA. If you are thinking ab,out looking into the possibility of organizing the convention, get in touch and we
will give you all the help we
can. Also ask us for the name
and address of your country representative.
If you took a video at the public show in Leeds, please send
us a copy for the archives.
Lee Hayes, EJA, Jodenbreestr.
24-1, NL-1011 NK Amsterdam, Netherlands,
Tel: (31) 020 6239487,
Fax: 6203570.
Gratiskatalog
und
. tenerganzung
-...1euh ei
l""
anfordern
32/Kaskade
7
FE A Tu RE
I MANAGEMENT SKILLS
Se I I I n g
I
ourself
It is a well-known fact that to be a professional performer takes nwre
than technique and personality. The "Kooperation Kasseler Artisten"
(KKA) has tips on setting yourself up in business.
A
word of warning. If you
follow the advice in this
article, you might find
yourself exchanging clubs and
unicycle for a pencil and telephone or spending the next six
months in front of the computer.
But don't worry, the time for
practising will return (hopefully)
once you've got past the start-up
phase.
What are we talking about?
About making a living out of
what you enjoy most. But before we pass on our experiences,
a few words about who we are.
We're the KKA - Kooperation Kasseler Artisten, an amalgamation of what was originally
three groups (Clowns & Confetti, ArtBeat and Pulcinella's Circus), who decided to pool our
resources after a number of
years of "going it alone". The
purpose behind the KKA was:
to exchange information on festivals, courses and events; to coordinate stand-by arrangements
for groups who bad to cancel
gigs due to illness; to provide
mutual assistance in directing
new productions; to organize
joint activity/creativity weeks;
to share the rent on communal
training facilities; and of course,
to put on joint shows.
But it's not the shows we'll
be talking about here. What follows is a mixed bag of entirely
subjective tips (no guarantees!)
which may help you to take the
plunge from being a spare-timer
to professional.
Office organisation: A computer is not an essential office
8
Kaskade/32
tool - especially if you have no
idea how to use one (learning
takes time!), but what you do
need is a well-structured system
which fits your personal situation. All you really need then is
a pencil, a phone, a letter box, a
notepad and a shoebox filing system.
Let's start with your letter
box. Printed on this should be all
the names that might be written
on letters to you so that none of
them get returned to sender, unknown at this address (even the
Regular office hours
ones marked "To the Clown
with the Red Nose"). It's worth
a friendly word in your postman's ear. And of course, you
have to actually open your letter
box - every day! - and put the
letters in the first shoebox, marked "incoming mail". The other
shoeboxes should be labelled
"general info", "for attention"
and "ready to post". Talking of
"every day", we now come on to
what is, in our opinion, the most
important point: try to be in your
office (or have someone there
for you) every day. Even if it's
only from Monday to Thursday,
2-3pm. The important thing is
regularity (customers love it),
and of course that you reserve
enough time to deal with the actual amount of deskwork
coming in (difficult to predict, I
admit), and that you are always
ready to answer the phone during these hours.
'!;here are obvious advan-
tages to sharing the workload
among three or four people, but
also a number of drawbacks.
You all have to be well-coordinated. We've developed an "en-
Computer not
essential
quiry circulation slip" which
gets filled in each time one of us
does anything in connection
with a particular enquiry/contract. These slips contain blank
spaces to fill in the data required
to complete the contract, as well
as notes on what l?R material
has been sent - brochures, photos, posters - price lists, technical data, etc. It's also very important to note down when the
next contact should be, who
spoke to whom, and when you
expect the return of the contract
you sent off. In our office, these
completed enquiry slips (kept in
a shoebox marked "pending")
are read through every other day
(in theory!), to check for response deadlines. We stick little
labels on the new enquiry slips
(filed in chronological order) on
which each member of the KKA
signs his initials when he has
read the enquiry. The last one to
read it removes the label. That
way, we can always keep track
of who is in the know about
what.
The enquiry slips are also an
excellent way of noting down
the day of your wedding or your
holiday plans. It would be a
shame if you had to postpone
your own wedding because of a
cock-up (sorry love, contracts
come first). This way, the enquiry slips serve as a timetabling
system - not a super-fast one,
but complete with all the relevant data. Usually, though, it
makes sense to have a big wall
calendar as well, showing all the
dates at a glance. Oh, by the
way, the enquiry at the top of
your pile is your next gig.
All "expired" enquiry slips
(even the ones that didn't lead to
a job) are used as a customer
file. The simplest system is to
take the actual slips and sort
them into various categories
(e.g. agencies, local arts departments, schools, companies, ...)
and just keep adding new enquiry slips as they "expire". A
better system is to copy the de-
Update your data
tails onto file cards to be kept in
a good old shoebox. It's worth
the extra work involved in the
copying, as most people write so
badly while on the phone that
often the original enquiry slips
are barely legible. The file cards
should at least show the date of
. the last job, the number of jobs
so far and the (average) fee charged.
Perhaps, after all, the best solution here is to get a computer.
This means constantly updating
your file, perfecting your skills
with the form-letter function and
if possible hooking up your customer file to a date organizer.
Computer freaks should also do
their accounts on the computer.
FEAT u RE
Right, no more about computers ...
On the subject of accounting,
the simplest form of bookkeeping is a piece of paper with
income on the left (date, gig,
The art of
telecommunication
amount) and expenditures on the
right (date, item, amount, receipt
number). This is usually good
enough. Of course, don't forget
the shoebox with all the receipts
numbered consecutively. The
contracts, which should be filed
in chronological order, are in
themselves a record of your income.
If you use your private car for
business, you should keep a logbook. The tax law in Germany
anows the inland revenue to deduct a certain percentage of your
total company car expenses
which is assumed to be for private use. If you can prove (by
presenting your logbook) that
you hardly use the vehicle privately at all, you can set the full
mileage off against tax.
And now we come to the
most important part of your office duties: your telephone advisory service. You should adopt a
pleasant, friendly tone of voice
(practice makes perfect), give
the impression that you are sympathetic and competent, and definitely shouldn't act the "knowit-all, no-problem type". There
is an art to summing up the person on the other end within the
first few seconds of the call in
order to find the appropriate de•
gree of formality.
The best strategy is to let
them do the talking - but riotjus~
to spout forth: prompt them with
specific questions which will
help you to help them later on. It
doesn't hurt to have a few standard questions written on a crib
sheet in front of you, but try to
ask them as though they've only
just occurred to you. The questions obviously vary, but they often concern dates, the nature of
the event, the facilities at the
venue and the client's own ideas
of what he or she wants. It often
works wonders if you can slot in
a few "personal" questions, like
how the new warehouse is
coming along, ... - questions about the organizer's current problems do a lot to build up an atmosphere of trust. Only then do
you go on to discuss money. If
you're already booked on the
date in question, keep
asking anyway. The caller might
be 'someone you would want to
keep in your customer file for
future reference. And anyway,
you will then be in a position to
judge which fellow performer
you could suggest in your stead.
But to return to the phone
consultation: Don't try to evade
questions about the fee, but
make sure you have all the information you need before naming a price. The price has to be
quoted in clear terms on the
phone. For us that means that,
once we've established what
kind of gig they want, we categorize the customer as either
low, medium or high fee potential and quote the standard fee
for that category. You also have
to know your technical data off
by heart in order to give precise
information. Since the KKA offers a total of 16 different programmes, we just have to sit
down and memorize them all.
One more tip to finish up
with. Practise the phone consultation as a role-play. Why not
ask Auntie Flo to pretend to be
the caller?
Pleasure and pain
with agencies
I MANAGEMENT SKILLS
pain of working with agencies.
But if you keep to a few basic
rules, the result can be mutually
satisfying.
Agencies organize jobs for
you and get paid commission,
which is either obvious (e.g.
15% of your net fee) or undisclosed - i.e. the agent gets a fixed
budget direct from his or her client and spends it on entertainment as he or she thinks fit,
pocketing for him/herself wha- .
tever remains after the costs
have been covered.
Agent A would obviously
like to sell his artists for as high
a fee as possible, because then
his 15% is worth more. Agent B,
on the other hand, would like to
book you as cheaply as possible
to keep his profit margin as big
as possible. The way we see it,
circumstances force Agent A to
treat you relatively fairly; not so
Agent B, although they can often be very friendly (hello Peter,
hello Thomas).
The best tactic is to work out
three different fee levels: a minimum, medium and maximum
fee, and request that the agent
pay you a medium-level fee as
take home pay (i.e. his commission and other expenses extra).
A propos prices: no-one should
be ashamed to ask a different
price from a kindergarten than
from a car showroom.
So much for the first instalment of tips to get you going as
an independent performer. In the
next issue of Kaskade we'll be
talking about contracts, forming
a company and insurance. And
Part 3 will be about advertising
and publicity, as well professional training.
THE BOGGLE MAN H(YI'
FOOTING IT TO BUY HIS
CHRISTMAS BARGAINS
Boat loads of circus
equipment.from the
sublime to the·
rtdirulous.
Huge newly painted
practice room to try
It all out
Entertrunersfor hire
for any function
large or sma!L
Face painting aduise
& lnstroctton.
Christmas frioolittes
galore!
Special workshop
packages of equipment at great prices.
Brand new free
winter catalogue plus
ultra efficient mall
order service.
Dirk Kolberg, assisted by Joachim Wondrak and Olaf K.
Spiers, Kassel, Germany
Agencies: Many a tale could
be told about the pleasure and
32/Kaskade
9
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Tel.: (07 21) 35 94 03
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H
FEATURE
I UNICYCLING
Double take on a single wheel:
Did that uni have two saddles??
Klaus Bartl of Munich tells how
his tandem-uni (nearly) made it
to Vienna
REC
0
0
RD
•AND
nee upon a time in the
capital of Bavaria two
non-identical brothers
(Roland, 23, and Klaus, 26)
were suddenly overcome by the
uncontrollable,
unstoppable
urge to be registered not only in
the telephone directory but also
in the Guinness Book of Records.
After some thought we hit on
the perfect solution: a recordbreaking ride on a tandem
unicycle from Passau to Vienna
The idea was for one (moped)
tyre to carry two people no less
than 250km along the banks of
the River Danube. In fact, 10
metres would have been far
enough to get us into the Guinness Book of Records. But we
didn't want to make things too
easy for those who might try to
follow in our tyre-tracks!
No sooner said than done.
Everything - apart from a few
insignificant details (which unfortunately turned out.to be significant) - having.been prepared
in proper workmanlike manner,
we set out in the early morning
of Thursday, 27 May. We soon
discovered that in the humble
body of the green Opel Kadett
(and in our experience, only green
ones will do) that was to take
us from Munich to Passau,
slumbered the mighty soul of a
juggernaut lorry. Besides ourselves and our trusty seconds,
Peter and Rudi, we were able to
squeeze in: one very bulky tandem uni, a six-foot giraffe, a regular unicycle, an ultimate
wheel (Klaus insisted on taking
it along "to unwind in the evenings", a complete "4-person
juggling kit", at least two tents,
several sleeping bags and foam
mats, four big travelling bags,
•BALL
B
R
E
A
K
N
G
. two whales and a horde of marmots. I suppose after all it was
lucky that our vehicle had three
wheels too many ...
After a long and arduous
journey and a short routine interview for Passau' s local TV
station, we finally said goodbye
to our umblemished backsides
and hit the saddle. From then on
it was ride or bust. from early till
late. Four people and three
wheels on a quest to discover the
answer to the eternal question:
"Why the hell are we doing
this?!"
The journey was broken only
to satisfy the urge to take on
Entry in the Guinness
Book of Records
nourishment. by a few involuntary dismounts (often followed
by a gentle slide down the em bankment), and occasionally to
engage in vital gymnastic exercises for certain parts of the anatomy ala Sumo wrestlers.
After many hours of riding
and rocking on a monstrosity
that was never seriously intended as a means of transport. we
finally reached the campsite
where our supply truck and tents
were waiting for us.
The second day of the tour
welcomed us with a light drizzle. We unanimously.agreed that
this was a somewhat irritating
way to greet the common unicyclist. Was someone trying to tell
us something?
Not to be deterred, we defied
the elements and bravely mounted our unicycles. In a matter of
milliseconds, Klaus, Roland and
an unidentified piece of gardening equipment were lying in a
A tandem-uni goes solo
heap on the road. We had never
tried to ride a tandem uni under
conditions approaching zero
friction before. It seemed impossible.
· However, on the 1027th
attempt we started to get the
hang of it. Nothing could stop us
now! Except... then Roland had
a brilliant idea. A towel stuffed
down your trousers is the ideal
protection for whatever else
you've got in. there. It looked
disgusting, but after a while we
were all doing it.
After 80km we were just
short of Linz. The world record
was well and truly ours, and
surely would not be beaten in a
hurry. The official application to
the Guinness Book of Records
was already on its way.
But then we were forced to
give up. This article had no faith
in our ability to stay the course,
and ends abruptly here.
P.S.: For the people who
were sitting around the campfire in Ulm:"... in a second-hand
shop"
32/Kaskade
11
FEATURE
I UNICYCLING
Boni & Caroli, Spain's wellknown unicycling and juggling
reatWALL
duo, rode the Great Wall
Marathon and lived to tell the
tale. Here it is.
c
H
Marathon
N
A
s
•
0
N
E
• w
e got the invitation for the
marathon by the International Unicycling Federation because we had taken part in the
3rd International Unicycling
Championship · in Tokyo. We
were immediately interested and
we asked for an official letter to
apply for a grant from the Spanish Foreign Office. The answer
to our request was positive. We
were very much looking forward to it, because our participation in the Unicycling Championship was very successful
and the organisation was perfect. Our objective in all the
meetings is to learn, to exchange ideas and to enjoy the experience. Japan was different from
the usual meetings because of
the competition. It gave us another point of view, and we made
tremendous progress in technical aspects.
In China, unicycling is a new
expanding skill and the Chinese
learn quickly. Japan, where
unicycling is already taught in
all schools, is helping in the expansion by introducing it as a
sport and China has the perfect
ideology to learn it. In only two
years, hundreds of people are
now riding daily. So it was the
right place for the marathon to
promote the skill.
Out time in Beijing was really exciting. There were 200 of
us staying in a hotel. The opening ceremony began with the
usual speeches form the local
politicians and members of the
Organisation, then a very serious parade-presentation. It was
all done strictly according to
protocol, as if we were in the
Olympics. The ceremony closed
W
12
Kaskade/32
H
E
E
L
• F
with an exhibition by the participants and other groups. The
next day we rode the 400m,
lOOOm, 1500m and 400m relay
races. The following day we
Unicycling - an
Olympic event?
went to the Great Wall and on
the wall we took part in the
lOkm marathon. Finally we
entered for the lOOm race along
the Great Wall.
The last day produced some
funny situations, especially during the award ceremony. The
event was bigger than the Chinese organisers bad planned,
and some medals were accidentally given to non-prizewinners.
We received six medals. One
gold for the lOOm along the
Wall and two for artistic performance. We also received some
in the other races, but the important one for us is the gold for the
artistic interpretation in which
we are really specialists. Wenever train for races. We come
from a theatre background, so
we are unicyclists making dramatic actions. The rest of the
medals look very nice in our
dossier.
Unicycling skills deserve
much more promotion. To ride a
unicycle is easy, but to move
with it as if it were an extension
of your body is hard work.
Schools are the right place to introduce it to everybody.
Japan and the USA are planning to present unicycling as an
"off' section of the next Olympic Games. They may be preparing the way for the first Olympic Unicycling Championship.
A
M
L
y
The spin-off from Olympic status, especially in these pioneering countries, could be unbelievable.
Boni & Caroli were interviewed by Eva Corbella, FAE,
Barcelona, Spain
GERMAN
OPEN
The 1st German Open Unicycling Championships were held
in Bottrop on 23 and 24 October
1993. Organized by Sammy
Hellwig, as representative and
official of the IUF Onternational
Unicycling Federation), the
event was a huge success. 85
,participants from all over Germany, as well as from Switzerland, Belgium, England and
Denmark, competed for the medals and the title of German
Champion. Outstanding performances were shown in all 12 di"
sciplines. The Dtisseldorf Hurricanes dominated the races,
whistling down the track like a
real hurricane. 14-year old Jana
Rossner became Germany's
queen of uni-mounts. Klinge
Inge Bremer and Maseraty
Schultze dominated the individual freestyle competitions,
while Sammy and Maseraty
took the pairs freestyle title. The
fastest sprinters over lOOm were
Gaby Bykowski in 22.64 secs.
and Michael Pikelj in 18.09
secs. Deserving of special mention are the one-foot experts, sisters Steffi ·and Melanie Dub-
FEATURE
berstein and Lady Fesser in the
walk-the-wheel race, worthy
champions one and all.
Promotors, organizers and
participants agreed at the end
that it had been a very satisfactory event and are already planning the 2nd German Championships for October 1994.
Sammy Hellwig, Cologne,
Germany
I UNICYCLING
IUF
GERMANY
From 1 January 1994 there will
be an official IUF Germany.
The IUF is the apex organization of all national unicycling associations. All the international
competitions are held according
to IUF rules.
IUF Germany will produce
the quarterly magazine Uni rider
for its members, and will also
circulate news of events, rules
and other information.
If you're interested in joining, please write to:
"k 60cm diameter (I Okg)
Desmond Miller, IUF Germany,
Gutenbergstr. 68, D-50823 Koln.
"k Brilliant colors or glitter.
"k Strong polyethylene
•
Great for teaching!
"k 11 Ocm diameter
(3Skg} Excellent
Circus/Theater size.
construction.
For ordering information:
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PosTFACH
D-48035
6648
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32/Kaskade
13
FEATURE
I CIRCUS
The perfect blend of nostalgia
and avant-garde. Is Flic Flac
the first of a new breed of "new
circus"?
T
H
E
• N
E
FLiC FLaC
x
T
• G
E
N
E
R
A
T
0
N
Alexander Rizaev
Photo: Flic Flac press service
ting cost-cutting measure). Not
only the kids are blown away by
the BMX rider who turns somersaults on and off the halfpipe that only just fits into the
tent, an act that is perfectly at
home alongside the ballet-like
Grandma's circus
is dead
ircus Flic Flac is still a
very young company,
yet after only four years
on tour it has already started to
make a lasting impact on the
German circus scene. Without
the aid of mass-media advertising, Flic Flac seems to become
a household name even in towns
that it has yet to visit, simply on
the strength of its programme.
Flic Flac itself aptly decribes
the programme as a "compact
C
I4
Kaskade/32
circus show with a nuance of the
avant-garde, a hint of nostalgia".
The nostalgia is mainly to be
found on the outside - beautifully
painted wagons and fences - forming an interesting contrast to
the modernity of the show itself.
Contemporary music accompanies most of the acts (this was
one of the few circuses where
the use of taped music seemed
to me to be appropriate to the
show, rather than just an irrita-
handstand acrobatics of Alexander Rizaev of the Russian State
Circus. One top-class act follows another, linked by likeable
clowns (not so much.in the classical sense - comedians might be
a better word), who are not averse to a political aside now.and
again.
Flic Flac refuses to join the
"romantic dream" bandwagon
of German circus, and is firmly
rooted in the here and now - as
was shown by the concluding
remark that "without foreigners
this show would have been over
after the third act'', followed by
a short statement condemning
racism.
The most impressive act all
but defies description. The socalled "Wheel of Death" is presented by the founders of the circus, Benno and Lothar Kastein.
Try to imagine a huge swinging
contraption (like one of those
funfair rides that tum your stomach just to watch) stretching to
the roof of the big top. At each
end of the swinging arms, human-sized "hamster wheels" are
fixed to the structure so that
when a person starts running inside them they set the whole apparatus in motion. The two artists run around opposite wheels,
which are soon spinning so fast
that they have to leap rather than
run just to keep up with their
wheel. Yet they don't just run
around inside the wheels - they
actually climb up on top, which
means that they have to duck at
the top of the circle to avoid hitting the roof of the tent! Utterly
breathtaking!
Unfortunately I didn't get to
see the show until the end of the
season, so I can't tell you to go
and see it for yourselves. But my
tip is - make a point of catching
Flic Flac next year, because
even if some of the acts have
changed, I'm certain that Flic
Flac will remain true to its slogan: "Grandma's circus is dead.
Long live Creativity."
G.K.
FEATURE
I CIRCUS
r-
The circus youth of today,
putting their elders to shame.
WIESBJDEN
Report and photo by Helmut
Klinkenberg
CIRCUS•YOUTH•FESTIVAL
he 7th European Circus Youth Festival was
held in Wiesbaden from
22 - 24 October 1993,
and it seems as though the festival finally came of age this year
as an event of international standing. Never has the standard of
acts been higher. Wiesbaden no
longer needs to hide in the shadow of Paris - on the contrary.
The City of Wiesbaden put a lot
of care and effort into organizing the festival, and other festival organizers could learn a
thing or two.
The Golden Award in the under-15 age group ·went to 13year-old Laurent from Switzerland, who put in a highly
competent performance as Diabolo Veneziano. The climax of
his routine was a fire diabolo (a
catherine wheel on a string) in a
completely blacked out big top.
He also won the "Variety of the
Future"-Award, presented by
the Tigerpalast. This prize is
coupled with a four-week booking at Frankfurt's Tigerpalast
variety theatre.
T
The Silver Award went to
Maxim Kriger from Omsk in Siberia for his rola bola act in folklore style. His crisp performance made balancing on several
rollers-at once look easy.
In the over-16 age group it
was the Wheelies from Sweden's Ludvika Mini Circus that
made the strongest impression
with their fast-paced unicycle
show. Silver went to Till Schleinitz of the State School for Artistes in Berlin. He presented a
combination of juggling and
acrobatics on roller skates.
Other prizewinners included
Los Bonitos from the Corelli
Circus School in Bonn with
their unicycle routine, and
Christopher and Dave from Rasalo
Youth Circus in Freiburg for
their original ring juggling act;
which shows that outstanding
performances by members of
community children's circuses
also gained the recognition they
deserved, and not just acts from
the professional milieu.
It is futile to discuss the rights
and wrongs of the results: that
was up to the jury to decide.
Though sometimes I was left
wondering why some of the performers went home empty-handed. Still, instead of trying to
find fault, we should be glad that
Germany now has a circus
youth festival with an international reputation.
Europaisches Nachwuchsfestival '94, 21.-23.10.94.
Contact address: Landeshauptstadt Wiesbaden,
Kulturamt, Wilhelmstr.32,
Germany, 65185 Wiesbaden,
Tel: (49) 0611/313773,
Fax:39495
Helmut Klinkenberg,
Hiinstetten, Germany
.....
Wriwi••
~
lhr Jonglierballe
in bester Qualltat und zu
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ictures
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Schillerstr.28 D-69115 Heidelberg
Tel. 06221- 24414 Fax.06221-163118
32/Kaskade
15
FEATURE
I CIRCUS
Perestroika opened new doors to
artistes in the ex-USSR. Tommy
Alles, Itzehoe, Germany,
captures the spirit of renewal
from below in words and
MOSCOW
Nights
pictures.
A
•
W
N
G
n the former Soviet Union,
the bar after a double somerjazz was for decades loosault just below the stage lights
is no more than three inches
ked upon as a degenerate
wide.
art form, but Perestroika
saw its triumphal return to
Duo Slobudenyuk - acrobathe people of Moscow.
tics on the slackrope. Whether
After so many years in which
on a unicycle or on a chair, you
everything was imposed from · would think Vladimir had been
above, jazz is an expression of a
00m and bred on the wire, while
sense of vitality and a new taste
his partner Olga disguised
that is developing from below.
Jazz stands for ·
Moskauer Nachte (Moscow
Nights), which had its German
a new vitality
premiere in Schmidts Tivoli in
Hamburg, presented a picture of
her obvious skill behind a mask
how Moscow has changed. Yoof clumsiness. Anatol Yavpyaung artists with the skills of tratev's act is a breakneck unicyditional circus, a saxophonist
cling show. He dispenses with
and a dancer merge the grace of
saddle and pole, and just rides a
the Bolshoi with the abrasivenwheel with pedals. And when
ess of the New York streets.
~
Russia is no longer a land of
Cossack dances and balalaikas it is a land of steel guitars, pop
idols and jazz. Moscow Nights
and Moscow Blues tell the story
of this city.
The show itself was much
more than a mere stringing together of amazing artistic feats,
it was a coherent choreographic
unit. As the curtain opened, the
audience found themselves
transported to the Moscow metro station Dzerzinskaya. Businessmen, prostitutes, a streetwise
kid with his ear stuck to a ghetto-blaster, and a mafiosi ambled
and danced their way across the
stage as the artistes revealed
their talents as character actors.
The physical skills on display
were everything you would expect from the Russian circus.
For example, the Moisseyevy
Troupe performed an elegant
and powerful act on the Russian
bar. The chance of landing on
I6
Kaskade/32
that gets too easy, he rolls a second one round in a circle and
jumps from one to the other
without interrupting the rhythm.
Rola bola double act Legostayev and Bugaizov combine
floor acrobatics and balancing
on the rolling board to form a
highly unusual routine: sometimes the bottom man would
stand on the teetering board
himself, at other times he would
hold it aloft for his partner to
stand on.
. The humorous side of the
Moscow Nights was in the capable hands of magic clowns Duo
Cube Triue and the Five Micos.
The kind of world class comedy
that has no needs of words.
Seven balls or clubs? Nine
rings perhaps? Who else could it
be but Sergei Ignatov? Mindboggling juggling from the
world-record holder.
All in all: Moscow Nights is
a modem Russian variety show,
a little more off the wall than
anything yet to come out of the
Russian metropolis. And the
combination of artistry and jazz
was every bit as exciting as the
publicity said it would be.
UNICYCLE
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Tel: 071 704 8228 Fax: 071 704 2577
FEATURE
I NEW GROUND
Clowns
2 Frontiers
-+.....
-+.....
·~
C
WF is an international bringing some joy and fun to the such a situation where humour
humanitarian organisa- refugee children, CWF also is the medicine and laughter the
tion, formed by clowns wants to bring the plight of such cure. Most of the camp's inhabiand by performers of other arti- children to the public eye, with tants are children, the majority
stic fields, which seeks to pro- informative bulletins, films of
No child
tect and improve the position of performances in the camps, and
refugees, especially children, in regular articles in magazines and
without a smile
newspapers.
camps around the world.
CWF wants to improve the
The association was founded of them orphans. A high rate of
psychological and educational by Tortell Poltrona, a Catalorii- psychological and physical tensituation of the children, and an clown, who im February sion exists among the people,
where possible the sanitary con- 1993 performed in a refugee but the need to laugh never dies,
ditions in the camps .
and so by creating smiles
CWF wants to send
instead of tears, even for
clown envoys with a
only a short period, we
smile and whatever else is
can raise the quality of
needed to help brighten
life in these de~essing
the hard, suffering days of
camps.
the children's camps.
This was not so easy
CWF will promote the
for me, as a performer,
raising of funds with the
since the audience was
help of live performanracked with bitter and traces, concerts, recitals, vigic memories, but once
deos and record sales,
I'd had one smile, the
books, paintings; subsilaughter followed gladly,
dies, and private donatias though the sun had
ons.
broken through the
CWF will endorse its
storm."
presence in the camps by
May saw the visit of a
collaborating closely with
first delegation, made up
other humanitarian orgaof Torten Poltrona,
nisations working with
Montse Trias and Boni &
PA LL A.SS 0 S SENSE FR 0 NT E R ES
the refugees. Performan- PAYASOS
Caroli,
to the Bosnian reSIN FRONTERA$
ces or workshops if requi- CLOWNS SANS FRONTIERES
fugee camps near Zagreb,
CLOWNS WITHOUT FRONTIERS
red by such organisations CLOWNS OHNE GRENZEN
with suitcases full of
can be set up on request.
children's books,
AP. Corroua 5.162 08080 BARCELONA Tel.f 34.3) 450 48 37 Fa• 848 28 07
CWF is an organisaticrayons, balloons, sweets
on where the common binding
and of course performing props.
factor is compassion and love camp in Croatia as part of a pro- In the words of Ramon (Caroli):
for human beings and proclaims ject by the University of Barce- "The certainty of having eased
it
as
the
voice
of lona, "Education for Peace".
the suffering a little, the tangible
clowns and art.
Poltrona describes bis experi- joy of the audience and the final
CWF is conscious of the po- ences: "This performance, wat- applause that never seemed to
sitive influence that clowns are ched by over 700 people, most end - these were the greatest
able to bring to the world. Apart of them children, showed me rewards we could hope to have
from the immediate value of how valuable a clown can be in as performers. We'll be back."
18
Kaskade/32
And the campaign will go on.
Clowns Without Frontiers are
already collecting funds for the
next trip to Ex-Yugoslavia. A
long list of artists and institutions have signed up as sponsors,
including Dimitri, Switzerland,
Jango Edwards, Holland, and
Leo Bassi, Italy. Support of any
kind is of course extremely welcome. To keep the work going
on a long-tetm basis it would be
especially helpful if people
would be willing to make regular donations to CWF.
Contact address: Ap. Correus
5.162, E-08080 Barcelona, Spain,
Tel: (34.3) 4504837,
Fax:8482807
Bank account: "Clowns Without Frontiers", La Caixa,
Agenda no. 3131, Barcelona,
CC 2200129444, or: Banc de
Sabadell, Agenda no. 59,
Barcelona, CC 11111-20.
Eva Corbella, FAE,
Barcelona, Spain
FEATURE
I NEW GROUND
Riga
v i s i t s
n July the Gennan city of Bremen staged an International
Youth Circus Festival statt.
Besides various children's circuses from the Bremen area.
festival participants included
Ostsee (O)Lini from Stralsund
(ex-GDR), Circus Jauniba from
Riga and Circus Karussel from
St. Petersburg. The.director of
the youth circus from Riga. Vitolds Birkbans, describes bis impressions.
I
Participants of my circus
school, the youth ~ircus group
Jauniba were looking forward to
the day when they would be leaving for Gennany. But until then
there was much work to do. We
put in lots of extra practising
time to improve the quality of
the acts, in order not to be ashamed in Bremen. We practise a
lot- four times a week, approximately four hours a day. There
is no other way to get good results. Circus is a difficult and
very special art form. Besides
talent, it takes a strong will and
lots of patience.
Jauniba Youth Circus
Bremen
Now Latvia as an independent country bas economic and
financial difficulties, and we bad
to overcome many administrative und financial problems to be
able to come. But at last we
were able to embark on our long
awaited journey. After two and
Strong will and
lots of patience
a half days in the bus we arrived
in Gennany. On our way we
went to Berlin and walked about
town. We saw the place where
only a few years ago the Wall
stood, dividing Gennany and
many other countries.
In Bremen there was a reception committee waiting for our
bus. At once we were invited for
lunch. The first day was spent
preparing for the opening of the
Festival. It was a jointly organised circus show. The rehearsals
were arranged in such a way that
the different groups bad the opportunity to teach each other
new tricks. After the evening
perfonnance we arrived back at
Lidice Haus, where youth discos
were organised most nights. It
was wonderful. The time passed
very quickly, with each day
bringing lots of new impressions - a visit to a disco in town,
to the city's swimming baths,
etc., etc. The young artists'
beads were spinning from so
many new and different experiences.
The time of parting was approaching. The final gala perfonnance. Seven circus groups
participated in the festival, 130
people, all living in friendship
together to create one large united circus troupe. Throughout
the festival there was a friendly
atmosphere, a mood of laughter,
joy and happiness. To sum up, it
was a great holiday for the
young artists, and the audience
who filled the ball thoroughly
enjoyed the circus performances.
The festival is over, leaving
many pleasant memories be-
bind. I would like to thank the
organisers, the staff of Lidice
Haus, and the many people who
helped to create such a wonderful festival.
I hope that the circus groups
who came to Bremen will also
want to participate in the circus
festival "Circus Ring of Friendship '95", which I am organising. I am very open to anyone
who wishes to get in contact
with my school and the group
Jauniba. If anybody wishes to
study in my school, I would be
very glad to welcome them as
my students.
Vitolds Birkbans,
Raina Str. 97-33,
Junnaly, LV-2016,
Latvia
0 Zauberartikel
0 Jonglierbedarf
O Luftballons
o Kunstlerbedarf
Vitelli
Unsere Vite//i.£1nroder haben wir Im Erlahrvngsau>tausdl mil professianellen Elnrodlahrem enl·
wlclcelt. Wlr lossen diese nadi unseren slrengen
Normen hentellen. Damlt haben Sle die Gewohr, doB Sie %U einem reellen Preis ein qualltatlv hadiwertiges Einrad erstellen werden.
Gotantie. Wlr gewahren eln Jahr Materialgorantie, ohne Pneumatlk.
STIFTSTR. 23 · 44135 DORTMUND·~ 0231/525616
(Hinter dem Fina-Parkhaus)
32/Kaskade
19
FEATURE
I NEW GROUND
Depressic
ParkHamburg
hild flies through the air
creaming and lands alost firmly on her feet
with just a touch of knee wobble. An everyday experience for
the kids who make up the
Rot(z)nasen Circus (The SnottyNosed Circus). Here the kids of
Hamburg get the chance to ride
unicycles, juggle, play diabolo,
breathe fire and appear in the
centre of the ring. And while
they're at it, they also develop a
feeling of body control, learn
how to cooperate over challenging tasks, and discover what it
means to rely on each other, to
work together towards a common goal.
The Rot(z)nasen rehearse
three times a week in various
community centres. The circus
doesn't have rooms of its own.
In fact, it doesn't.have much of
anything. The fees which the parents pay are hardly enough to
cover equipment and organizational overheads.
Wot? No lolly? Is it really
true that Hamburg, one of Europe's richest cities, can't spare a
single D-mark to support an initiative like this?
Here is a brief excerpt of the
attempts of the Rot(z)nasen
crew's fight for survival in the
jungle that is Depressic Park
Hamburg.
1st International Children's
and Youth Circus Festival,
24.-27.6.1993, Hamburg
20 Kaskade/32
As the circus considers itself
"community culture", we first
turned to the City department of
Vicious circle
of bureaucracy
the same name. The head of the
department was deeply impressed with the work of the child-
ren's circus, but... was sorry to
say that her department was not
responsible because some of the
children come from outside the
district. (Which is not surprising, considering that this is the
only facility of its kind in the
whole of Hamburg.)
So on we went to the next.department: children's culture.
They were also delighted to hear
about the initiative, but... unfortunately they don't have a grants
budget. Sorry, try again next
year...
Next stop, Altona community culture. Yes, they do offer
grants, but. .. all the kids have to
come from the same district. So,
sorry, but no funding.
Attempt No.4 - the council's
youth department. Here too, nothing but praise for the work of
. the circus, but... the youth department is responsible for social work, not cultural affairs, so
sorry, but... Which was where
we got onto this vicious circle in
the firstplace.
After two-and-a-half years of
life-or-death struggle with these
blood-sucking bureaucratic dinosaurs, hopes were sinking as
fast as the frustration was mounting.
But then, out of the blue,
came a small ray of hope after
all. Someone somewhere decided to give the Rot(z)nasen funding to organize Hamburg's first
international festival of children's circus, which was held last
June and proved a fantastic success.
And so we struggle on
through Depressic Park, still hoping that one day the bureaucratic dinosaurs will become extinct
and make way for a more advanced life form!
Arne Schulz, Rot(z)nasen,
Hamburg, Germany
FEATURE
WOMENS'
JUGGLING
.CONVENTION
As many will no doubt have
seen in Kaskade, the 1st Women's Juggling Convention was
due to take place in Karlsruhe,
Germany, at the beginning of
August. Well, the response was
somewhat less than overwhelming, but the 15 women and one
child who came gave it a very
personal atmosphere, reminiscent of the early days of juggling
conventions.
And although this will probably prompt some sexist remarks:
we had a lot of fun cooking and
eating together. Our "public
show" was quite a surprise to the
few innocent night promenaders
in the city who were the audience for our very much improvised
street show. For many of us it
was our first experience of busking. Another new experience
for some of us was Combat. Oh
yes, and we also did some juggling!
And because we enjoyed it so
much, we're going to do it
again. There will be a 2nd Women's Convention, though
whether it will take place near
Frankfurt or in Bern hasn't been
finally decided yet.
Till then, keep your clubs up,
sisters (and brothers too!)
P.S. to Andreas C.S. Thanks
for your sympathy, but I didn't
need it - the woman with the 8
balls.
Sonja Boeckmann,
Oldenburg, Germany
ACHTERBAHN
VARIETY
every month in Ginsheim-Gustavsburg, a suburb of Mainz,
Germany. The premiere in October was sold out, and many a
would-be spectator had to be
turned away from the cosy auditorium of the castle cinema,
which seats a grand total of 90.
That is what makes this variety
theatre seem more like a oversized living room, and perhaps it
owes its success to the old traditions of pre-1V days, when family and friends used to sit around
the fire on long winter evenings
and keep each other entertained
with stories or whatever. This is
the place where hidden talents
emerge unexpectedly. And like
the Renegade shows, anything is
possible - a professional trying
out a new routine, or an amateur
guitar-plucker giving a rendition
of his latest songs.
Not only the audience feel like
they're in a private living room.
The performers too feel as
though this is a home-fromhome. They are happy to leave
their paid gig early to be on stage in Ginsheim, or shoot off
after their act in Ginsheim to do
another show and get back in
time for the Achterbahn finale.
There's not a lot of money in it,
but it's a lot more fun than some
impersonal gala show. Performing every day at a new venue is
a lonely kind of existence - so
it's nice to have friends to come
back to: Achterbahn.
If you'd like to perform, reserve
tickets for the next s~ow or get a
few tips on how to set up a small
variety venue of your·own,-just
contact the brains behind the
project:
I NEW GROUND
sprach man schon
on Jahren vom Weltenklang,
WjliJMfjtlln~Ausdruck in pentatonisch
- immten Klangspielen fand. ·
~..,..-ben dieses auBergewohnlich schone
henk fur Sie neu entdeckt und konnen
en eine besonders groBe Auswahl an
inal asiatischen Windklangspielen und
Obertonklangspielen anbieten.
@
TRENDS
Innovative Spiele + Geschenke
Claus Lehmann · Grol3e Straf3e 12
27356 Rotenburg (Wi.imme} · West Germany
Telefon (042 61) 23 36 oder 38 66 · Fax (042 61} 23 46
Verkauf nur an Wiederverkaufer
Reinhold Becker, Kugelhupf,
Erzbergerstr. 16,
D-65462 Ginsheim-Gustavsburg, Tel. 06134 56375.
Are the Renegade shows what
you like best about conventions?
Space for spontaneity, where
everyone gets the chance to
show off or belly-flop?
Well, that is the principle behind
"Achterbahn" (Roller Coaster),
a variety show which takes
place on the first Saturday in
32/Kaskade
21
from REVOLUTION to EVOLUTION
«Thanking all jugglers and distributors who
have contributed to the juggling revolution
and to their progress, JONGLERIE
DIFFUSION S.A. proudly present its
latest evolution:
"BIRDIE" and "E GLE"
the super diabolos with the
"MAGNUS" effect garanteeing unmatched
stability, fabulous speed and
phenomenal penetration
through the
air»
«STAR FAMILY»
UK: Butterfingers BATH - " 3·3· l O"
BIRMINGHAM / USA: juggling Capitol
WASHINGTON - SAN FRANSISCO I
AUSTRIA: Filzis jonglerie WIEN I FRANCE:
Unicycle EVRY - Dedic TOURS - juggleland
PARIS I GERMANY: Die jonglerie BERLIN Fun and Leasure MUNSTER - Dieter's
Holzs13ielzeug TUBINGEN - Ballaballa KOLN Keule und Co WALLDORF - Pappnase
HAMBURG / SWITZERLAND: Der Spieler
BASEL/ SPAIN: FAE Espectacle BARCELONA
«The line is also distributed in Italy, Sweden ,
Australia, Canada and generally available in all
reliable shops.»
rings , stage and rebound balls, devil sticks,
plates , scarves, aiga ( boxes , clubs , a
fantastic collection of. 12 differents types of
Beaubags and its latest constructio
eauty: The STAR FAMILY
........._,.i=.....;__ _
Diabolos f olies
Total Diabolo methodology from beginners
to pros
Part 1: 50 min.
Part 2: 45 min.
NARCISSISM AND ENTERTAINMENT
HOT OFF THE PRESS
• Unterhaltung und Image
Artistische Unterhaltungskunst in
sozialwissenschaftlicher Perspektive
• Jonglierkalender 1994
Andreas Michel-Andino, Abhandlungen zur Circus- und Schausteller-Kultur
Band 2, ed. Prof. Dr. Bernhard ClaufJen, Reiner Kissels, Karin Schulz.
Published by Haag + Herchen Verlag GmbH, Frankfurt am Main, Germany,
Tel: (49) 069 550911-13, DM 34.80, ISBN 3-86137-023-9.
Scientific studies on the world
ofentertainment are rare. Which
is reason in itself to be interested in the publication of the second volume in the series "Abhandlungen zur Circus- und
Schausteller-Kultur" (Discourse on Circus and Sideshow
Culture). The title "Unterhaltung und Image" brings together two studies by writer/
magician Andreas Michel (aka
Andino), written as seminar
papers while Michel was still a
student of educational science.
One is on "narcissism and entertainment, as seen in magic
and illusion", the other examines the "political and educational functions of entertainment - the possibilities and limitationsofthreeanalyticalmethods."
The central concept in both
pieces is that of the image which
an entertainer projects, the personality of the role which the
audience sees em bodied in him.
The underlying questions are:
How can an entertainer's image
be characterized? To what extent does it differ from his true
personality? Does he identify
with this image? How strongly
does the audience identify with
this image? The first study focuses on the various branches
of magic, but separate sections
also discuss juggling, clowning, clairvoyants/mind-readers/
mediums. The other study looks
at the role models "announcer",
"cover girl", "strongman", "me-
dium'', "clown'', "tamer", "animal trainer", "aerialist", "trapeze artist", "wire walker" and
"sensationalist".
The author identifies two
basic types of image used by
jugglers: On the one hand, the
confident master of object manipulation. He projects an unrealistic image, yet there is little
danger of identification with
this image. Every drop brings
him back down to earth. And, as
a sort of "opposite number" to
the "infallible glitter juggler":
the juggler of the alternative
scene, the type who tells a funny story while doing three balls.
Here, says Andino, there is a
much smaller discrepancy between image and personality.
Considering that the main
object of study is magic, it is
understandable that the author
should confine himself to only
these two types ofjuggler. Nonetheless, for a juggling reader it
is an obvious ~)Versimplifica­
tion, as there are plenty of acts
which do not fit into either of
these pigeonholes - Airjazz, for
example, or Michael Moschen.
No-one could claim that this
book makes easy reading, but
then no-one would expect a
seminar paper and degree thesis to read like a light-hearted
book at bedtime. I found it difficult getting into the first study.
The second one is more coherent l!nd therefore more accessi-
ble (but is based on the results
of the first part).
Unterhaltung und Image is
clearly aimed primarily at those
with an academic interest in the
social-psychology of entertainment. Yet anyone who is involved in the production of entertainment should be concerned to gain a clear understanding of the political consequences of his or her activities.
A performer should also give
careful thought to his or her
image and its effect on audiences. This book does not provide
any patent recipes for creating
an image, but it heightens one's
awareness of the issues involved
and offers a theoretical framework within which to tackle the
problem. And indeed, it is
Michel/Andino's stated aim to
draw up a set of psychological
and ethical rules on which the
artist can base his search for a
style of his own.
Wolfgang Schebeczek,
Vienna, Austria
edition aragon, ISBN
3-924690-83-9, DM 12.80
The pocket calendar from
edition aragon, same format
as 1993, incorporating readers' suggestions. Main subjects this year: mime, diabolo and trapeze. Lots of illustrations and photos.
• The Joy of Juggling
The Book, Dave Finnigan,
Jugglebug, ISBN 0-961552
1-3-1, $5.95, available
from: Jugglebug, 7526
Olympic View Drive, Suite
J, Edmonds, WA 98026,
Tel: (1) 206 7742127, Fax:
7745811.
This book is the abridged
version ofTheCompleteJuggler for beginners. The most
important scarf, ball, ring and
club tricks are explained, including passing, partner
tricks and juggling with up to
7 objects. A short introduction to putting together a
show gives a few examples
of how you can put yournewly acquired skills to use
straight away.
• Variete - heute
DasHandbuch
Wolfgang Jansen, 136 pages with 17 b&w illustrations, DM 24.80,
ISBN 3-89487-190-3.
A guide to the new forms of
variety , with descriptions of
the theatres themselves, tips
for visitors and a comprehensive index. Full review in
the next Kaskade
32/Kaskade
23
FESTIVAL IDEAS
•Saito Vitale, Zirkus in der Kinder- und Jugendarbeit
LKD-Verlag, Unna, ISBN 3-925426-60-4, 124 pages, numerous
b&w illustrations, DM 15. Video documentation of the lstNiedersachsen Children's Circus Festiva4 30 Min, VHS, DM 20;
Video action from the festiva4 30 Min., VHS, DM 25. Available
from: Landesvereinigung Kulturelle Jugendbildung Niedersachsen e. V., Sedanstr. 58, D-30161 Hannover, Germany
A book about children's circus
without any practical instructions. Not one single trick is
mentioned, nowarm-upgames,
not even a description of a kids'
circus show. So what's it all
about?
Saito Vitaleisacollectionof
essays on the theory of children's circus written in the con-
text of the 1st Niedersachsen
Children's Circus Festival. Its
aim is to give an overview and
an assessment of this recent
cultural phenomenon.
Not that this book is an obscure scientific tract. It reads
easily, beginning with short
essays by various circus children, who capture the impact
WHY TAKE LONGER?
P.R. Hackett, ISBN 0-9522040-0-2, £2, available from: 3-3-10
Juggling Shop, 48/49 Loveday Stree~ Birmingham, B4 6NR,
Tel: (44) 021 3596200, Fax: 3595779.
units with medium-term targets
to aim at. Possible problems are
dealt with, and advice is given
on speed, which kind of balls to
use, body posture and attitude.
Do you have the feeling
you'renotmakinganyprogress?
This book might contain the
explanation and the solution
you've been looking for.
.
G.K.
•Club Passing, A Juggler's Guide to Social Interaction
Brendan Brolly, Jonny Popper and Simon Schofield, BB Books,
illustrated by Scott Tomlinson, ISBN 0 951 9969 40, £7.50.
You were given a foretaste of
this book in the last Kaskade.
The club-passing workshop was
just a (very short) excerpt, complete with original drawings
which illustrate the tricks on
nearly every page of the book.
Club Passing starts from the
assumption that you can juggle
three clubs and want to play
around with other jugglers. The
·-~
Da\·e Finnigan
'.Zen
in derKunsLdes
Jonglierens
,,_,
~
/
Wm"
ditBiilkjlitgen,
wathm1 atith
d111Sn~
Fliigtl
/
O.W.Barih
24 Kaskade/32
'
zurr Forrmung der
ei{PJOO/TiJ ~rrsornliclhkeit
und imetrero Balaroce.
{
\.
a festival of kids' circuses with
all the fringe events (exhibitions, films, music, etc.), which
can be used as a guideline for
those interested in following in
the organizers' footsteps. The
information section is rounded
off by an address list of children's circuses and organizers
and a list of suggested further
reading on the subject.
As a companion to the book,
two videos have been produced
on the festival which may contain some inspiring ideas for a
your own children's circus or
give newcomers to the scene
some material with which to
convince potential sponsors of
the value of a children's circus
project.
G.K.
LEFT· RIGHT· 3 • 3 • 10
• Conquering Four and Five Balls
Some people take years to master four or five balls. The author
of this book sets out to spare his
readers this fate, claiming that
with the right tips, you can learn
to juggle 4 and 5 confidently in
a matter of weeks.
This 15-page pamphlet not
only explains the basic 4- and 5ball patterns step by step, but
divides them up into training
and the importance ofchildren's
circuses for the children themselves better than any theoreticaltreatisecould. And there are
plenty of ringside photos to back
up the insights.
The essays of the theorists
describe from various angles
the practical experiences of the
circuses who came together for
this festival. Individual histories of how the various circuses
startedoutmakeclearwhatdifference it makes whether the
circus originated in a school or
a leisure centre, a private initiative or a local authority-sponsored project. Other chapters
include the history of children's
circus, and the potential effects
of teaching theatre and circus
skills.
Of direct practical use is the
description of how to organize
144 Seiten, Leinen, DIM 29.80
0. W. Barth Verlag
''
.\
basic movements and rhythms
are explained in a step-by-step
guide, followed by all the different counting rhythms, types
of throw (doubles, triples, etc.)
and tricks. The book takes a
close look at passing with the
left hand, or combined left/right
passing. From the beginning,
the authors emphasize the importance of starting left/right
patterns very soon after learning the basic passing technique
so as to avoid building up a
mental block against throwing
with the left hand.
Passing with 7 and 8 clubs is
also covered, as are suggestions
for patterns involving more than
2 jugglers.
The book does not claim to
be a complete guide - no juggling book ever can be. But
once you've got the basic
rhythms and know the kind of
tricks that are possible, there's
no limit to where your imagination can take you.
G.K.
Warendorfer Sir. 5
D-4400 Munster
Tel.0251/47615
~Join The IJA! **
The 3,000 members of the International+
Jugglers Association worldwide invite
you to join this 44-year-old society of
juggling friends. Membership includes
the quarterly journal, •Juggler's World."
Send $30 (US) for European member-*
ship to: IJA; Box 218; Montague MA
01351. Call 413/367-2401.
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T
his. is the word in
the U .K. on the
Street Theatre,
Juggling and New Circus
scene.
"
!l's new, factual and humorous.
wllh a mix of arllcles, workshops
and a whal's on guide (Cal ch This!)
il Is sel lo please lhc JuMling
fanallc or lhe slrcelwlsc sludcnl
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if you would like moredeiails, drop
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BS18 8TL
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DIABOLO - SPIELEND LERNEN
104 Seiten, OM 16,80 · ISBN 3-924690-54-5
4. Auflage
D. & G. Siegmon
Rodenbeker Weg 3, D-24113 Kiel
Tel. 04 31 I 641414 · Fax 0431/ 6415 01
(Prospekt auf Anfrage)
Mil diesem Buch kann der Anfiinger seine erslen
Tricks lernen, und selbsl der Profi wird Neuheilen
enldecken konnen. Ein Teil des Buches isl dem Passing und dem Spiel mil mehreren Diabolos gewidmet
EDITION ARA<iON VERLA<iS<iESELLS<HAFT
Neu11a•k' 7 4744' Moe's i=ax 02841124336
PORTRAIT
The
IGANDINIJUGGLINGPROJECT
I
Juggling Project
Report by Ken Zetie, currently Yale University, USA
T
he Gandini Juggling Project was spawned around
spring 1992 out of a duet
Sean worked on with Kati YlaHokkala, a rhythmic gymnast
from Finland, for the show Gravity Swing performed by Ra Ra
Zoo, an innovative circus theatre troupe.
Sean and Kati, however, split
off from The Gravity Swing
tour wanting to move in other
directions, and so the Project
was born. They worked on
exchanging skills and learning
new ones - juggling was new for
Kati and she has made astounding progress whilst putting
much back in as 'chief twiddler'. However, for all of the
group, chief amongst the new
skills was dance. It was clear to
anyone who has seen Sean perform that movement and rhythm
were very important elements in
his style but for the Project he
started taking them much more
seriously, attending regular
What's it all about?
Sean Gandini
Plwto: Aidan Kelly
26
Kaskade/32
dance classes. Since the show got
off the ground around the end of
1992 the group have been studying dance together and over
the summer have built up to one
class per day, lasting all morning! The dedication and work
that has been put in, both by the
individual members and as a
group are clearly on view in the
show - it's there in everything
that is seen, and all that is not
seen: the way people move, the
way they sit, the way they interact. It's a kind of group cohesion that comes with time and
long hours spent together and
it's worth every minute, every
fractious moment and every ar-
PORTRAIT
gument that kind of closeness
causes because the end result is
beautiful to watch and enormously satisfying to perform in.
It could be called holistic as the
group becomes decidely more
than the sum of its members, yet
the members do not lose their
identities.
Along the way the group has
changed its make-up. Mike Day,
a Cambridge-educated juggler
and one of the co-inventors of
Site Swap notation, joined in the
autumn of 1993 and has been involved long enough to put many
of his own ideas into the Project
Ben Richter is even newer to the
group, coming into it at the start
of the summer, and is.also fairly new to juggling (another fast
learner though) and at the time
of the Leeds convention it was
clear that he had not had time
either to make his characteristic
Not a juggling
piece atoll
mark on the Projec:t or, really, to
get too involved in the complex
choreography of many of the
pieces. Given time and the inclination (should he choose to stay)
there is no doubt he has the potential to add significantly to the
show.
So what's it all about? That
famous question, asked of Bertrand Russell by a London cab
driver, which left the great philosopher flummoxed. The compere at the Leeds convention asked Sean what their show was
so he could introduce it. It left
them equally flumoxed, so I'm
not going to try to describe it directly any more than I'd try to
describe a piano sonata or a
landscape in words (how much
does "A repeated phrase of the
second inversion of a c sharp
minor chord" or "A wagon,
loaded with hay, crossing a small
river in the Sussex countryside"
evoke? OK, the descriptions are
prosaic but you see my point I
hope)
Many performers have combined movement with juggling
(Michael Menes leaps to mind),
developed new skills to add to
'toss juggling' (Michael Moschen is an obvious example), or
worked on group effects and
tight choreography (Airjazz
take the title of leaders in that
field I guess). However,
Sean makes the point that
they were still performing
juggling at heart. In his
words "we want to change
what juggling says as
well as the way it ~ays
it". If you watch a piece
by many of the most
innovative jugglers it
is clear they are .still
jugglers - the performances are arranged around the
same patterns with
the same build-ups and
so forth. The Project manages
to avoid that by not being a
juggling piece at all, although it
contains juggling, often of very
high calibre in both difficulty
and reliability.
The moveip.ents in the piece
and the structures are largely the
product of Gill Clarke's choreography. Gill has spent a lot of
time working on shapes and dimensions with the group and
one noticeable feature is the use
of the depth of the stage. Or, rather, the use of the stage as a flat
field in which all directions are
equivalent. By bringing in books
on aerial photography and getting people to walk along the lines of shapes or letters she managed to break the habits of a
lifetime - moving up and down
the stage in simple lines, always
perpendicular to each other. In
the show they performed in January, Homage To Pi, the letters
H T and P were used as the basis
for some of the movements but
it was taken a stage further than
simply walking the pattern of
the letters on stage. The paths involved were taken apart, spliced
together and rearranged in different orders. So the show contains many elements of dance,
indeed is choreographed by a
dancer and clearly is influenced
by the work of American mo-
IGANDINI JUGGLING PROJECT
dem dancers such as Trisha Bro-
wn, yet it is also not a dance piece.
There are other influences on
the Project too, even leaving aside the inspiration and intellectual ones ·there is much drawn
from performance arts, from cubism in painting and even from
other jugglers although Sean
made the wry comment that
most people they had stolen
from wouldn't know it by now!
The music for the show is as
innovative as the rest of it and is
also very much Gill Clarke's influence, tending to pieces with
••
....-,
-
Kati Ylii-Hokkala
Photo: Dave Pickens
32/Kaskade
27
p 0 RT RA IT
'texture' which can be picked up
on by the performers. Homage
to Pi was performed to a piece
by the late John Cage, an American Avant Garde composer
probably most famous for his
"four thirty three", four minutes
Toying with
space and time
and thirty three seconds of silence scored for full orchestra.
The music was minimalist and
included a commentary on the
nature of art interspersed with
readings from maths textbooks.
The effect was strange and provocative but I didn't feel it really worked. The latest incarnation of the show uses many
different pieces of music, and
uses them differently too. For
I GANDINI JUGGLING PROJECT
one of a number of influences
and providing contrast to it with
their movements and skills.
I think the fundamental questions being toyed with in this
show are large ones of space and
time. We are really forced to accept a third dimension and the
piece works best in the round.
At the same time as our brains
struggle with this, we realise that
a fourth dimension has crept in
there somehow. The show uses
so many different timescales, so
many tempi and rhythms that no
single clock can time it. But it
also plays with the flow of time,
not just speeding it up and slowing it down but dicing and slicing it and serving it back to us
in a kind of temporal goulash
just as we thought we were getting the hang of it. Sean has talked about using videos of the
Sean Gandini
Photo: Dave Pickens
example, Steve Reich's Clapping Music is the basis of a
sharp and tightly choreographed
piece which seems to highlight
the absurdity of juggling - people forever picking up items and
putting them down again, or tossing them away, apparently at
random, to be caught by someone else. The juggling rarely lasts
more than a couple of seconds
before something happens to
break it up, reflecting the swift
changes and multiple tempi in
the music. In contrast there are
pieces where the fast, bar by bar
rhythm of the music is pretty
much ignored but the performers seem to react to the emotional content and the long term
flux of the music, but never dictated to absolutely by the sounds
and tempo, simply taking it as
28
Kaskade/32
show and projecting both past
and (possible) future events as
they perform, an idea which, although not original, is certainly
appropriate and would be very
effective.
Despite the lavish praise I
seem to have heaped on the Project, it is not without its failings
and it certainly needs work. The
show occasionally lags and loses touch with the audience
through boredom or confusion
but it also does something which
no other show by jugglers has
ever done for me - it passes the
'Zetie's "Is it art?" test'. My criterion is loosely based on
whether the viewer can get more
out of the show a second, third
and fourth time by putting more
understanding into what's going
on. It's worth the effort of trying
to understand for sure.
Unlike Michael Moschen and
the famous contact juggling
controversy, Sean hopes very
much that people will follow the
Project. There are many doors
surrounding jugglers and he has
chosen to open one of them.
Others can follow through and
are bound to find things there
that he hasn' t- indeed they may
well create more possibilities by
doing so. The number of possibilities is infinite, and the mathematics of inifinites is strange,
but one thing is simple - infinity is never diminished by taking
Is it art?
something away from it...The
group are continuing to improve
the piece although its form will
stay much the same now, and
Sean talked of starting work on
a new show for next year, to be
rehearsed 'under' the current
show. With that they hope to
tour iri a fully professional manner, a bold step and I wish them
the best of luck in it. If taking
chances is supposed to pay, they
should be (spiritually at least)
very rich indeed.
Ken Zetie,
Yale University, USA
~ ie~ji'~
~
llf!
N
L,
N\ ,
TED ~
57 Park Street, Bristol BSl SNU, England.
Tel: ( 0272) 250368 - Fax: ( 0272) 297337.
Retail, Mail Order & Wholesale enquiries welcome.
0
dd s &
MARKUS
MARCONI
PRIZE
ADVANCED
CIRCUS
TRAINING
The first winner of the Markus
Marconi Prize was "Wilde Wel
van de Zuikerspin Tent". The
prize was given out during the
1993 Oranjeboom Straatfestival
in Rotterdam Holland. In 1991
Markus had won the Press Prize,
and had left such a good impression on the sponsors De Havenloods/HetZuiden that when they
heard of his death they decided
to change the name of the prize
in memory of Markus.
Befitting his memory they
commissioned an artist to make
a statue of a hand holding the top
hat · that Markus was so well
known for. Although he is not
with us any more, Markus Marconi will now remain a permanentfigure in the European world
of street performing.
The authors of the book Zirk.us Spielen, ein Handbuch, Rudi
Ballreich and Udo von Grabowiecki, have developed a series of
advanced training courses for teachers, youth-workers, sports club
coaches and anyone involved in circus projects with children, young
people and adults. Weekend workshops taught by experienced
circus instructors, dancers, professional actors and circus performers <:over subjects such as acrobatics (incl. trapeze and springboard),
juggling, balance (from rola bola to wire-walking), dance, improvisation and clowning. The participants learn not only the skill itself,
but also the best method of teaching it. There are introductory,
intermediate and near-professional level courses which can either be
booked individually, or used as a programme of gradual specialization.
The theory of teaching circus skills is also covered. However, the
problem is that many topics have not yet been made the subject of
theoretical investigations. A step in that direction was the symposium held in November on the subject "Educational and therapeutic
aspects of circus play". The organizers hope that interested sports
and circus instructors will amalgamate to form a research team
analysing individual aspects of circus skills teaching.
The workshop programme is listed in the What's On section
under "Courses".
Lee Hayes, Amsterdam,
Netherlands
Contact address: Con.cadora-Seminare, Rudi Ballreich, Hopfauerstr. 49, D-70563 Stuttgart, Tel (49) 0711 7351748, Fax: 7353558.
TEACHING
THEATRE
Teaching theatrical skills to kids
is a new profession which has
emerged from the practical work
of independent initiatives in the. atres, schools and youth-work
contexts. So far, most of the
teachers have been either selftaught instructors, or trained
teachers, or actors - all of whom
have gathered their ideas on how
to convey theatre to kids and
young adults from attending
· various isolated courses.
In March 1993, the Theaterpactagogisches Zentrum in Cologne, launched tlie first twoyear full-time training programme in which participants
with a background in education,
psychology or the arts can get a
meaningful qualification in what
has until now been a very vaguely defined profession.
30
Kaskade/32
The training gives students
first-hand experience of various
elements of theatre. Physical
skills, voice and dance take up
the first few weeks. Right from
the start, the instructors make a
point of explaining the methodology they are using.
The students also create a
joint theatre production under
the guidance ofa director. Here
not only acting qualities are rehearsed, but also organizational
aspects, from lighting to funding to marketing. Project weeks
cover subjects such as maskmaking, stage technology, the
grotesque, play activities and
circus, as well as theoretical
background in philosophy, directing, dramaturgy, history of
theatre, etc.
All in all, then, it is a very
programme
which aims to place the tools of
the trade in the hands of its
students in as realistic a setting
as possible. That means developing not only acting skills (the
organizers are careful to point
out that artistic aspects are fore- ·
grounded - teaching theatre is .
not primarily a form of therapy),
but also a sense of practical feasibility, and an understanding of
the importance of taking one's
own initiative in opening up new
opportunities for applying the
skills acquired. Improvisation is
called for - not only on stage, but
also in the office.
As elsewhere, the problem of
funding leaves a question-mark
over the continuation of the programme (with a new intake in
practice~oriented
early 1995). However, it is also
possible to take this programme
as a two-and-a-half-year training course parallel to full-time
employment. The Theaterpactagogisches Zentrum and the National Association of Theatre
Teaching is pressing to have the
programme recognized as an
official qualification by the state
authorities.
For further information,
contact:
TPZ Koln e.V., Genter Str. 23,
D-50672 Koln, Germany, Tel:
(49) 0221526304.od. 521718,
Bundesverband Theaterpactagogik, Turmstr. 7, D- 50733
Koln, Germany, Tel: 7390452.
G.K.
RONACHER ·VIENNESE
"Welcome to the Workers of
Dreams!"
That was the slogan that
marked the re-opening of the
world-famous Ronacher Variety Theatre in October after a
state of limbo lasting more than
30 years. The first programme
featured an all-star line-up, including 3 juggling acts.
The variety theatre, named
afterits founder, Anton Ronacher, opened in 1888 in Vienna's
city centre. Apart from the periods 1927-1930 and 1944-1955,
this was the home of Austrian
variety until 1960. Early that
year, changing audience tastes
and the overwhelming competition from both TV and the nightclubs forced the Ronacher to
close its doors. But now this
classicist-style, 1300-seat theatre has been refurbished for its
grand re-opening.
The Ronacher programmes
underwent continual change in
the course of history, but a commoo theme throughout was the
unique combination of dance
and music (with the emphasis
on operetta and Viennese songs),
artistic skills and "eccentric specialities" such as "submergence
artists", fakirs or "living hydrants". Yet Alpine folklore,
pseudo-exotism, sentimental
operetta-kitsch and nationalist
porn p (including war propaganda) were also at home on the
Ronacher stage.
However, the name Ronacher also stands for ageless cabaret
highlights, like the legendary
scene that brought Austrian comic actor Hans Moser to fame in
the 1920s. And it is associated
with the great names in music
hall: magicians Dante and Kalanag, escap0logist Harry Houdini, clowns Grock and Charlie
Rivel, and the famous flying
trapeze act "The Three Codonas". Not to mention the numerous jugglers who performed
here: Enrico Rastelli, Kara, Felix Adanos, Bela Kremo, FrancisBrunn, Bob Bramson, toname
but a few.
Jugglers also featured in the
first programme of the new
"Etablissement Ronacher", entitled "Ronacher Specialities":
Oliver Groszer with his ball and
club routines and of course the
burning match thrown behind
thebackandcaughtinthemouth;
the Russian clown-juggler Buba,
who performs amazing feats with
a cane, hat, cigar and a full glass;
and "Les Castors", the antipodist trio. And the rest of the show
put together by director Werner
Herzog was worth seeing too:
·
comedymagicfrom Otto Wessely, Les Bubb the mime-clown,
and the handstand acrobatics of
the Chen Brothers were among
the highlights.
It remains to be seen whether
this theatre, the only one in Vienna with a regular variety programme, can survive. (fouring
musicalswillalsobeshownhere
as a second source of revenue,
but the theatre receives no subsidies.) Let's hope it can - if only
to get the chance of seeing some
good live juggling in Vienna.
Wolfgang Schebeczek, Vienna,
Austria
EX CH .ANGE
The Very Small Circus is a project of them unicipal school of music
in Dornbirn, Austria. This is probably the only school of music which otherwise teaches classical music, jazz and ballet - to offer
courses in circus theatre. 5 students between 13 and 14 years
currently take part in performances, and have put on a total of 14
shows since the project began in September 1992. 10 younger
students train alongside the older ones and are gradually being
integrated into the new programme. The children can all juggle,
some of the bigger ones with 4 balls. 4 students are also very good
dancers.
If there are any Kaskade readers out there who are involved in
similar projects, the project leader, Stefan Schlenker, would be very
pleased to exchange information and possibly organize exchange
visits.
The group has already organized a small-scale circus meeting.
The Very Small Circus, Zirkus Paletti from Gerabronn and The
Flying Classroom from Blaufelden met for a joint weekend workshop where the children had the chance to learn ball-juggling,
diabolo, devil stick, unicycling, fire-breathing and eating, walking
globe and acrobatics.
Contact address: Der ganz kleine Zirkus, Stadtische Musikschule,
Stefan Schlenker, Rosenstr. 6, A-6850 Dornbirn, Austria.
MANUFACTURERS
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32/Kaskade
31
BANDS ON
I PALM ROLLING
PALMISTRY
and
p
A
R
CRYSTA·L BALLS
I
T
hree years ago we were walking past our
local juggling shop when the glint in a
set of acrylic balls magically caught our
eye. The shopkeeper was happy to be rid of
them - by concentrating the sunlight like a
magnifying glass, they bad nearly set bis
shop on fire - so be let us have them cut price.
And that was the birth of our soapbubble/glass ball routine.
Yet palm-rolling bas come to mean much
more to us than just a poetic stage act. It can
be a lot of fun, relaxes the band; and bas a
strangely calming effect (once you've learnt
bow to do it).
T
The props
The best kind of balls for palm-rolling are
ones with a smooth surface that do not create too much friction when they touch (e.g.
acrylic balls, billiard balls, boules), or alternatively you can use balls with a gripping
surface (like bard rubber balls, doggy balls,
juggling balls) which enable you to do different things. And of course, you could also
combine the two types,
Let's start with the smooth-surfaced balls.
They are much easier to practise with, and
smooth balls seem to offer a wider range of
possibilities.
All the techniques we shall be describing
are different ways of making the balls roll
around the palms of your bands. The first
exercise is two balls in one band, which is
easy to get the bang of. But first, here's a tip:
it helps to have something soft underneath
your bands so that you can stay relaxed and
don't have to keep worrying about what will
happen if you drop. We often sat on the bed
and palm-rolled while watching TV. At the
beginning it was hard to follow the plot of
the film, but after a while the palm-rolling
became more automatic and more relaxing.
Not that we want to encourage you to watch
more TV - but it is a way of learning to roll
the balls "in the background" and not keep
your eyes glued to your bands.
2 balls
Just 2 balls already give you four possibilities with each hand: pushing forward
with your thumb, pulling backward into the
palm with your thumb, allowing the balls to
touch, or keeping them separate as they turn.
The following tricks assume that the balls
touch. The first time you palm-roll balls you
will probably have the urge to hold the balls
with the fingers - yet that is precisely what
prevents them from revolving smoothly. So
try to keep your hand as open as possible you will find that instead of falling, as you
might have feared, the balls actually start to
roll smoothly along their course. The more
horizontal your palm, the smoother and
rounder the rolling movement looks. It makes sense to learn to rotate the balls in both
directions right from the start, as this involves two very different sets of band movements. By continually changing the direction
of the spin, your bands can get the feel of
both at the same time. A good exercise is to
try palm-rolling clockwise or anticlockwise
with both bands simultaneously, then
switching.
3 balls
The technique is very similar to 2 balls,
except that now it is important to keep your
hand even more open. Many of you are probably thinking: "but my bands are much too
small for 3!" Wrong. Anyone who can bold
3 can also learn to palm-roll 3!
To make sure that the balls roll really
smoothly, the centre of the circular move- .
ment should not keep shifting about, but
should stay equidistant from all three balls,
somewhere over the base of the middle finger. If you can manage that, here comes the
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Kaskade/32
HANDS ON
I PALM ROLLING
next challenge: keeping the
plane on which the balls are revolving really horizontal.
In order to learn this we looked for a flat object with a nonslip surface (a mouse-pad, the
cover of a plastic lever-arch file,
a piece of firm foam rubber) and
placed it on top of the balls with
its centre of gravity above the
balls' axis of rotation. The flat
surface is simply a magnification
of the rotational plane, which
makes it easier to spot mistakes.
If you don't bold the balls horizontal, the flat surface tilts to
one side. Whenever it is not lying on all three balls, it starts to
slip. After a time, this "errorfeedback" will give you a feeling
for what you need to do to get the
surface back into the horizontal.
Gazing: Duo Wirbelwind,Dortmund
Photo: Barbara Becht/off
apart. If you now remove one of the
three balls but do not otherwise alter the movement, you should find
that the balls no longer touch each
other.
You can also practise this "trick"
with large, clingy juggling balls because they can only be palm-rolled
smoothly if they do not come in
contact with each other. The technique can also be used as an intermezzo in the middle of a juggling
routine.
3 balls
4 balls
Now place a fourth ball on top
of the three in your band. It will
probably keep falling off in the
beginning. This is a sign that the balls are not
really rolling horizontally. Try to do less active pushing, instead lowering the fingers
ahead of the ball so that it rolls into the depression of its own accord. If the bottom
three balls start drifting apart, increase the
tension in your fingers. We've noticed that
"backward" rotation is easier if you try to
bold the balls not in your palm but as far out
along the fingers as you can.
If you just can't seem to get that fourth
ball to stay up there, try it with an old beanbag instead, because that won't fall off
quite so easily. And it looks good too, as the
· beanbag spins backwards at relatively high
speed. Of course, so does the glass ball, but
the movement isn't so easily seen.
Adding a degree of difficulty: from now
on the balls are not allowed to touch!
2 balls
We learnt this technique of palm-rolling
only after mastering four balls in both bands,
as in the non-contact version the balls .are
hardly led at all and can easily roll out of
your band. If you try to spin three balls in
each hand very fast, you will notice that the
centrifugal force seems to be pushing them
E~1t~11rf tfea.
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TotktJ«I l!ftJa.t
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mends With ConL'¥:1 JUW!ll - hundreds of thi~ to do
mlh one, two, du-ee and eYe!1 four balls!
Contact Juffiling d1oroughly covers this elegant st)le of
manijxllalion, fi-om ire Basic Butterlly (pctured on Ille
col'a") to lhe fourln:k stack; fi-om ann and body rolls to
arnplec 2and }OOll transm.Ju~ers· Worid ~ne
called Contoct Ju~ing. 'One of lhe best desi!fied ju~ll!
books av.tilable.' I00 pages, p-ofusely illuslrated and
comb-bound to ~e <µ.'fl \\hile yru pratire!
This is probably one of the most
difficult palm-rolling tricks. You
have to learn to roll three balls at
exactly the same speed so that they
do not catch up with one another.
The best way to learn is to rotate
three smooth-surfaced balls faster
and faster until you get the feeling
that they are rolling on their own, and then
replace them with three frictional balls. The
three revolving balls should never be allowed to touch, otherwise there will be a hiccup in the movement which will destroy the
magic of the flow . Of course, the noncontact version is also possible in both directions - especially in theory! .
4 balls
Of course, the non-contact rule applies
only to the three balls underneath, not the
fourth one standing on top of them. We think
this trick is actually easier than the three
balls on their own, as the top ball helps to
push the other three apart slightly. This trick
can also be incorporated into a straight juggling routine - it looks really impressive.
Eva and Wolfgang, Duo Wirbelwind,
Dortmund, Germany
The Ugly Juggling
Company
73 WESTGATE ROAD
NEWCASTLE UPON TYNE
Available from your local juggling or book shop or direct from
The Ugly juggling Company (£12.45 including P+P)
NE! ISG
ENGLAND
Tel/Fa. (091) 232 0297
32/Kaskade
33
HANDS ON
NAKE
The
C
L U
B
I CLUB SWINGING
P A R T
SWINGING
III
Figure 1: Snake Grip
(left hand)
CD
S
nakes are a category of club swinging
move in which the clubs wrap around
the arm like coiled serpents. They are
intriguing to watch! The most popular snake
is perfonned at shoulder level on the vertical
or "wall" plane and is seen from the front.
The clubs turn around the wrist, incorporating two full circles and a "throw-off'. This
workshop breaks this famous trick down
into easy stages.
Warm up by stretching the arms while interlocking your fingers. Next hold an
upturned club in the snake grip, with your
forefinger over the end of the knob and your
thumb and fingers around the neck
(Figure 1).
Figure 3: First Circle in the
Outward Snake (by quarters)
/
-
.' ..,,,_/
b
-
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.
'~
~
Allerlel Splelzeug
.,,
ICIAlll.llllACI
I
Jongller- L Artlstlkbedarf
Geschenke
,
34
Kaskade/32
First circle
Start the club in an arc outward, away
from your head. The base of the club is
brought upward as the wrist turns down and
in towards your chest. Continue the small
circle until the club passes underneath the
forearm, then turn the wrist to face outward
again.
Figure 2 Starting Position
for an Outward Snake
"
~~
I• .,_,_/
'~~/.
Figure 2 shows the starting position.
Watch that your elbow is at the height of
your shoulder and that the body of the club
is resting behind your upper arm. The palm
of the hand should face outward (away from
your face) to begin a regular shoulder snake.
In the following diagrams, arrows and
dashed lines indicate the direction of movement for the club base.
~
./
~
~
'
\
\
*
Koiner Str. 76
5137Q leverkusen- Opladen
Tel.02171/286Q4 *Fax 02171/28673
@
HANDS ON
l~
I CLUB SWINGING
/
"'
I
I
/
l Yi
l
'·
'
1%
Notice that at the end of the first circle
you are in a position similar to the original
start position (Figure 2), except that the club
is _now in front of the arm. Crucially, you
must turn your wrist to face outward before
beginning the second circle.
2
Second circle
Start position shown in the last picture of
Figure 3. Push the club outward and downward, slowly circling in front of the arm. The
final quarter circle brings the club to rest vertically behind your upper arm. Figures 4.
@
Figure 4: Second Half Outward Snakes
(by quarters)
\UGGLERS/
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32/Kaskade
35
HANDS ON
Throw-Off
I CLUB SWINGING
Figure 5: Outward Throw-Off
A throw-off completes the outward snake
by turning the wrist from facing inward (towards your head) to an outward angle and
ready tQ restart the snake movement. During
a thtOw'-Off, the club swings a full circle behind the shoulder.
2
Begin with a snake grip facing inward
and the club behind your shoulder. Release
all your fingers except your forefinger and
thumb from the neck of the club. Use a sharp
flick of the wrist to spin the club once outward - Figure 5. ~egain snake grip at start
position.
/
/
This snake trick is mastered when you
can link smooth cycles of outward snakes
consisting of first circles, second circles and
a throw-off. With a club in each hand try to
make:
2114
Synchronous time outward snakes (i.e.
with both hands together)
Alternating time outward snakes (i.e. offsynch, hands half a beat apart).
Well done! Snakes work the wrist and
¥Ill fairly hard and so it will be an effort to
keep the clubs held high and exactly on the
vertical or "wall" plane. But persevere, as
snake movements are satisfying and will add
a true mark of class to your club swinging
repertoire. The inward direction is also possible and there are other types of snake to try,
including spirals, half snakes, hip snakes and
travelling body snakes as well as variations
on the throw-off:
3
In the interests of safety,it is best not to
try to do snakes with lit fire torches - unless
you can do these tricks extremely fast!
The above workshop is an extract from a
forthcoming book on Club Swinging by
Anna Jillings, which is soon to be published
by Butterfingers.
Anna Jillings, York, England
~.you ircidilygel fieu~everysooltenlo!Pl-
Beyond the C.ascade
The Ugly Juggling
Company
This book wi11 take you there.
By following its slep-by-slep instruclions, you'll go
beyond -way beyond - the basic 3-Ball Cascade
pattern and learn 88 of the dassiest 3-ball lricks
known lo juggling kind, including
."*
Mis
73 Westgate Rood
Newcastle Upon Tyne
NEl lSG
England
Tel/Fox: 091 232 0297
• <lawed Chop5
• fkrke's Bmroge
•The Long l1rC111
• Rmensai's RMnge •The Srd<e
• en! 82 othEr daiSc 3.fd tricb
Agood 3-ball routine is an essential part of any
juggling acl. 'Beyond the Cascade' Wl11 leach you
a dazzling array of !ricks guaranteed lo make
your 3-ball rouline the cenlrepiece of your show.
36 Kaskade/32
New edition 1993 out now.
Available from your local juggling or
bookshop or directly from
1Mielier y@re a~ er ahi'lyacain"5hed 3.fd
George Gillson
£7 .95
'---------~
Please add £1.50 P+P throughout Europe
VISA• MASTERCARD• UK BANK or
EUROCHEQUE accepted
Trade enquires welcome
o DX - der Ball mit dem schwarzen Punkt.
o Zum Patent angemeldet.
D Traumhaft verspielte Griffigkeit.
o Durch die Spezialherst~llung und seine sanfte
Oberflache fangt der Ball den Aufprall sanft ab und
nimmt sofort seine runde Form wieder an.
o ldeales Verhaltnis von GroBe und Gewicht - vor
allem fur Vielballjonglage.
o Sehr exakt ausgewogen.
o Absolut wasserfest.
o In UV-Farben erhaltlich.
o Extrem robust und widerstandsfahig.
o HeiB begehrt von Artisten, Circusschulen und
Schulern.
o Der Traum vom Stage Ball und Bean Bag in
t!inem Ball: DX BALL!
Und hier bekommt ihr den DX BALL und die RADICAL-FISH-KEULE :
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JONGUERBEDARF
DIE JONGLERIE
DER SPIELELADEN
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STILBRUCH, BEARD-DEUTSCHLAND,- DARMSTADT - 06151-21 143, Fax: 295721
HANDS ON
ISTREET PERFORMING
Keep that
LE
CIR
w
R
0
K
s
H
0
n the last
you learned how to atI tract
an audience. Now that you've got
Kaskade
your crowd together, how do you keep it?
Here are some practical tips on keeping attention.
Finding the ideal length
A street show should be around 20-30 minutes long. People often have no time or attenlion span for more. Most festivals and
large cities in Europe are full of performers
with whom you'll have to share the same
space. Sorry, but you don't get to practise
your 90-minute show that you intend for the
stage when 5 other performers are queueing
up for your spot.Most beginners seem to try
every possible trick they know. The result is
that they bore and lose their.crowd. I suggest
one starts with a strong 12-15 minutes and
build on that. If a particular routine always
loses a good part of the audience, develop it
or get rid of it, even though it may be your
favourite bit or show off your best technical
skills. The ultimate judge is the audience.
p
p
A
R
T
unnecessary speaking or look for substitute
phrasing for particular lines that irritate the
throat. It's hard to remember exactly what
you said in a show, so it's not bad to tape record, if not videotape yourself.· Conserve
your voice and energy as long as it doesn't
lessen the impact of your material.
Rehearsed spontaneity
Another tip is what we call "leaving yourself an out". An "out'' is an alternative punch
line or gag in case something doesn't work
the way it is supposed to. It's planning ahead
for the unexpected. Example: You act like
you're going to swallow a torch and at the
Or the problem might be the transition.
Being physically above the crowd, be it standing on a chair, suitcase, ladder or unicycle,
is powerful. To do torches up there is visually a finale. To come down and/or put the
fire out is an anti-climax, very hard to follow
with another routine. Verbally start into the
next routine before jumping down or putting
out the last torch. They have to know more
is coming.
Voice training
38 Kaskade/32
last second turn to the audience with the old
adage "300 people and nobody says 'stop'!"
Well, if you've played in the same town for
a while, you're eventually going to have
someone who knows your show yelling
"Stop!" thus blowing your line. That's when
you use your "out" of "OK, you do it." Such
playing with the moment can seem spontaneous even if you've thought the responses
out before and can have more impact than
your regular set lines. Rather than be caught
off guard, sit down and think out what to do
with a drunk, a dog or a child coming into
the show. Find a way to play with someone
laughing especially loud, or too little, wearing sunglasses, eating an ice cream, etc., etc.
Dealing with hecklers
Transitions
I've often noticed a correlation between a
strong voice and a strong show - or more often, a weak voice produces a weak show. It's
true that it's not always important what you.
say but how you say it. Unheard lines don't
get you very far. Thus voice training is a
good idea. One should also edit out any
I I
11 1F
VOU A.e£ V£"Y Wt>RR•El> ~SDI.IT
You~ CLO"Tf.l~s Cl\Tc.H 1t<J4
r11te."
Dealing with hecklers is particularly important for the street performer. They can be
fair game for your most cutting jokes, but
watch where it escalates. Sometimes even
the most antagonistic heckler actually thinks
he is livening up the show. Ifhe continues on
to the point where he distracts the show, then
a quiet word with him explaining that "it's
enough" is often successful and better than
letting things get too ugly. And no matter
how justified you may be in using physical
violence, even in self-defence, it usually
ruins a show. The audience may side with
you, but you may not be able to get them
laughing again. Sometimes the best thing is
to just bail out on a show. If neither you nor
your audience is having fun, then why continue? I've stopped shows in frustration and
told the audience off. The problem is that
this approach usually insults the people who
have stuck around and most supported your
show, as the uncooperative and disinterested
ones are generally the first to leave as soon
as you stop. I've learned simply to walk out
of my circle and around the nearest corner,
sometimes returning after a few minutes to
start over with the remnants of tlie crowd interested enough to stick around.
HANDS ON
Choosing volunteers
Picking the right volunteers for a routine
is essential. The harder you unsuccessfully
try to pull someone into helping you, the harder it will be to get a substitute volunteer. An
indirect approach can be best. Asking for a
lighter or a cigarette and then using the respondent further usually works. Asking if
someone would mind being climbed on and
made to look silly as they assist you mounting your unicycle usually doesn't work. It
helps to do something easy a few minutes
before your volunteer routine to give you a
good chance to look over the audience for
the right people.
Safety first
Think about safety. Volunteers holding
up a tall uni could injure a finger between the
chain and the sprocket. If you dip your torches, make sure you then close the container,
otherwise spills will happen. Don't redip hot
torches without blowing on them first. If any
wires in the wick are hot enough to glow
then they can easily combust spontaneously.
A mixture of lamp oil with 10 to 20%
white gas will still light easily without the
dangerous combustibility of 100% white
gas.
ISTREET PERFORMING
distraction to both you and the audience.
Most lone street performers have found it
best to stand in the middle of their space with
the hat at the end rather than going up to the
people - despite people's shyness or laziness.
Although some will pay only if you go up to
them, you'll meanwhile have your back to
the rest of the audience. And some who were
ready to pay may leave if they see it will take
you 5 minutes to get around to them. If you
do go to the people, which is much easier
when done by a group of people willing to
assist in the money collecting, start with
someone who looks sympathetic and ready
to give because he or she will set the precedent of generosity. Someone who refuses to
give or waste lots of your time by digging
around in his pockets is best skipped over.
Tom. Bolton, Tiibingen, Germany
The all-important hat trick
One tip is not to put a hat out until the finish, even though you'll constantly have
people telling you that you should. It's better to have some generous soul, with money
to give but little time, to walk off without having given you anything, than to have him
noticeably come into your space, drop you
something and leave. It encourages others to
do the same rather than letting you present
your whole show to them. It will become a
Artistenbedarf
Enra:ie: rn.•ader.
Hocnrae1e<. Anis•'<ZcoehOr,
Kunst-Galerie,
Fahrrider u. ZubehOr
~,
?ALAtJCt~1:_
l
IDEEN FOR MORGEN
Telefon 0234/ 12051 -52
Telefax 0234 / 6 44
so
KortumstraBe 5 - 44787 Bochum
Theaterbedarf
Jl'd s.rrenausstanung.
Sclvn'1ke.
Dekora1'°". 3!:~"1!e<:e. Thea'...-oekleodunQ
Masken und a'ts t.Jr '.laskenbddne<
Kein Versand!
32/Kaskade 39
~~~~<f-'
~ ~ . ,,~ 0\,~
~~..J\\,~~
o~ ~o\J ~
THE SHOP :
Juggling equipment
~~~~~~~
Make up
~~-
rp
.
conven t
Modeling balloons
Books
Video
Bubbles
Decorations
The editors accept no responsibility for the accuracy
of the information contained in the Conventions and Events section.
Please contact the organizers for details.
.
DARMSTADT 7.-9.1.1994
Cancelled. Sorry!
TASMAN IA 2.-7.3.1994 The first 3 days are for training and/or relaxation.
The next 3 days are non-stop performance - shows, fire shows, and more
workshops. Cost:$ 80 incl. camping. Fly (or boat and bus) to Launceston. From
there we will organize transport. Info: Tony Rooke, Lone Star Road, Golconda,
Tasmania 7254, Australia, Tel: (61) 003 956149
DIABOLO CONVENTION 13.2.94 lam-5pm, £5. Circus Space, United
House, 39-41 North Road, London N7 9DP, Tel: (44) 071 7000868, Fax: 7002094.
THREE BALL CONVENTION 13.3.94 llam-5pm,£5.CircusSpace,
United House, 39-41 North Road, London N7 9DP, Tel: (44) 071 7000868, Fax:
7002094.
Philippe Merle - Le Riboulon - 07 690 St Julien Vocance
FRANCE - Tel. (33) 75 34 66 43 Fax. (33) 75 34 68 05
HAWAII, 13.-20.2.1994 10th Hawaiian Vaudeville Festival, Spencer Beach
Park. Cost: $100 if registefing before 1.1.94, late registr. $150, incl. camping (bring
a tent). Breakfast & dinner for 7 days: $125. Contact fiir USA: Henrik Bothe,
P.O.Box 31752, Seattle, WA 98103, Tel: (1) 206 5229636. For Europe: Iman
Schwarzbach, Hermann-Linng Straf3e 6, D-80336 Miinchen, Germany, Tel: (49) 089
5389133
EUROPEAN LJ NICYCLING CONVENTION 19./20.2.94 Brussels,
Ecole Sans Filet, Chaussee de Boondael 104, B-1050 Bruxelles, Belgium, Tel: (32)
02 6401571, Fax. (32) 02 6475114
NEW ZEALAND MARCH 1994 Contact address: 3-Up Down Under
Juggling Co. 5 New Regent Street, Christchurch, New Zealand, Tel: (64) 03
3652686,Fax: 3661445.
OLDENBURG 3.-6.3.1994 Contact address: Uwe Schwettmann,
Hochschulsportbiiro, Uhlhomsweg, D-26121 Oldenburg, Tel : (49) 0441 7982114
DER
JONGLIER-ARTIKELVERSAND
COLOGNE 5.3.1994 Juggling festival for children and young people, 10am5pm. Workshops, note-swapping, juggling videos, Open Stage. Info: Markus Rudel,
Kinder- und Jugendcircus Llnoluckynelli, Unnaerweg 132, D-50767 Koln,
Germany, Tel: (49) 0221 794113, Fax: 798267.
mit den gunstigen Preisen
(Einzig im Sudostbayrischen Raum)
*Balle*
* Tiicher *
* Henrys Diabolos *
* Keulen von Henrys *
und vieles mehr! !!
INFO-Material anfordem bei :
Fidibus
Brigitte Wiesbacher
Kirchenwegstr. 35
83404 Ainring 1
Tel: 08653/50511-
40 Kaskade/32
2ND CONVENTION FOR YOUNG PEOPLE BRUSSELS 11 .3.94
(6pm) to 13.3.94 (6pm). For young people between 12-18 years. Workshops in
various circus skills: akrobatics, trapeze, slack rope, juggling. Contact: Ecole Sans
FHet, Chaussee de Boondael 104, B-1050 Bruxelles, Belgium, Tel: (32) 02
6401571, Fax. (32) 02 6475114
KELKHEIM, 1.-4.4.1994 (Easter) in 1200 m2gym-space +separate room for
workshops etc. Cost: DM 35 incl. breakfast. More information in the next Kaslaule.
Info: Robert Mager, Tel: (49) 069 173925, or Thorsten+ Philip, Tel: 069 6313951.
BRITISH CONVENTION, 7.-10.4.1994 Manchester, with all the usual
events. Booking acts NOW for the Big Public Show. Info: Martin Hutton, 10
Tarporley Avenue, Fallowfield, Manchester, M14 7EQ, Tel: (44) 061 2266549. ·
EUROCYCLE 8.-10.4.1994 European Championships in Uni-hockey, basketball etc. - 2 sports halls right next to the forest, sleeping in classrooms. Cost:
approx. DM 20 incl. breakfast. More details in the next Kaslaule. Info: Robert
Mager, Tel: (49) 069 173925.
KARLSRUHE 20.-23.5.1994 More infos in the next Kaskade.
MOUGINS 22.-24.5.1994 2nd European Convention for Young People
(under-18). Contact: Tous en Piste. Ecole du Cirque des Campelieres. C.E.C. des
Campelieres CD 809, 06250 Mougins, France, Tel: (33) 93452465, Fax: 93465481.
(Youth groups can apply to the EC in Brussels for reimbursement of travel
expenses!)
EUROPEAN CONVENTION, 2.-7.8.1994 Hagen. Info: Werkhof
Hohenlimburg e.V. Herrenstr. 17, D-58119 Hagen, Germany, Fax: (49) 02334/
40998.
LiNICON VII 2.-7.8.1994 Minneapolis, Minnesota, USA. Info: Unicon VII,
Constance Cotter, Convention Director, PO Box 131404, St. Paul, MN 55113-0012,
USA, Tel: (1) 612 7889137, Fax: 6319270.
IJA
CONVENTION 9.-14.8.1994 Burlington, Vermont, contact: Ginny
Rose, Box 218, Montagne MA 01351, U.S.A., Tel: (1) 413 3672401.
HANSA-THEATER Hamburg
December: ALICIA, performing dogs; CRISTINA ASTORI, trapeze; THE 5
BERTIS, artistic cycling; OTTO BERTIS, glass balancing; SASCHA GASSER,
juggler; CARLOS GAVITO, Argent. folklore; ALF HENKE, comedian; CLAUDIA
HENNI, parrot revue; SALVE TROUPE, Russian bar; HERMANOS SEGURA,
equilibrist; TVRDEK ULTRASHOW, UV-black theatre.
January: NATALY & EDI lAFORTE,jugglers, performing bears; RENATO
LAFORTE, tightrope; SALVE TROUPE, Russian bar; HERMANOS SEGURA,
equilibrist; THE SOMA YS, comic cycling; TVRDEK ULTRASHOW, UV-black
theatre.
February: FAX, musical clown; JANINE, contorsionist; LIZSTEVE, adagioacrobatics; RIKKI AND NANCY, illusionists; SBLATTERO BROTHERS, comedy
acrobats; Mc SOVEREIGN, Diabolo, et al.
_ 1()()% silicon
_ finest quality
_ very smooth
.
- professional handling
_very high bounce
-<!> 63 mm
- OM 55.~
NEU ES THEATER Frankfurt-H6chst (Sun. 4pm and 8pm)
To 2 January .1994: UVING ART, magic, juggling; THE LIZEED, balancing act;
LADY QUADRO, contorsionist; DUO BRILLIANT, acrobatics; ALESSANDRO
GILLERT, slackrope (from December); DART & DANE, magic with doves;
JACQUELINE & GERT, song and dance; CONNY SCHEFFEL SWING TRIO,
musical accompaniment.9 January to 27 March 1994: MAXIM & VALENTIN,
handstand acrobatics; HANS-HERMANN THIELKE; vocalist; GUILLAUME LE
GRAND & COCO, slapstick; CLEMENS VALENTINO, magician (9.1.-13.2.);
TOPAS, magician (20.2.-27.3.); BOB BRAMSON, hoop rolling/juggling;
GENNADIY KIL, juggler; STEPPIN' OUT, tap dancers; CONNY S.C HEFFEL
SWING TRIO, musical accompaniment.
POLYGON Zurich (Mon.-Sat.)
To Feb. 1994: "Remember me", Show-Musical featuring: JEANETTE SCHMID,
artistic whistler; ALFREDO DI CARBONARA & ADRENALINE, clowns (to
31.12.93); VORONIN & PARTNER, magic parody; STEVEN LEE AUGUST,
magician; JAN VAN DEYCK, comedy (Jan. + Feb.); SVETLANA, contorsionist. ·
March to June 1994: "Casino", an international show revue, lARS REMKE,
juggler; MARKUS UND TRIX, magic; RADOS BROTHERS, tempo jugglers;
GEORGO PEUGEOT AND PARTNER, comedy; ERIC LEE, piano and vocals;
MARC CHARLES, compere.
jongllerartfkel · Zauberartlkel · Sc.herzartikeh fRollsport .. ~
Graf - Engelbert - Platz 3 • 0-58511 U k l - •TIA./, f...,
02351/ 21716
32/Kaskade
41
V
GOP - ARIETE IM GEORGENPALAST Hanover (Tues.-Sat.)
December 1993: MICHAEL GENAHR, compere; MAGIC BOYS, magic; TRIO
ADAMSKI, strongman acrobatics; EGEA & ALISON, jugglers; MARCO
CAROLEI, comedy; RIMMA KRILOVA, hula-hoop; 4 PYTLAK, tempoacrobatics.
January 1994: JUNO, compere; JAMES DIMMARE, magic; ALFREDO &
ADRENALINE, comedy; GEORGE SOLLVENO, juggler; ZAMORATTE,
contorsionism; CHY FU DEY, acrobatics.
February: COMEDIAN COMPANY, comperes; RINALDO, comedy juggling;
SLAPS & MO DELL, contorsionism; TRIO GASPAR, rola bola; MARCUS &
TRIX GABRIEL, magic; GLEN NICOLODI, antipodist-handstand.
March: BERT REX, compere; UNO LANKA, balance/juggling; FULL HOUSE,
comedy jugglers; FINN JON, magic; MISS EVELYN, contorsionist;
TRUPINIQUINS, roller skaters.
0
E)
£ 24.00
8
34.00
37.50
57.00
82.00
90.00
NLG 63.00
90.00
100.00
DM
TIGERPALAST Frankfurt (Tues-Sat. 8pm + llpm)
· To March 1994: ARTURO ALEGRIA, tempo juggler; ROMA HERVIDA,
trapeze; LARRY PARKER, magic(Dec. - Feb.); BLACKWITS, black theatre
(Dec.); THE RIOS, lcarian act (1.-15.12.93 I 4-16.1.94), DAVID DIMITRI, wire
walker (21.12.93 - 1.1.94); DIE VIERTAKTER, vocalists and comperes (Dec.);
CHRISTIAN & SVEN, acrobats (Jan. - March); OMAR PASHA, black theatre,
(Jan. - March); HEINRICH PACHL, satirist and compere (Jan.); MARCUS
SCHIMPP, chansonnier and compere (Feb./March); BOU GU ONE'S TIGER &
PANTHER REVUE, (from 18.1.)
P ALASTBAR - Showtime from 9pm, admission free.
COLOURS ADD Ill"
TAX DELIVERY INCLUDED
a
W.G.Plein 406 NL-1054 SH Amsterdam
• INT+ 31.20 ..6125345 fax .,6834003
Ir=~;~;~~~!s!~~!~:·
wi
zum Thema Circus:
I
Lu
V
NA ARIETE Dortmund, (Tues-Sat. 8pm, Sat. also llpm)
Variety programme in the first two weeks of every month.
1.-16.12.93: MAX NIX, compere; CAROLIN SCHROCK, trapeze; GILLES LE
LEUCH, diabolo; BUBA, juggler; BUKA, magician; DUO IGNATOW, hula-hoop
clowns; KAI EIKERMANN, break dance; KGB, clowns; GALINA
STRUTINSKAJA, dancer, magicienne.; JURI OBREZKOW, manipulator.
Every third weekend in the month, midnight: DIE KALLESHOW, with changing
bill of variety artists.
WINTERGARTEN Berlin
To 20.1.94: "Robert Kreis trifft Michel Lauziere im Kreislauf der Zeit", conceived
and directed by Bernhard Paul. From 21.1.94: Andre Heller presents: "Hoppla".
CIRCUS-ZEITUNG ist die monatliche Fachzeitschrift zum Thema Circus, Variete und
Artistik mit Reportagen, Artistenportrats,
historischen Dokumentationen sowie
aktuellen News und Terminen.
CIR~
CIRCUS KIDS berichtet in Wort und Bild
speziell Ober Kindercircus und Circuskinder
mit Fachbeitragen zu padagogischen
Themen der Kinder- und Jugendcircusarbeit,
Portrats der verschiedenen Konzepte sowie
Reportagen aus der Welt der Circuskinder.
CIRCUS KIDS erscheint vierrnaJ pro Jahr.
Probehelt=!~o09!~~~ostenlos. ~
CIRCUS-VERLAG
Am Latourshof 6, D-41542 Dormagen 11
I. (02133) 91 555, Fax: (02133) 91 ~53
42 Kaskade/32
ETABLISSEMENT RONACHER Vienna
(daily. 7.30pm, Sun. also 3.30 matinee) To 16.1.94: Bernhard Paul's Clowns.
CABARET IM CIRCUS SPACE London,
17./18.12.93: KEVIN BROOKING & RACHEL PONSONBY, clowns; JULIETTE
HARDY, trapeze; FIRENOISE, ultraviolet juggling show.
1st. show in New Year: 15.1., then every fortnight. For current programme info: (44)
71 7000868.
SCHMIDT Hamburg
To 31.12.93: Perlen der Kleinkunst. Fri. und Sat. midnight: SCHMIDTSHOW uncompromising variety.
CHAMALEON Berlin Wed-Sun, 8.30pm, Sat 11.59pm: midnight show.
SCHEINBAR Berlin "Open Stage" every Wednesday and Thursday, 8 pm.
CIRCUSES IN SWITZERLAND
Fordetailsofwho'swhere, contact:
Katharina Strub, Tel: (41) 61 3021272.
CIRCUSES IN GERMANY Information desk of the German circus fans'
association GCD, Tel: (49) 05158 626
=~=~=~=~:::~:~ ::::::::::::~::...::::::::::::::::·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:······ ..
TOUCH THE SPIRIT OF CIRCUS Wanttolearnmoreaboutit?8-week
workshop focusing on unicycling and other acrobatic skills for beginners and
advanced students, taught by Ricardo, a professional circus acrobat from Brazil.
31.1. to 31.3.1994 in Stuttgart, Germany. Info: Ulrike Zimmermann, Tel: (49) 0711
853141or2364484. Fax: 07154 180373.
· GAUKELN UNO SPIELEN withtheUhlemeiers.Improvisationand
presentation of a show in a group context, scenes, human pyramids, music and
nonsense, 14.3.-27.3.1994, DM 730 for course and accommodation, in Southern
Spain, right by the sea. Infos and registration: Susanne Grampp, Schulen 24, D27305 Engeln, Germany, Tel: (49) 04252 794.
ECOLE SANS fl LET Brussels. 11.-15.4.94: Stage de Voltige Acrobatique 4 skills: trampoline, springboard, Russian bar, hand-to-hand acrobatics, 4 specialist
teachers. Info: Ecole Sans Filet, Chaussee de Boondael 104, B-1050 Bruxelles,
Belgium, Tel: (32) 02 6401571, Fax. (32) 02 6475114
COSMOS Introduction to Circus Skills, Ultra Violet Light and Fire, Anna
Jillings and Jim Semlyen. Weekend: Swindon, 29.4.-2.5.94 and 23.9.-25.9:94;
Galloway, 5.5.-8.5.94, Dorset, 29.7.-31.7.94 and 4.-6.11.94; Info: Jim or Anna, Tel:
(44) 0904 430472.
K6LNER SPIELECIRCUS Weekly courses: Acrobatics, juggling, unicycling.
Info and registration:. Koiner Spielecircus, Wissmannstrasse 38, D-50823 Kain,
Germany, Tel: (49) 0221562254.
ATIK ARTISTIK CAMP Winter workshops: 26.12.-6.1.1994. Easter
workshops: 3.-7.4.1994. Info and registration: Atik, (Artistik und Tanzinitiative
Karnten) Anzengruberstr. 12, A-9020 Klagenfurt, Austria, Tel: (43) 0463 262388
CIRCUS SPACE 31.1.-25.3.94, Eight-week intensive physical circus skills
course, incl. flying and static trapeze, acrobatic tumbling and balance, trampoline
and tightwire. 14.-25.3. Clown Course with Rick Zoltowski of Commotion. Weekly
courses in: juggling, acrobatics, flying and static trapeze, acrobalance, trampoline.
For full details: Circus Space, United House, 39-41 North Road, London N7 9DP,
Tel: (44) 071 7000868, Fax: 7002094.
CLOWN WORKSHOP in Lahr, nr. Freiburg: 3.-7.1.94. with Bruno Zi.ihlke.
Also: 12.-19.5.94 Circus Workshop in the South of France - Circus skills in
education and youth work - professional training course with Bruno Zi.ihlke. Info:
Jojo-Clowntheater, Bruno Zuhlke, Maienstr. 1, D-79102 Freiburg, Germany, Tel:
(49) 0761 74991, Fax: 796793.
ZIRKUSTRAINING Trapeze and foot-holding acrobatics, Udo van Grabowiecki,
8./9.1.94; Acrobatics and Balance, Ricardo Camillo, 18.1.94; Acrobatic Jumping,
Michael Wolfgang, 5./6.2.94; Partner- and Floor Acrobatics, Udo van Grabowiecki,
23./24.4.94; Ball Tricks, Alfred Schachl, 26./27.3.94; Diabolo, Devil Stick, Staff
Fighting, Alfred Schachl, 30.4./1.5.94; Rola Bola, Unicycle and Tightwi.re,
U.v.Grabowiecki, 13./13.3.94; Tightwire, Web Rope, Trapeze, Sylvia Cassel, 19./
20.3.94; Capoeira, Adenilson Cardoso de Oliveira, 15./16.1.94; Theatre-Sport Improvisation Techniques, Volker Quandt, 21.-23.1.94; Improvisation and
Clowning, 25.-27.2.94. Registration: Concadora Seminare, Rudi Ballreich,
Hopfauerstrasse 49, D-70563 Stuttgart, Germany.
1
WOMEN S CLOWN SCHOOL
lst.yearofstudy: 1.4.-1.11.1994.
Instruction: Mon.-Fri., roughly 7 hours a day. Price: DM.430 to 480 per month
(tuition and accommodation). For more details (please send OM 2 for return
postage) and registration info, contact: "Miranda", Simone Ihrsinn, Restrupperstr.
10, D-49626 Bippen, Germany.
32/Kaskade
43
THJe.fUtNQ
cAgARETSAT
THE CfRCLIS SPACE
1llE gEST ~~ETY IN 1llE C/11'fTIV.
RWAYS oi ~Ml>AYS FOV/Jfl;lflLY ROH !fPTEHr£e. 21/# AT ellk.
Af!TS I~ STEllE e.AllUIJ(fS. IX EN llEDfP.. P.ODIJEY oi JOllATl/NJ,
JOfll.l 1££, 1llE CID P.oPE mtf.K< JN.ID, OUVEP. c;t.OS2£e. oi HNJY HOI:£
Pl/ONE 0"/1 'IOO tmR Foe. A nMME oe. TO ioctl Tl(!l(£1S
"IWWt.S TO 01111. ~ Sl>ONSORS - MTE~fJl;Ee.5 NJD rEA1?D
1)YNAHfC
COLIRSES AT
THE CfRCLIS SPACE
Foe. !*SOME gEQNNEe.5 AND EXJlEP.IEM:!£0 l'Ee.Foe.HEe.s
ROH ./l/c;t;Uf.K< TO K/JIFE Tl/e.OINll/q, CIDllN TO F!Ylll<; TeNE2£
llEEt'.LY De.OP IN CIASSES. llEEl(£1JD COiie.SES. ~E HONTfl COIRSES
Pl/ONE 0"/1 'IOO ~ FOP. Flll.L n<X!f/IJl:E
THE CfRCLIS SPACE
mTAtN'S PR£1'11ER CENTRE FOR CIRCUS ARTS
c o u r:,: :S\:a ::s:: "''
:;.::::::::::;:;:::;:;:;:::;:;:;:::::::::::::::::::::::::::::::::;:::::
JONGLIER-WINTER Darmstadt, Improvisation, Prasentation, Physical Skills.
A workshop for all jugglers experimenting with new routines or pol1shing exjsting
ones. Small group sessions led by instructors from the fields of dance, theatre and
clowning. Dates: Sun.10. - Sun. 17.4.1994. Numbers limited to 30. Final
presentation: Sat. 16.4.94, Bessunger Knabenschule Darmstadt. Registration and
information: Iris Dal3ler, Rainer Bauer, H-Delp-Str. 78, 64297 Darmstadt, Tel: (49)
05151 53453.
BRISTOL ACADEMY OF CIRCUS ARTS One-year intensive course in
circus skills from September 1994, using the former premises and teachers of Fool
Time. Includes tumbling, aero-balance, juggling, equilibristics, and aerial work,
including swinging trapeze. The course combines skill training with rhythm,
movement, performance and creative work for comedy and physical theatre. For
further information, contact: Bim Mason, 41 Balmoral Road, Bristol, BS7 9AX.
INTERNATIONAL YOUTH CIRCUS CAMP 21.-30.7.1994, in Lingen,
Dieksee Youth Hostel, for approx. 150-200 participants: Children's and youth circus
groups and individuals from all over Europe (minimum age 14). With workshops led
by well-known exponents of various circus skills (acrobatics, unicycling, wirewalking, juggling, etc.) plus music workshop/circus orchestra. Goal: Public
performance at the end of the camp with live music. Contact: lngo Michael,
Theaterpadagogisches Zentrum (TPZ), Universitatsplatz 5-6, D-49808 Lingen
(Ems), Tel: (49) 05915033 or 5034, Fax: 3309.
SKYLIGHT TRAINING · 1994 Feb.-May: International Training Programme;
Apr.-June: Circus Theatre Course (6 weeks) incl. stilts, trapeze, globe, tight/slackrope, tai chi, dance, character; Apr.-Aug. Performance for Tourism (18 weeks
intensive training in circus, technical and business skills). Contact: Skylight
Broadwater Centre Smith Street, Rochdale OL16 lHE, Tel (44) 0706 50676.
other
UNfT£D f/Ol/SE, NORTf/ ROAD. WNDON N"l 1DP
1£!£Pf/ON£ O""t1 )()0 og6g, FAX on )()0 2014
KNALLFROSCH PRESENTS DIE PLEBSBUTTEL, Comedy-Magic-Show with
Desimo, Wolf+ Kopf, and Guido Schmalriede, Sat., 8.1.1994. LES TROYENS: The
smallest quartet in the world. These three clowns from Belgium knocked out the
audience at our juggling gala in May. Now they ' re back with their full-length show.
Sat. 22.1.1994. Beth events start 9pm. Venue: Biirgerzentrum, Konigstr. 7, D-59227
Ahlen, Germany. Info. Knallfrosch, Tel: (49) 02382 80080.
V
LYZ MIX ARIETE Siegen. 9., 23., 30.12.1993 and 13. and 27.1.1994 (to be
continued) at 8pm in the Kleines Theater im AI ten Lyz, St. Johann-Str. 18. Ticket
reservations from: .Kultur!Biiro, Tel: (49) 0271 332448.
H. Ewert, Peter Senko, K.P. van der Wingen
MODELLIERBALLONS SPIELEND LERNEN
104 Seiten, OM 16,80, ISBN 3-924690-73-1
In diesem Buch sind viele Beispiele zum Erlernen des
Modellierballon-Figurenkabinetts. Anfanger und auch
Profis werden neue Tricks entdecken konnen. Auch
tor Kindergarten und Erzieher geeignet.
EDITION ARA<iON VERLA<iS<iESELLICHAFT
Neumarkt 7 · 47441 Moers· Fax 02841 / 24336
44 Kaskade/32
WINCHESTER HAT FAIR Festival of Street Theatre, 7.-10.7.94, Winchester.
· If you wish to perform·, please send your publicity material to: The Tower Arts
Centre, Ramsey Road, Winchester, Hants. S022 9PW, Tel: (44) 962 855334, Fax:
849337.
ECOLE SANS FILET 28.-29.5.94: "Chapiteaux en Folie" - Revue illustrating
the work of the school - from amateur to professional artiste. 8-12.6.94 (daily
performances): Final Gala by graduates of the full-time professional training
programme. Ecole Sans Filet, Chaussee de Boondael 104, B-1050 Bruxelles,
Belgium, Tel: (32) 02 6401571 , Fax. (32) 02 6475114
Fuc FLAC FEST 20.-22.5.94, Burhave (Butjadingen). A mixture of kite,
juggling, variety, circus and leisure sports festival. Sea and campsite adjoining.
Kite-flying and entertainment programme, plus workshops. For details, contact: Flic
Flac, Wilhelm Schwanken, Gaststr. 13, D-26122 Oldenburg, Tel: (49) 441 27788.
GA LA DER ARTIST! K featuring Gran Picaso, tempo juggler, and many more.
TV-recording, to be shown on New Year's Eve on ZDF (German TV, Channel 2).
ARTISTEN, TIERE, SENSATION EN 17.2.94 - 13.3.94, Vienna Stadthalle.
MENSCH EN IN DER ZIRKUSKUPPEL to 31.3.94 Special exhibition in the
Austrian Circus and Clown Museum, Vienna, (Karmelitergasse, Wed. 5.30-7pm,
Sat. 2.30-5pm, Sun. lOam-12.)
FESTIVAL DU CIRQUE EuROPEEN
1-22.12.1993, Liege
VERON A 3rd International Circus Festival, 13.-19.1.1994. Info: Tel: (39) 045
8101616,Fax:8101660.
CIRQUE DE DE MAIN 17th World Festival of the Circus of Tomorrow, 8th
World Festival of the Circus of the Future, (12-16 years), 20.-24.1.1994, Paris;
World Convention of Circus Directors, 24.1.1994, Info: Association Frarn;aise pour
le Cirque de Demaio, 27, rue de Marignan, F-75008 Paris, Tel: (33) 145635148,
Fax:45635318
MONTE CARLO 18th International Circus Festival, 27.1.-3.2.1994 .
®~ rnrmooormrnrnr2o~oo
R/O 59 FAIRMILE ROAD
CHRISTCHURCH
DORSET BH23 2LA
ENGLAND
'ii'@O@!P)llil®llil® «@~@~D •WW:Il.®~~
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•
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TELEFAX 0 62 27/4774
•
JONGLIERBEDARF • IDEEN • TRENDS
32/Kaskade 45
WOMEN
ONLY? A MAN'S ...
Dear AC. SchrOder,
I was really annoyed by your
letter inKaskade No. 31. I found
it arrogant and patronizing - typically male, in fact. I don't understand what gives you the right
to hand out "good" advice to
women about what they should
and shouldn't do. You are obviously totally blind to the problemsoftheway menand women
relate to each other. That doesn't
give you the right to deny that
the problems exist. I can only
guess from the way you reacted
that you do feel personally affected - otherwise why would
you have reacted so strongly?
Are you frightened that women
won't want to have anything
more to do with men and that
you won't find a female partner
to juggle with? Can you imagine
a juggling convention with men
only? What would be missing?
What do you need from women
that you can't get from men?
Men and women are different, and in our society women
are clearly worse off. You can't
gloss over that fact just by saying that "we're all equal when
we're juggling". I can well understand that women are fed up
with certain types of criticism such as your letter - and with
being chatted up or simply with
the kind of structures which prevent them developing their abilities to the full. That you cannot
see these structures is not really
surprising - after all, it is us men
who benefit from them. Our freedom to develop our abilities is
so great precisely because that
of women is so limited.
Your comparison with" gays,
oldies and over-6-footers" suggests that you think women are
a minority. A frightening
thought, when you consider that
there are actually more women
than men in this world!
I wrote this letter not to curry
favour with women but because
I believe that we men must learn
to get by on our own. Women
don't need us and wedon'tneed
women - only then can there be
truly equal human relationships
between men and women. That
also means that men will have to
learn to recognize sexism and
criticize each other for it. That is
why I am writing you this letter
from man to man. Perhaps you
find it easier to accept these
ideas coming from a man. Sexism is not just a women's problem, it affects men just as much,
and as such is an expression of
an inhumane attitude.
... AND
Let me end with a quote from
a Konstantin W eckersong: "I'm
a man, know no fear, but therefore a ruler? No thanks."
Jens Herden,
Kaufungen, Germany
A WOMAN'S
I knew it had to happen. Even in
the juggling sceneit'snot possible for us women to do something on our own without some
man screaming in panic.
At least, I'm assuming that
there is a man behind the initials
AC. Does feminism frighten
you so much that you don't even
dare to admit your sex?
We women certainly have
our reasons for wanting to be on
our own sometimes. Can't you
imagine that I enjoyed being at
a convention without men constantly pushing themselves into
the foreground and trying to
prove that they can juggle as
well as I can; that it was nice to
VIEW
play Combat without bully boys;
that it was nice not to be chatted
up ... ?
Yes, just imagine- fun though
ordinary mixed conventions can
be, they do have their negative
sides for me as a woman.
I thoroughly enjoyed the
women's convention. There
weren't many people there, so
we had a chance to get to know
everyone. Thank you very much,
Kati, for your idea and your
organizing. I'm already looking
forward to the next women's
juggling convention, wherever
and whenever it happens!
Anna Bahler, Bern, Switzerland
wish all jugglers everywhere a
festive and frolicsome winter
celebration and a peaceful and
prosperous new year.
11A Church Farm
Corston
BATH
BA2 9EX
Tel: 0225 874759
Fax: 0225 874353
46
Kaskade/32
We stock the widest range of juggling equipment in the U.K. and are
distributors for Beard, Henry's, Spotlight; )onglerie Diffusion,
A.J.A., Dube, and many more ..........
Write phone or fax us for a free catalogue.
C 0 M M EN TS ON
To start with, many many thanks
to all those who came to the
festival and who supported us
by giving workshops, tidying
up, performing in the public
show, giving tips and criticisms
or simply paying their registration fee. It was for you that we
organized this festival and made
it happen with all the helpers.
We were naturally very pleased
at the overwhelmingly positive
response, which encouraged us
to take on all that work again
next year. We would like to take
this opportunity to apologise for
the appalling quality of the PA
at the public show.
However, from our point of
view there were also a number
of negative aspects:
Yet again there were some
jugglers who felt it necessary to
dodge paying their registration
fee and who tried to get into the
public show for free.
It was also disheartening to
see that many jugglers think they
can just leave non-deposit bottles lying all over the place. Or
even more exasperating - and I
quote: "I'm taking the bottle
home with me to get the 30
pfenning deposit." That attitude
left us about 150 bottles short at
the end of the day!
But the biscuit was taken by
that loud-mouthed multiple
KA RLSRUHE
white ball passing juggler from
Frankfurt who got caught red
handed trying to walk off with a
bag full of beer bottles during
the public show.
The organization ofa festival
with roughly 350 registered jugglers meant 9 months of intensive preparation with a total of
16 coordination meetings - although mnst of the work was
done in our spare time.
All the work that needed doing before and during the convention was done by organizers
and helpers for free.
The prices were designed so
that we would just about break
even. A risky business considering that we had overheads of
several thousand D-marks for
things like hall and PA rental.
For this reason, all the organizers agreed at their first meeting to cover the financial risk of
the event out of their own pockets.
Do the undesirable occurrences described above mean
that we have to introduce more
rules, stricter controls? What
alternatives do you see?
The organizers: Klaus Becker,
Stefan Gerl, Achim Hesse,
Volker Lehmann, Guido
Maucher, Michael Riffel and
Hans Schlesiek
NEHEIM COMPETITION
Sponsoring the arts or ripping
off the artists?
A local traders' association
tries to think up ways of making
their town a nicer place to shop
in. The answer? Street performers! Of course! But how do we
get the maximum number of
(good) performers for the min umum amount of cash? I know hold a competition!
11 groups - 44 shows -
ANIMALS
IN
THE
Dear Achim Schlotfeldt
So you were disturbed by my
comments on animals in circus.
I actually don't agree with zoos
or keeping pets not indigenous
to their own country. I do not
agree also with animal experimentation, blood sports or eating them.
Does that disturb you too? Or
are you happy with the way
these things are going? I know
THOUGHT OF THE
To everybody who had a "Jugglers Thought of the Day" calendar.
I wonder if you noticed the
hole was in the wrong place, it
should have been at the bottom,
along the Sunday line. It would
have hung much better and you
DM 2,000 (£800) prize money.
Even the top prize was less than
a normal fee (especially for a
traders' association).
The pitches were too small
and the hat was pretty miserable
(on Saturday). And on Sunday?
Anyway, having now thought
it through, I'm relieved that my
application arrived too late.
Hironomus, Munster, Germany
c I Rc us . PART 3
some circuses are more "friendly" towards their animals but
this is still not at the choice of the
animal. I don't need to differentiate or generalize, the main point
I am making is freedom for animals.
Out of the circus, out of the
zoo, out ofthe laboratory and off
the plate!
Graham Clack,
Heidelberg, Germany
DAY
would have had the back of the
previous month to use as a scribble pad. A bit late in the day to
realise this, sorry about that, hope
you enjoyed them none the less.
Simon Worrall, Enfield Lock,
England
THE UGLY JUGGLING COMPANY
Juggling Circus, Theatrical Supplies & Books
Visit our shop or use our
fast mail order service.
Free catalogue.
73 WESTGATE ROAD• NEWCASTI.E UPON 1YNE • NEl lSG •ENGLAND
Tel/Fax(091)2320297
32/Kaskade
47
s ma
Juggling Equipment (from
Henrys to DuM), hire service
(from diabolos to unicycles),
courses (for children and
adults), magic supplies (from
the false thumb to the floating
lady), agency services and mail
order (write for our catalogue)!
New in D-49074 Osnabrock.
*Aufgeb/asen*, Herrenteichstr.
4, Tel. (49) 0541 27513.
Missing since the European
Convention in Leeds: my 20"
Semcycle uni. If anyone found
one, please get in touch: Ulli
Wehl, Am Stdnbecker Feld 57,
D-21244 Buchholz, Germany.
Thank you.
Juggling, Circus, Magic, Variety videos to sell or exchange.
Please send DM 3 for a long
list. Nigel Noden, August Str.
19, 50733 Kolo, Germany. Tel:
(49) 0221 779234.
DM-Engineering Giraffe for
sale: 200cm. 20"-wheel, doublechain, non-synch gears, short
cranks. Foldaway model with
bag for carrying. DM 600. Call
Martin on (49) 040 4393129.
Bumfidl
Accesories fiir performers
and fakirs, juggling meetings
and workshops.
A-1070 Vienna, Lerchenfelderstr. 113, Tel: (43) 0222
5269136,Fax:4925554.
Wanted: VHS video of"David
Copperfield: Seine groBten 11lusionen" (RTL, Hans Meiser,
15.8.93, 19.10 Uhr). Hilko
Denekas, Norderwieke Sud 74
D-26629 Spetzerfehn. Tel: (49)
04943 3713.
Unfortunately, when my last
Wanted: Kaskade No. 2, 3, 4,
9, 11, 13. Robert Mager, Tel: . ad appeared I was in England
and not at the end of my phone.
(49) 069 173925
That means that two sets of
brand new silicone balls (white,
Founded at last: the Albert fan
0 63.Smm, 165g, Todd Smith)
club! Albert, we love you! Souare still waiting for their new
venirs of all kinds wanted.
Swaps available. The 3 women owners. Ifyou'reinterested, call
me (again): Michael, Tel: (49)
from Oldenburg, Christian,
Annette, Susanne, Benni and 0241 500413.
Silke, Club-HQ: (49) 0441
46397.
Person who lost juggling equipment in the ultraviolet tent at
the European Convention call:
(44) 0904 430472.
Used unicycle wanted. Preferably Frankfurt area. Bea, Tel:
(49) 06104 41196.
Dirk, did you know that...
- the golden hat is not made of
gold at all, but moulded aluminium?
- basketball is not allowed in
gyms after 3am?
- Ignatov brushes his teeth every evening at 7.30 and doesn't
have a son?
- the record for folding-chaircarrying currently stands at 22?
- Thomas wanted to sell you to
us for 3 meal tickets?
signed: Die Flinken Pfoten,
Diilmen. Regards to Daniel and
Thomas!
TH E AusrRA.llAN
Juc cuNc MAGAZINE
~ \ ·full of photos, articles,
reviews, upcoming events
and a list of workshops.
~ ~ ;· ·subscribe and find
out what's up Down Under.
For a year's subscription
(delivered airmail)
please send US$ 25 to;
Portable stage background
wanted. Tel:(49)0611261615.
Ave Caesar! Three hails from
the "little" proletarian (who has
finally overcome her depressivephase!). To the best emperor at Atik '93 with the shortest
toga and a double hail to the
fanatic twins: "sniff, snort, snuffle - and a wipe, please"! A.
Cheap giraffe, and clubs and
other juggling equipment wanted. Thomas Becker, Tel: (49)
0651140685; (49) 02687 523.
48 Kaskade/32
Second-hand ladder wanted,
cheap. Monika Ledermann, Bismarckstr. 12, D-87719 Mindelheim, Tel: (49) 08261 5313.
Semcycle for sale. Changeable
height, 2.lOm or 2.80m. New
price: DM 1300, selling now
for DM 650. Peabody, Tel. +
Fax: (49) 0221 517453
Who can help me with my
diploma thesis on the potential
impact of children's circuses
(in particular, juggling with
children)? Anything is useful:
addresses, magazine articles,
book titles, other diploma theses on the subject or your own
personal experience. Martin
Bruders. (49) 0251 867310
Moin! and let me tell you: fountains are highly flexible, peaceful life-savers in many a situation! Just wanted to get that one
straight. Thank you, that's all,
bye. Meike.
KASKADf
EUROPEAN JUGGLING MAGAZINE
PUBLISHED AND EDITED BY
Gabl & Paul Keast, Annastr. 7,
D-65197 Wiesbaden, BRD,
Tel. : (49) 0611 425938 ;
Fax : (49) 0611 410111
E-MAIL ADDRESS
For CompuServe users:
Paul Keast, 100064,2551
Forr Internet users:
[email protected]
ISSN 0939-1371
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Nassaulsche Sparkasse,
Zugspitzstrar3e, Wiesbaden
(BLZ) 510 500 15,
Account No. 111 152 438.
The Zen ofJuggling
forms a link between juggling
and eastern philosophy. Dave
Finnigan, author of "The Complete Juggler", gives an intriguing description of how juggling
can serve as a path to personal
growth in every respect- a source
of enrichment for mind, body
and soul.
Juggling in Physiotherapy who has experience or tips on
literature about the use of juggling in a medical context, esp.
muscle-building after serious
arm injury? Reinhard Finck,
Heisterfeldstr. 17, D-47445
Moers, Tel: (49) 02841 74176.
.,
O;we Finnigan
. Zen
~
JongJimns
0 . W. B:irth
Every present subscriber who wins a new subscriber to Kaskade
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Signed articles or letters do not
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Wanted: Video of the Renegade Show in Birmingham 93.
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Dorsten, Germany
Unirider - German unicycling
magazine, 40 pages all about
unicycling. Send US$10 in an
envelope.
Sensational video of the world
unicycling championships in
Canada, 4 hours of unicycling
highlights. DM 120. Available
from: Einradschule Tscha
Tscha, Sammy Hellwig, Gutenbergs tr. 68, D-50823 Koln,
Germany Tel: (49) 0221524853
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11
JUGGLERS/ACROBATS WANTED
Circus Luscious juggling-dance-theatre is looking for a third
member for an open-ended project. You should have strong club
passing skills. Body movement a
must!! If you are interested and
can rehearse in the Diisseldorf
area, phone as soon as possible:
Howard Fireheart, Tel: 0211
441658 or Klaus 0201 347650
(urgent!)
also looking for performers who
would like to perform in our
publicshowinJuly 1994.Please
contact Markus BOrdner, Zevenaer-Str. 2, D-35781 Weilburg,
Tel: (49) 06471 30610.
Wanted: Passing(upto7 clubs)
and juggling partner in the Konstanz area. Contact: Michael
Kogel,Hermann-Schwer-Str.19,
D-88709 Meersburg.
Got a good stage show? We
have a good place to perform it.
Kulturforum l..andshut is lookingforjugglers, acrobats, clowns,
etc. with stage experience. Please
send your publicity to: Sepp
Fleck, Kirchgasse 251, D-84028
l..andshut, Germany.
Are there any.jugglers in the
Czech Republic? I'm in Ostrava
until July '94 - Please write to:
Paul Bartlett, c/o T.E.A., Frani
Sramka 32, 70900 Ostrava,
Czech Republic.
Is there really no-one in the
Weilburgareawhowantstojuggle a bit, or a bit more? We're
Workshop-leader wanted: For
the European Youth Circus Camp
1994 from 22.-30.7.1994 we are
These are the changes and additions to the list of meetings
publishedinKaskade No. 31.
The full list will appear again
in No. 33.
DORTMUND Mon 8-lOpm
FreizeilZentrum West, Neuer Graben 167.
Thurs 8-lOpm, Dietrich Keiming Haus
(behind main station). Contact: Dirk
Schilrmann, 0231100017
AUSTRIA
VIENNA Contact: "Bumfiedl"-, Henna
Lunder, Tel: 0222 5269136
EIRE
GALWAY Contact: Nick, 09163586
GERMANY
ARNSBERG NEHEIM Wed 7.pm,
Contact: Jilrgen Wiles, 02932 24726.
AURICH Mon. 2-4pm, !GS-Halle,'
Contact: Rena, 04941 65930.
BAD VILBEL Fri. 6-10 pm, Georg
Biichner-Gymnasium sports hall. Contact:
Susanne Harkort, 069 5074225
BAYREUTII Tues. 9-11 pm, Kommunales
Jugendzentrum, Hindenburgstr. 47. Contact:
Heike Tilshaus, 092194828.
50 Kaskade/32
[email protected]
FRANKFURT/M Mon. 6-lOpm, Haus der
J ugend (Youth Hostel) Deutschherrenufer
12 Contact: Robert Mager, 069 17392~.
FREIBURG Tues. 8-9.45 pm, and Sat. 45.45pm, Waldorfschule St. Georgen,
Bergiselstr. 11;
Fri. 8-10 pm Goethegymnasium sports hall.
Fine weather: Stemwaldwiese. Contact:
Bruno ZUhlke, Maienstr. 1, 7800 Freiburg i.
Br., 0761 74991
FRIEDRICHSHAFEN Wed. 7-9pm,
Jugendzentrum "Molke", Contact: Armin
Sachs, 07542 184.6
HEIDENHEIM Thurs 6.30-8.30pm, sports
hall Adalbert-Stifter Schule. Contact:
Wolfgang Gentner, 07321 49835
KREFEl.D Contact: Benno Grummel,
02151 777986
MUNSTER Mon 7.30-lOpm, Am
Hawerkamp.
Wed 8-lOpm, Hochschulsport Fliednerstr.
Contact: Bernd Milnt 0251 72906
(mornings till lOam)
still looking for a few internationally experienced workshopleaders, in particular for "b;:ilance" (rola bola, rolling globe
etc, plus balancing objects on
chin, foot, forehead, etc.) and
"dance" (physical training, basic training in expression and
presentation).
Presentation is an equally weighted component of the Campcoursesalongsidecircusskills because,
as we all know: "dreams cannot
be conveyed by technique alone".
For more information: Theaterpadagogisches Zentrum (TPZ),
Inga Michael, Lingen, Deutschland, Tel: (49) 0591 5033.
Do you love the circus?
Do you have a special affection for circus as a grand tradition and
as a unique form of entertainment? Ifso, you would enjoy being
a member of the CIRCUS FRIENDS' ASSOCIATION which,
for nearly 60 years, has kept its members in touch with all that
is new and exciting in the world of Circus. For full details, please
send a postage paid international reply coupon to:
The Membership Secretary, 43 Waterloo Lane,
Skellingthorpe, Lincoln LN6 SSJ, Great Britain.
NUREMBERG Wed 7 pm at Komm, (not
duting school holidays) or in fine weather:
WCihrder Wiese. Contact: Fritz Mack, 0911
499562.
R0SSELSHEIM Mon from 8pm, "Das
Rind", Mainstr. 11. Contact: Frank Lilckert,
06142 44442.
TRIER Wed. 8-11 pm, Jugendzentrum
Exzellenzhaus, Zurmaienerstr. 114 and Sun.
7pm University ofTtier, AVB Foyer.
Contact: lngunn Bottcher, 065140911
HOU-A.ND
ZWOLIE Mon. 8-iOpm (Sept.-June),
Oranjeschool, J ufferenwal 26, Contact:
Marinus Ptins, 038 541308, Carel de Goe)),
653845.
SWEDEN
GOTLORERNA Wed Contact: Jenny
Pettersson, 0498 50110 or Alma Hedlund,
2615.
SWI1ZERLAND
GREAT BRITAIN
IPSWICH JugglingOub, Tues7-9pm,
Suffolk College Gym, Contact: Dave: 0473
226464 (day), 623490 (eve).
MOSSLEY Mon. 7.30-lOpm, Roughtown
Community Centre, (£1.50/£1), Contact:
Clive or Najma, 0457 837371.
STROUD Every 2nd & 4th Tues in the
month, 7-9pm, St Matthew's Church Hall,
Cootact: Julie & Ian, 0453 756213
YORK Tues, 7-9 pm, Ptiory Street Centre,
Contact: Cosmos Juggling Company, 0904
43472
BASEL Wed. 8-10 pm, cycling sports hall,
Im Wasenboden, (summertime:
Schutzenmattpark near Bundesplatz).
Contact: Henrik Schmidt 061 2711908
CAROUGE Tues. 8.15-10 pm. L'Ecole
des Pervenches 3 Ca.rouge, entrance rue
J acques-Grosselin No. 4. Contact: Bernhard
Gisin, Tel: 022 3011212
UNICYCLE HOCKEY
HASTINGS Unicycle Group (H.U.G.).
Sunday lOam-12 Contact Derek 0424
431698, Andy 813144
MUNICH "Halbe Radler mit SchuB'', Peter
Schwartzkopff, 089 713651 or Mathias
Pusch, 7469026
Juggling Art·
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finest handmade clubs and balls,
boxes, beanbags large and small,
fire-devils, torches and sticks,
and more - for juggling tricks.
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AJA - Workshop
c/o A Tavernier
Hauptstr. 51
69181 Leimen
Germany
Phone:06226-2523
Fax: 06226-3661
The AJA-Shop
c/o A Tavernier
Klausenpfad 19
69121 Heidelberg
-Handschuhsheim
Germany
Phone: 06221-402911
THE CLUB
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State-of-the-art design, top quality
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PASS ME THAT CATALOGUE:
Name:
Adress:
Return this slip to:
Jonglerie • Hasenheide 54 • D-10967 Berlin
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Hasenheide 54 D-10967 Berlin, Germany
Telefon +49/30/691 87 69 Fax +49/30/691 63 52
We stock Dube Juggling Equipment.