European Juggling Magazine Europaische Jonglierzeitschrif t

Transcription

1 European Juggling Magazine Europaische Jonglierzeitschrif t No.18 ls May FF DM 4.00

2 : WE OFFER A : e VERY FAST e FRIENDLY MAIL ORDER : SERVICE : OR YOU CAN VISIT OUR SHOP e DUB'E e e RENEGADES e : SEMCYCLES : e D.M. UNICYCLES e SPOTLIGHT : HENRY'S : SQUEEZITS : JUNGLERIE : e TODD SMITH e : JUGGLE BUG : All unwanted equipment can be e returned within 21 days e PLEASE RING OR WRITE e e FOR A e : FREE CATALOGUE : : ~~ Jiig~~wi ~~u~ : 56 ISLINGTON PARK STREET LONDON N 1 l PX ~ In this issue CIRCUS FESTIVALS Cirque de Dernain, Cirque de l'avenir, Bourses Merlin Monte Carlo Festival... 4 CIRCUS SCHOOLS Lissabon... 7 Chalons-sur-Marne... 7 Ost-Berlin... 8 EAST GERMAN CULTURAL EXCHANGE The Arados O Let's go! Juggling for the Opposition. 11 DID YOU SEE THAT? LETTERS BOOK REVIEWS Quand passent les Clowns Mime, Circus, Physical Theatre15 WORKSHOP Loosening-up and relaxing HAWAII - JUGGLING IN PARADISE 18 STAR PORTRAIT Michael Moschen WHAT'S ON Convention Calendar Oldenburg Other Conventions, Festivals 29 Shows, Workshops SMALL ADS MEETINGS DREAM MOVES SUBSCRIPTIONS COVER PHOTO: Michael Moschen, Photo: Bahrnan J.-Borger. See interview on page 21. ***KASKADE - EDITED BY Gabi & Paul Keast Annastr. 7 D-6200 Wiesbaden West Germany Tel. : European Juggling Magazine*** BANK ACCOUNT NUMBER: at Nassauische Sparkasse, Zugspitzstra~e, Wiesbaden Bank Code (BLZ) PRINTED BY W. Lendle, Hundsgasse 8, Wiesb. -Erbenheim

3 Circus Festivals 3 Cirque de Demain Cirque de 11\.venir Les Bourses Merlin One major reason for a festival, for me, ls to offer an opportunity to appreciate the artistic status of an activity. It has to act as a crucible from where the new tendencies germinate and grow. This manifes tation truly plays its part. It is a succession of high level acts, creative ideas and mixed people from 25 countries competing in more than 20 specialities. It is an effi cient market place too. It consists of a three-in-one meeting. The first, Jes Bourses Merlin, took place on 14 January at the Ecole Nationale du Ci rqu e in Chalons. It is the first s election step fo r the French artistes. The festival itself was held in Paris during a full week (24-31 January) in the histori cal building of the Ci rque d'hiver. It is organized in two competitions: the Festival Mondial du cirque de Demain fo r artistes under 25 (under 30 for the clowns) and the Festival Mondial du Cirque de l'avenir for young people under 14. One emergent current, amplified fr om year to year, appears to be the shift from the act to the show. It is not only a succession of physical exploits but the integration of the exploits, always essentials, into a work of art, into a wh ole which is more than just the sum of its elements. Like a carpenter wh o makes a roof with pieces of wood or a musician wh o generates music with single separate notes. This was exemplified by Dadadeus (West Germany, bronze medal), who enters with three balls escaping from all sides of his body to the music of a Mozart son a ta. The performance showed great simplicity of decoration (a symbolized concert piano), inventiveness Uuggling with arms crossed behind the back, but with the hands surprisingly still available in their normal places in Dadadeus (Marcus Jeroch), Photo: Hartmut Schulz, Berlin front of the body a possible "already done" for Toby Philpott's dream column!), and attention to detail (slight depressions in the piano table to which the balls casually return and amazingly remain in their place). After the festival, Dadadeus, alias Marcus Jeroch, was preparing a new show with the Gosch com pany. We had the opportunity to see a preview of this integrated circus show. Go to see it in Berlin from 1 May. There was strong participation of jugglers from Germany this year. Oliver is from Berlin too. He has a different style and ex hi bits an original combination of three-club tricks (e.g. the clubs successively spin on his head, or glide along his back). A tea break during his rou-

4 4 Circus Festivals (contd.) tine provides the opportunity for a spoon balance on his forehead in various attitudes. To finish he caught in his mouth first a cigarette then a lighted match next to each other, and then proceeded t o light the cigarette. He won a silver medal. The artistes of Duo Danee (GDR, special prize) are more traditional in their presentation. They perform a series of high level tricks with balls and rings on various podiums, mi xing juggling with balancing skills. They end their show by standing on their heads opposite each other and exchanging six balls. Nice to watch. And there were many other jugglers: Red Ryder, an American juggler with a 30's style musical comedy, Gerard Clarte (France) with twin devil sticks, Germain Santus (France) combining juggling with antipodism, as well as some amateur formations from Sweden (Ludnika Mini Circus), Grenoble (Beetchouc Ci rcus) and Wi esbaden (Boutique de Poupees). And on t heir tall unicycles, a team of four y oung girls from Mongolia with bowl tossing - from one to five bowls simultaneously. The bowls are piled up on the tip of the foot and finish neatly balanced on the top of the head in a precise one-shot trajectory. The jury awarded this act a gold medal. The next Fes tival is from Januar 1991 in Paris. Contact: Isabelle Mauclair, Association du Cirque de Demain, 27 Ru e de Marignan, F Paris. Ph one (1) Alexis Martinet, Les Ul is. France. 1Sth International Circus Festival of Monte Carlo For five days at the beginning of February, the smallest monarchy in Europe was once again the mecca of the circus world. More than 22 OOO paying spectators saw four competition shows and the TV gala, whi ch will be screened in many countries during the coming weeks. This time there were 25 acts from 15 countries, all competing for the coveted prestige object, the socalled Circus Oscar. the Golden and Silver Clowns. The golds were won by the Mexican fl ying trapeze artists, "Flying Vazquez" and the Russian Bengal tiger act of Nikolai Pavlenko. 27-year-old Miguel Vazquez executed the legendary quadruple (!) somersault with impressive perfection, while the Ukrainian Pavlenko presented 16 work-hungry tigers, who jumped That great circus spectacular on the Cote d'azur is over again for another year. Two "Golden" and fi ve "Silver Clowns" were awarded. And again, none of them went to a juggler. This is despite the fact that the jury is full of circus directors, in other words experts well qualified to advise the chairman and father of the festival, Prince Rainier III. through hoops by the dozen, v aulted over each other, built feline pyramids and paraded shoulder to shoulder around the ring like horses. One highlight after another brought the audience to their feet. Among the "Silver Clown" winners were the Russian Akishins, who have developed children's skipping ropes into an amazingly complex art form. The Guerreros from Colombia were also perfect on the slanting wire and high wire. Working without a balancing pole, they performed jumps at 15m altitude, with the male on the female partner's shoulders: the audience held their breath. Andrew and Jacqueline with "evolutions on a chair" and the Portuguese Alexis Brothers with hand to hand balancing also received silver. During the 15 years a total of 23 Golden and 64 Silver Clowns have been awarded. Jugglers to win one of these coveted awards have included Los Rios Brothers (antipodists, 1976 silver), Dick Franco ( silver), Kris Kremo (1981 silver), Sergei Ignatov ( silver). Of course, festival awards are always unjust and not a reliable international standard. Even with "objective" judges, the basis for evaluating the performances is always the acts that happen to be represented at that particular festival. With many strong acts. the chances for the individual are reduced, and "in the kingdom of the blind, the one-eyed man is king." That has its disadvantages, for the festival t oo. Those who consider themselves to be among the "greats" are worried about going t o Mon t e Carlo, or indeed would rather stay at home, because if they come back without the coveted "C lown ", this puts a question-mark over their greatness. This is a risk that many stars prefer to avoid. This is why many experts said immediately after the first festival in 1974: "It'll never last, neither from a financial, nor an artistic point of view. The world just doesn't have enough good and great acts." Well, they have been proved wrong. Initially Western European acts predominated, but from 1978 onwards the Soviet State Circus came and regularly took away Golden and Silver Clowns. Then in 1983 they were joined by the Chinese from the People's Republic. The enchanting Li Liping, a

5 s versatile contorsionist, won them their first and so far only Golden Clown. Exoticism was in, and in 1984 it was the turn of the North Koreans and in 1987 the Mongolian Circus. Step by step, the festival grew in stature and more amazing feats were added. In 1989 the Russian Yegorovs were the first to complete the legendary quadruple somersault in the Monegasc circus ring. It was performed with such perfection and The Co llektive from the Mongolian State Circus, heavyweight jugglers Photo: Roland Weise, E. Berlin, GDR precision on the Russian bars that this nightly world sensation a lmost went unnoticed. This year, the Mexican Va zquez troupe repeated t h is incredible sensation, the quad, which scientists and experts used to consider a physica l impossibility. Of course that was a sensation in Monaco. Particularly beca use hardly anyone knew that young Petja Golovko from Moscow was a lready executing the qua d from trapeze to trapeze every day without a miss during the 1988/ 89 Moscow State Circus tour of the U.S. This time t here were 36 prizes for 25 acts. Despite this, some went home empty-handed. Pavlenko alone re ceived 1 O prizes for his tiger rou - tine, which he performed in evening dress a rmed with nothing but a conductor's baton. The three Soviet acts claimed no less than 1 O prizes. Monte Carlo has now become the hub of the circus world. A country which has not produced a single artiste of its own has become a magnet for artists, directors, agents, sensation-seekers and circus fans. And all this because Prince Rainier III knew how to turn his childhood dream into a reality. He is not only the lord of his manor, but also his own ci rcus director. He has had his own state circus erected and presides over the international jury. And he has every right to - after all, he has financed more than half of the costs out of his own coffers. Now the mini-monarchy betwe en the Alps and the Mediterranean has its own Sor.iety of Mon egasc Circus Fans, with Rainier Ill a s chairman of its organizing committee and daughter Princess Stephanie as his stand-in. The mayor, J ean -Louis Medecin, who greets the directors every year at a reception in hi s city hall. is deputy chairman of the Circus Festival Organization. And when it's circus time again, the brightly co loured clown posters can be seen everywhere and there are queues of would-be spectators at the box offices. The prices, ranging from 8 to 70, do not deter the true circus fan. Early February next year the l 6th International Circus Festival will be opening its big top to the public. We ought to go inside and take a look. Roland Weise, East Berlin, GDR SPlELEN 0 sc \\t'. "N\(, "N 0 M ~ I 0 0 0) ro (/) 0- (") o::i ~ I Z,L\llBERN JONGLIEREN SCHMINI<EN 0 (") u-j C\i ~ I 0 0 '<:t q ~ ' 0 Ol 0 C1l $2 Q) Ol '- u.. C1l (i) CJ) l) E C1l Ol (/) C1l -c:.. 0 (") 0 ~ o::i ~ I '- Q) 0.D ~ ~ 0.:;::...: 0 ' u.. I CJ) ci l) ~ ;::: a. N <{ '- :C1J ~ c: Q) CJ) '(ii - l) N '- CJ) Q) Ol.D c: ::> E Q) c: >... 0 :Q z ~l10\1q~c!j\5ill Dieburger StraBe Darmstadt Te lefon: I

6 JONGLIER-, ARTISTI K- U. THEATERBEDARF HENRYS STEINSTRASSE 23 D-7500 KARLSRUHE 1 TEL 0721 / weil jede Keule einzeln ausgewogen ist, und bestes Material gut verarbeitet wird, das hat uns zum gefragtesten Keulenhersteller Europas gemacht. Unsere Keule gibt es bei uns im Laden, im Schnellversand und bei fast alien Jongliergeschaften in Europa. AuBerdem gibts bei uns Balle, Diabolos, Devilsticks, Ringe, Schminke (Kryolan) LISW. ~i~!~lf~~~~i~!~l~ i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i l i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ) iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii, i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i. i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i JiIAlRDJ>W~lSi i AUl'i i tm:~s:i i BlSSUfi iii i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ~ i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ~ow~w~~? I pichlerrad it's up to you HARDWARE LIEFERPROGRAMM einrader a ; qiraffen lm sm; artlstenleitern1 ultimate , poqostabe1 skaterader; spe2.-konstruktionen K.pichier radtechnik steinstr.23 D-7500 karlsruhe tel

7 International Circus School Report 7 Lisbon, Portugal The first auditions for the new Lisbon Circus School. which is supported by the European Social Fund, took place in July and September The course lasts 3 years, 2~ of which are spent at th e school, the other six months in practical professional training. Instruction is divided into 5 specialist areas, not only in the field of circus, but also in theatre, social cultural animation, wardrobe and stage design. The school is located in Costa do Castelo, a traditional area of Lisbon. The building consists of a courtyard where the big top is rigged (not a round one, as you might expect, but in the form of a pyramid), a sound studio, a cinema club, a library and a restaurant with a wonderful view. We have classes in acrobatics, dance, theatre, music, mime, clowning, tap dance, singing and circus skills (trapeze, double trapeze, juggling, rope). When some jugglers came to Lisbon last December (namely Giga and Yohren). people who were interested in juggling started to meet here outside the school. We went in March to the Madrid convention, and then in summer to Paris and Maastricht. We have no special place to meet, but you can contact us via the group Cesta d'artes, Rua Alvestorgo 3 1, 1100 Lisboa, Portugal. Cesta D' Artes is a group which began working last year. There are 10 members, eight of whom attend the circus school. They not only work on circus skills, but also theatre, dance, living theatre, singing... The aim is to enrich the Portuguese cultural scene with a new way of performing. So, if you ever come to Lisbon, get in touch and say hello! Carla Frade, Lisbon Centre National des Arts du Cirque Chalons-sur-Marne, France ENTRY COMPETITIONS FOR THE 1990 SCHOOL YEAR National Pre-selections In France, admission is decided on the basis of pre-selection competitions which will be held in various regions throughout the summer: Lyon - 19/ 20 May; Toulouse - 24 May; Nantes 26/ 27 May; Paris and Rosny-sous-Bois - 9/ 10 June; Chiilons-sur-Marne - 16/ 17 June. Candidates who pass the pre-selection stage go on to participate in the international course, after which a final decision on admission is made. French readers interested in taking part should apply to the Centre National for an "Application Dossier", enclosing FF 100 administration fee. The official closing date for entries was 30 April, but maybe you still have a chance? International Selection Candidates from outside France, together with the successful participants in the pre-selections, will be selected after a week-long course of instruction with teachers from the school, followed by an audition. The course is designed to measure the candidates' aptitude in: - working and living in a collective - working individually - concentrating on a task respecting the working rules, schedules and constraints as well as their artistic and technical ability and their general level of culture. Time is set aside for preparing the show to be auditioned at the end of the week. Instruction is free of charge, but a fee of FF 300 will be charged for accommodation. Dates: Course July; Audition and interview 7/ 8 July. Applications should be addressed to: Centre National des Arts du Cirque, Service des Formations, 1, rue du Cirque, F Chiilonssur-Marne, France, Tel

8 8 Circus School Report (contd.) Staatliche Fachschule East Berlin, f iir Artistik GDR The "Fa chschule fiir Artistik" was founded in 1956 as a state-run institution training young people for the profession of artiste. The skills covered by the training in - elude the genres acrobatics, balancing, juggling, antipodism, clowning etc. Until now there have not been courses in magic and animal training. Students generally join the school at age 14, though exceptionally some may start later. After an aptitude test and entry examination, the best students are a ccepted to the 4-year course, for which they receive a government grant. Practical professional train - ing begins with a one-year general course in acrobatics, balancing, wire-walking, juggling and trapeze, followed by 3 years of specialization towards an act that is then ready for the stage or the circus ring. At the same time, students have to do normal school work, and gain a certificate of college graduation (something like "O " levels in England). The young artistes leave the school with these qualifications under their belt and all they need to perform their act. Usually their first job is with the East German State Circus. Apart from the normal course of studies there is also the possibility of further training in specialist courses, or of receiving advice on how to turn specialist skills into a polished routine. For trainers of groups of artistes we offer courses providing them with the opportunity of broadening their specialist knowledge and training skills or of acquiring basic skills. Students from We s t Germany could also receive training here on a comme rcial basis. The coming months may bring other arrange ments, if, that is, the s chool is to continue at all. Ge rd Krija, Director of the State Fachschule fiir Artistik, DDR-1040 Berlin, Friedrichstra0e 11 2 A ~alla~alla Ballaballa GmbH Zulpicher Sir. 39 D-5000 Kiiln l Tel.: 022ln Fax: 022ln4 rrj. S5 Gro8- u. Einzelhondel Jo 9l tl& dlffwlo ~'A.. G. IPOTU&JJT. Cl RCUBPRODUCTS -

9 - JONGLIER~RTIKEL - BALLE - HASKEN + THEATERSCHMINKE - EIN - FAHRRADER - DRACHEN + ZUBEH6R - BOULE - FUN, SPAB UND UND UND I I ' SCHARNHORSTSTRABE YIIESBADEN NEUE OFFNUNGSZEITEN: M 0 I D I I H I, F R I 3 0 T E L ' I,, Do SA

10 10 Long live We'd like to begin by thanking you very much for sending us your Kaskade magazine. We read it with great interest. Unfortunately we have until now been unable to take part in international juggling conventions, but now we too have the opportunity. A few biographical details about us. My partner and I have worked together for 15 years. We met in the workers' variety club. Each of us was a solo juggler. However, I already had some experience of partner work, so we tried out a two-person routine. After intensive practice we soon put an act together. This we consolidated by performing in variety shows, and successfully took part in nationwide competitions. We were offered the chance of working with a "mentor" with a view to going professional. In 1980 we passed our examinations and were given a licence as professionals. Since then we have worked all over East Germany and abroad (Czechoslovakia, Poland, the USSR). Our show consists of comedy juggling, without any super tricks. Our extremely different heights and the eccentric things we do are what audiences find entertaining. We used to have shows a month. This was possible thanks to the holiday programme of the many FDGB centres along the coast (holiday camps run by the East German trade union federation). With so much work, we have been able to live a comfortable life so far. We've heard that things are not that easy for artistes in West Germany, so we are worried about the future. We still do not know enough about what it's like to work in the West. We are very interested in sharing experiences with other jugglers and artists. We shall certainly try to get to the Oldenburg convention in August. Hoping to meet you soon in person. Peter Rabisch, Stralsund, East Germany * I en 0 ~ 0 ~ en <1) B en *. I. s ~ en J..-4 OJ) ~ g~ a <1) u.nu ~ "'O r7-- -f!,;,,..,1.:l,nl <1) =~ ~~ s J..-4 :::s >.s ~ ll.l~~~~~~~~- ' Neustiidterstr.2 s~llrjlorrl Tel. 052~/ ~ 48 Bielefeld 1 A journey through Germany. My cousin plays musi c on the streets of Leipzig at Christmas time (for which she needs an official permit). Now and again a few theatre groups try their luck on the streets. You only see jugglers in the circus. We drive across country from Berlin to the Harz, a magical winter landscape. The people are curious about "Wessies", West Germans (though this appears to have waned). Slight embarrassment on both sides. Even at a west-east exchange rate of 3 Marks to 1 Deutschmark the hotels aren't exactly cheap, but the youth hostel costs 6,75 M (under 1) for three people including breakfast. And then a poster in Quedlienburg: "Fete in gratitude to the people of the border area... Contributions welcome." - Does that mean street shows? "You have to ask the chairman of the town council arts department, he'll tell you what you have to do." The arts councillor is open to my suggestion. These are the best spots. It's up to me to see how it go! goes. 2 days later, Saturday, fine weather. The town is packed, a third of them Wessies, and loads of free cake and coffee. And one real street performer. It's fantastic! The audience is unusually fresh. Nobody's heard the jokes before, nobody's seen ten similar shows already. And on top of that, this is a manifest sign that things have changed in East Germany. Suddenly there's someone riding a tall unicycle without a permit. The people are happy. And they're generous too! Pity the money isn't worth anything... But at least the arts councillor is willing to issue me with a permit to re-import the currency and use it for purchases in the GDR. There are plenty of performing pitches to discover this summer, and if we do it properly we'll be able to establish street art as part of East German life. There aren't any rules yet. Long live cultural exchange! Martin Kammann, Hamburg

11 cultural exchange! Juggling East for the Ger1I1an Opposition "Democracy needs (a) movement," we thought to ourselves in January, before the E. German elections took place. We, that is "Die Flinken Pfoten", five young cluband-suchlike-tossers from Di.ilmen, West Germany. In order to give democracy in East Germany a helping hand, the newly formed oppositional parties urgently needed office supplies. Since these are not to be had for free, we, t ogether with the Di.ilmen Youth Ce ntre and other young peo ple, organized an appeal for donations. In order to gain publicity for our campaign, we did juggling show s in the market place, and later there was a concert in the youth centre. Di.ilmen businesses were generous and we were very pl eased with the result: 10 photocopiers, about twice as many typewriters and OM 1500 in cash. On 17 February we then drove wi th a truck and several cars to Bannewitz, where we already had contacts with the local youth club. At the border we found some patches of snow and entertained the customs officials with some really cool snowball passing. After finally arriving in Bannewitz, the formal presentation of our collected equipment took place on Sunday evening, and we were due to perform. We thought our show would go down well, but we weren't over-optimistic considering that the audience were all much older and had paid 12 Marks (East) for the Western disco that was due to start after our show. Jugglers in West Germany would have a pretty hard time under such conditions. However, we were amazed at the enthusiasm of the 500-strong audience, who got into it in a way we would never have dreamed possible in West Germany. We got into top gear during the hour-long show, and they went along. We had to give several encores before they finally let us go. One of the reasons for this, as we only later discovered, was the ban on performing in public streets. Juggling was therefore something new and exciting. On Monday we performed in the pedestrian zone in Dresden in front of the Goldene Reister. We were pretty surprised when a 12-year old girl came up to us, grabbed three rings and started cascading. Juggling in East Germany can be thoroughly recommended, as audiences are not yet saturated. Adi, Aldo, Carlos, Kubix, Tom, Di.ilmen, West Germany Drachen & c:i rnn! Zubehor ~ [flj 0 U u. u cdj ~ [f1j [f1j v~ ~ [f1j ~ ~ [f1j 0 u u ~ Bumerangs 0 [J ~ ~ Jonglierartikel ~ Geschenke... Hilts, dis Hssssn kommsn... >>> ab 1. Juni 1990 <<< Am K6nigstor Kassel Ill JUGG!L WJ.lRE Ill

12 Did you see that? Juggling is about control. but, as with most games, if you play long enough and often enough then you will see some strange, improbable, one-off events. Some of these "flukes" are kind to us, and mimic our highest ideals of control. For instance, the "holein-one" in golf would be the perfect way to win if we could do it every time; in fact the game is about how close we can approach to that ideal. At the same time, because it is in reality so unlikely we do not applaud it as a perfect expression of control, but acknowledge the strangeness with a feeling that it is a bit "weird" or magical - so that the player does not take all the credit but is considered to be blessed with luck. Similarly there are disastrous flukes. They are the one thing we did not allow for - the unlucky bounce off the only rock in the neighbourhood. In juggling we know this as the tendency of props to seek out the one fragile object in the room, or the only inaccessible hiding place. (I have had a ball land directly in a cup, not knocking it over but - "Eureka!" - displacing all the liquid; leaving the a cup, containing only a ball, standing in a room devastated by coffee.) Humans find these events peculiar and tend to burst out laughing and clapping, or slapping our heads in disbelief and exasperation at the Humour of the Gods. There are comedy shows of "outtakes" on television, some of which are recordings of these unlikely events. Who are we applauding when the wind lifts the interviewer's hat and drops it onto the head of the interviewee? It is the satisfying neatness, and apparent "intention", that makes these moments funny rather than just a mistake. The necessary condition to observe these events is to play often and long, as they are completely unpredictable. Much of life is recorded these days, so we have captured many examples on film and video. Jugglers, too, play for long hours, so most have memories of similar events. Indeed, the first time you achieve any difficult new trick often feels like a fluke. Only when you can repeat it, at will, is it a trick. Flukes can be an inspiration to new tricks, but some of them turn out to be so difficult that they are never repeated. If you are lucky, the good ones happen in shows - and of course to some extent we "make our own luck" by practising. I used to have a trap-door top hat - where the ball was thrown into the top of the hat and would re-appear through a flap in the front. One day it landed on the front brim of the hat and the audience laughed. I was not sure what had happened and looked up. The ball rolled around the brim to the back, and I felt it going so I rapidly looked down. It came back round the other side to drop neatly back into the cascade. Friends liked the "new trick", but I could never get the timing just right again, and carried on using the trap door. Sometimes we make a mistake and are rescued by luck, but do not dare to even try to repeat the trick. I was bouncing balls forwards through my legs and decided to try to do the same thing backwards. On the first attempt (witnessed) I misjudged the bounce and the ball shot up towards my tender parts - my knees came together reflexively and caught the speeding ball between them. This drew spontaneous and mocking laughter, but have never tried it since! Why am I writing this in a magazine dedicated to control and the repeatable event (the science of juggling)? Firstly, because we have high ideals, and secondly, because we work at it all the year round (there's no way of knowing when these things will happen). Though we rarely have an audience for the flukes - "Look, look!" (and then we can't do it again) - they can inspire us to new tricks. They can also, sometimes, make us despair of "skill"! Simulating the spontaneity, rather than mechanical perfection, excites audiences (W.C. Fields was a master of this art)... they think "I bet he can't do that again." May your shows be safe from unlucky flukes! Toby Philpott, London

13 :~o~ ~. 0 'A~~t4'$0'SQ,r;::=t:J~( 3Mittwoch- Fre it ag Uhr~~* 0 ~ ~ tli:'.... '* ~-. Samstag Uhr ~.,J ~ "({/). o.. Montag/Dien ~ t ag geschlossen ~ - Kyrolan Theatcrschmincke, Einrader, Semsyde. Luftba llons Bumerangs, H acky-sacks, Boule, Frisbces, Drachen, Pedalo, und viele gut e Geschenkideen GR 0 SSH AND E L-1MP0 RT I EXP 0 RT 0 RAINER SEGELKEN Jonglierequipment Drachen Boomerangs Latexballons Fo lienballons Airwalker Werbeballons Bal londekorationen Seifenblasen Kurt-Huber-Straf3e 136 D-2800 Bremen 41 West-Germany Telefon (04 21) Telefax (04 21) kannst' n Kata log kriegen, fiir umsonst! Was drinsteht? - Kannste Dir ja denken!. A Theaterbedarf, Festausstattung. Ballons, "',,,.. Drachen, Boomerangs, Frisbees u. v. a. m. FEHRFELD BREMEN

14 jf-~-~--. ~l!f'r. ~. ~- J j Letters.. to } " la >':! 9 ~ --:.-- l:;j. 9 Re.: UGLY JUGGLY BADGE ~ ~ J got my 3 balls into my ugly jug- ;r gly badge holes in 7 seconds. Can, ~anyone beat that? " l Michael (no doubt a pig, police 0, "~~ 2 ( ~ ~~. ~, ~ f ~UOlt :-~~ ~. -. -!"- Uwe Mettlach, Stemwede, W. Germany

15 ls Book Reviews Quand passent les Clo"Wns Jean Villiers, editor. This is one of the most attractive and informative picture books about circus that I have ever seen. It is a presentation of the most famous 20th century clowns and their influence on various domains (music, art, advertising, etc.). It is not so much clown encyclopaedia, nor a history of clowning, nor simply a catalogue (although it was compiled to accompany exhibition in the Centre Culture! de l'yonne in Auxerre, France). Rather it is a personal expression of the numerous authors' photographs show the many fascinating trappings of the clown, his costume~ and props and also the objects (models, toys etc.) which he has inspired. Finally, an extensive discography and bibliography make the book an important reference work. A valuable addition to any circus library, Quand passent Jes Clowns is published by E:ditions Syros Alternatives, 6 Rue Montmartre, F Paris, Tel. (1) and costs FF 160. It is also available from any bookshop in France. feelings that were inspired by the wealth of documents provided by circus collectors for this exhibition. The main body of the book con - sists of extremely high-quality full-colour reproductions of posters and illustrations of clowns past and present, as well as photographs and short profiles of the clowns themselves. The accompanying texts (in French!) contain an interesting discussion of the tradition and aesthetics of clowning. Detailed Mime, Circus and Physical Theatre Directory Three Ball Digest Compiled by Greater London Arts, this manual is an alphabetical list of 110 companies and individual practitioners of mime, circus and physical theatre throughout the United Kingdom. Those who are looking to employ the services of performers or teachers will find it particularly useful, as each group or individual is described in terms of company history, artistic policy, t eaching skills, technical requirements, possible venues, and of course fees. Price, including post and packaging in the UK: 4. Available from Sharon Rose, PR and Publications Unit, GLA, 9 White Lion Street, London Nl 9PD, England, Tel In answer to the numerous enquiries we have received: Dick Franco's book, The Three Ball Digest, reviewed in Kaskade No.17 will be available as of May from the Jonglerie in Berlin (see back page) and costs approx. DM 30.

16 "Das Leben ist kein Picknick wir rnachen eins draus!" -kay- ARTISTIKBEDARF THEATER ACCESSOIRES I I Dreikonigstr Heidelberg Tel / Fax / Eigene Herstellung - Versand - Katalog * jonglerie diffusions.a. *

17 Workshop 17 Loosening-up and Relaxing Every practice session and every performance should begin with a warm-up. It is also sensible and satisfying to finish your training with something quiet. In this respect, a v ery important role is played by LOOSENING-UP AND RELA XATION EXERCISE S. These help prepare the body for the coming stress and thus reduce the risk of injury and also help get you in the right frame of mind for what is to come. Here are some exercises which I go through in training and workshops. Jog around the room (music helps here), shaking the stiffness out of your hands, arms, shoulders and legs. Sit down and give your feet, legs, behind and lower back a good pounding with open hands. Stand up and let your head, shoulders and arms flop down forwards, then shake everything loose from the shoulders while slowly raising your trunk, vertebra by vertebra, leaving the head till last. Lay your hands flat on your face and grimace, then massage your forehead, cheeks, mouth and neck. Pull your hands back over your hair and down to the nape of the neck, imagining that you are absorbing the tension into your hands, and then "throw it away" by breathing out hard (leave your eyes closed). Circle with your hips, letting your arms and shoulders hang down loose, then write your name in the air with your hips. Pull your shoulders up and let them drop as you breathe out. You can do this with one shoulder after another. "Cross-Country Skiing": a) swing both arms parallel backwards and forwards, bending your knees in rhythm. The arms go up to about shoulder height. (See fig. a) ---t ~ a.) t b) b) Alternate arm swinging, one backwards, one forwards and re verse. Start swinging the arms higher each time until they meet over the head and finally topple over into two circle in opposite directions. Don't forget the knees. (See fig. b) The "Seagull" bend your trunk slightly forward and let your arms form "wings" which slowly begin to move up and down beside your body. The wingbeat gets stronger and stronger until a little jump takes your feet off the ground. (See fig. c) PARTNER EX ERCISES "The Windmill" Stand with your back to your partner, with feet shoulder-width apart. There should be about 50 cm between you. Stretch your hands out to the side and loosely hold your partner's hand. Leaving your arms outstretched, circle down to the right towards the floor like a windmill, bending your trunk with the downward movement. Don 't let your feet leave the floor. Then circle back up and down to the left, etc. One partner lies on his back on the ground while the other loosens up each part of his limbs one after the other by slightly lifting and moving the joints. One partner lies on his front while the other pounds the whole of his body with the flat of his hands. (Can also be done in a sitting or standing position.) One partner lies on his back while the other carefully pulls his right arm up from the shoulder. He lets go, but continues to hold onto the arm. Repeat with the left arm, or both together. One partner lies on his front (or sits or stands), while the other massages his back with a tennis ball which he moves with a light pressing and circling motion over the whole of his partner's back. Have fun, Wilhelm Kelber, Hamburg ~ - Kir haben unterschiedliche Einrader in div. Farben: 12"Hinis bis 28"Renn-Honos, Nylon-Honos, Giraffen; Hochrader - Preise ( alles Vierkant): Import 20"( 28Speichen) : 184, -, 36Sp: 199, -; SIEGHON0-20"(36Spl:225. -;28": 250,-; 24"Giraffe (~ Ketten): 475,-; - Kir haben 6! verschiedene Einrad-Sattel ( einer 'sitzt' bestimmt). - Kir stellen Einrader nach Euren <verrtickten) Ktinschen zusammen! Hir verkaufen alle Teile einzeln z. B. Naben, Gabeln, Sattel... II -~ - Hir haben auch Jonglier- u. Balanciersachen. PROSPEKT anfordern ~~t::j~. ~ ~ -~-~~-~~:~:::~-;:~::~:::~-;:~-;~-~=;;~~-;~:~~-;:~;-~~;;:;~;~;~ ***********SIEGMONO-CYCLE * FAX

18 1~~ ~ Juggling Ill Paradise 6TH ANNUAL HAWAIIAN VAUDEVILLE FESTIVAL 27 Jan. - 3 Feb About 90 jugglers and vaudevilleans followed the call of the jungle to spend a week together on the Big Island of Hawaii. They came from Alaska and the U.S. mainland, Canada, Australia, Japan, England, Denmark, France, Switzerland, Germany.... a colourful crowd ranging in age from 2 months to 69 years (? sorry, Art, I forgot your exact age). Like every year, the festival was held at Kalani Honua, a beautiful, restful retreat in the rain forest and lava desert region on the east coast of the island, at the foot of Mauna Loa. It had been raining for weeks, massive, loud, heavy-duty jungle rains, whipping at the tents and beating on the corrugated iron roofs. But - mahalo, Pele! - the weather cleared in time for the convention, apart from minor quick drenches it was fabulous. Apart from the many workshops, there was plenty of temptation to keep even the hardcore jugglomaniacs from doing what they do best juggling, juggling, juggling. A choice of excursions was scheduled daily to various hot spots close by: swimming at Green Lake, a mysteriously deep volcanic lake in the bamboo jungle, snorkeling at the warm Champagne Ponds along the coast where minute shrimps try to gnaw at you, a cave crawl through the lava tubes, a cave sauna in the steam vents or a trip to the dormant craters Kilauea Iki, Halema'uma'u and Mauna Ulu (best on full moon night!), with the red cloud of smoke from the glowing lava on the horizon. These Java walks by night were my alltime favourite thrill. Armed with torches and spare batteries, we crossed bizarre moonscapes which only days before still had been bubbling magma swallowing everything that lay in its path and which could break out again at any time. A short shower of rain and you are immediately surrounded in t hick mist. It's simply mindblowing to watch the Earth changing shape right before your eyes. We swung torches in honour of the volcano goddess, Pele, pumping magma into the ocean below our feet and creating a new sandy beach. Many festival participants teamed up for the treasure hunt on Monday and were spotted all over the place, turning up rocks, searching frantically for the next clue leading to the treasure chest. The Wahine team (us women) were leading for a while, but then the Bohemians made the race and went on to win. Each of them chose one treasure and the rest was auctioned later. Tuesday was the day for some political action. Dressed up and fully equipped we drove to Hilo and protested in front of the Federal Building against the planned geothermal plant and the destruction of the Hawaiian rain forest. It was a rather small demonstration compared to European standards, but very colourful, and many cars honked their support. The golf tournament was held on Wednesday, golf being the latest craze of the Hawaiian Vaudeville Company (HVC). I forgot who won, but I heard it was fun. Another sporting event was the daily volleyjuggle matches, club-passing around the team and across a volleyball net. Like the lava flow, the whales and dolphins were somewhat hard to s chedule. We spotted whales breaching, and on some days schools of a hundred dolphins played in the water, jumping about one wave away from us. I didn't count the perfect rainbows, nor the shooting stars in the endless sky. The Renegade show on Wednesday was pretty much Renegade - wild and uncensored! Thursday evening we held a "formal dinner party", lots of flashy dresses and fantastic makeup. The highlight of the festival was the public show on Friday night with live music and acts too numerous to mention. The grand finale paid tribute to Madame Pele, who determines the lives of the Hawaiians and whose whims can create or destroy whole stretches of land. With the help of her blazing savage servants, the story was told of the geothermal man who tried to mess with mother nature. It was a spectacle of swinging torches, fire devil-stick and torch passing. The show was "da kine" (Hawaiian for "top notch") and we partied in a fitting manner. Waldo got a pie in the face - an HVC tradition for birthday boys. The last evening of the convention was also a farewell to many of the participants... see you all next year. Those who came earlier or stayed longer had the chance to see some "Club Volcano" shows at nearby Bellyacres/ Mangolia, home of the HVC who organizes the festival every year, a bunch of juggling pirates and pioneers who trade bricks and concrete for bamboo and mosquito nets every winter and dwell In the jungle for some months, before spreading out over the globe for the rest of the year. Yeah, it was a week in paradise: fun, adventure, surf, nature in abundance, mosquitos, damp clothes, vegetarian gourmet food, magic and magnificence... the full treatment. For everybody who has to plan ahead: the 7th annual Hawaiian Vaudeville Festival will be happening February Hawaii, I miss you!! With much aloha, Yasha For further information about the festival or the HVC, contact me through: Keule & Co, "H awaii", Dreikonigstr. 25, D-6900 Heidelberg, W. Germany, Tel

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20 Michael Moschen In September and October 1989, Michael Moschen paid a rare visit to Europe to perform at Frankfurt 's Tigerpalast variety theatre. Moschen first appeared as a clownlike character juggling 3 silicone balls who then discovers a giant triangle on stage, which he uses to create fascinating shapes and rhythms by bouncing the balls against all three inner walls. After a short break, he reappeared with a more abstract, dance-like piece, manipulating metal rods and finally a hollow metal tetrahedron, creating surprising, beautiful shapes as they reflected the multicoloured spotlights. This was followed immediately by his famous crystal ball routine, which brought rapturous applause from a knowledgeable audience. Although this work speaks more than adequately for itself, we later found out that Michael Moschen is certainly very capable of expressing his art in words if necessary. Kaskade: When did you start performing and how did it all start? Michael Moschen: I started juggling when I was 12, and I started doing a little performing a year or so later - in nursing homes and other small things - with two partners, one of whom is now very successful in New York and the rest of the United States, Penn Gilette. After that, performing really started when I was 19. That was again with Penn Gilette, and we did a club passing act. We worked the streets for a year, and then he moved on to work solo. I worked with a few other partners as well. ways. I became fascinated with the possibility of what the hands can do with different objects. Many of those experiences have found their way into the process of creation of new pieces, which is really nice. What you see here is just a small part of my work. Kaskade: So usually you have a much longer show. MM: My solo show contains about minutes of material - many, many pieces. A number of shapes much larger than the triangle. The "Don't shake, don't let them fall!" It's like doing the decathlon - you run this and then you throw that - it doesn't make too much sense. Kaskade: But isn't it like that with your full show? MM: It is and it isn't, because I have control of the whole show. Yes, there are some frantic costume changes, but I've tried to allow the structure s o that I have enough time. The first half of the solo show kills my legs, kills the lower half of my body. The second half I'm intrigued with the possiblities of movement that come from what the object's possiblities are first half is very much within a normal reality. And then the second half takes it into another level. It starts with the crystal balls and goes from there. But the show that I normally do, the solo show, is still evolving, it's not something that is set in stone. Here in the Tigerpalast, I've been able to work the triangle piece every night, sometimes twice a night, and really find a lot of lovely little moments. And that's what I need to do with some of the other pieces in the show, because you can't find every important moment in it just by performing it a few times, you have to do it a hundred times. But what I'm doing in the Tigerpalast is not the way I created the material. I didn't create it so that I would do the stick piece and then the crystal ball piece back-toback. They're totally different pieces, but because of the structure of the show here they must be performed that way. I would never I have no desire to stay at the forefront of technology But it started to be something that I thought I could enjoy doing full time when I was about 19. Kaskade: Did you hzve any other jobs at that time? MM: I had many other jobs before I was a juggler, and that is probably the best thing about the way my work has evolved. I worked as a surveyor's assistant, I worked in a leather factory stretching skins, I did ceramics, I was a carpenter's assistant - everything I did involved my hands in many different put them back-to-back, they don't belong back-to-back. And also, what I physically have to do with my body during the stick piece is the very opposite of the preparation I normally do for the crystal balls. I have to put the tetrahedron down, clean my hands up and whoops - I'm out there, and have to be Mr. Delicate, Mr. Soft after I've been Mr. Hard and Mr. Control. Every day when I'm out there, when I lift the 4 crystal balls I'm groaning and thinking: kills the upper half of my body. So by the end I'm a piece of wet noodle, but at least it doesn't mindbend me through the whole thing. I know what to expect. Kaskade: Do you usually perform at the same place for a period of time, or do you have to travel around to a new pla.ce every night? MM: Well no, the solo show that I have is a very large theatrical production. It costs a great deal of money to produce. I need a theatre where the stage is a minimum of l 3m wide by 9m deep, with 200 lights and a full sound system, and which seats anything from 1000 to 3000 people. That's the scale of what my work is. This is a scale that I've adopted for t he two months here, to refine s ome things - and it's nice, it's really great. This is my work for now, but it's not what my career work is. My career work is on a much larger scale - because it developed that way. Kaskade: It's interesting tha t you should say that. Our partner saw you just performing the triangle, and he said that he expected more light effects and amplified sound when the balls hit the triangle. Do you use that kind of technology normally. MM: Well, the possibilities of the triangle piece are endless. The triangle piece starts out very simple, and it becomes very complex through the rhythms and the visual effect of what happens. Yes, there are possibilities of hooking into a synthesizer, and using pick-up microphones and all of that. But then you take it into the present-day of technology, and that's not my in-

21 tention. I have no desire to stay at the forefront of technology. Certainly I've been hit by this through being in Germany, because Germany is a society which very strongly embraces technology as part of its identity. So does America, so does Japan. Many other countries don't really do that, they embrace other things as being part of their identity. And one thing I've found with the triangle piece is that most Germans will react to the idea of the triangle, whereas in other countries they'll react to the rhythms and the feel of it. Which is nice - I like it if everybody finds something a little different. Michael Moschen Photo: Bahman J.-Borger I have many ideas, but the last thing I want to do is say: "Oh, well, the technology exists to make it this way, so I have to do that." I'm not a Las Vegas juggler. I don't need to prove those kinds of things. We all know that television is more magical than anything you can do - in a remote way. But what I like is the immediacy of the triangle, which is perhaps not crude but at least a little rough around the edges. And on this stage it's hilarious, because the triangle just barely fits on this stage. I can just barely walk around the triangle, whereas on a normal stage I can use the space: I can dance with the triangle. Kaskade: What about other performing skills? You mentioned dancing. Is that a big part of your training? MM. When I perform on stage, and certainly when I'm performing here, it has a lot to do with explorations that I've made into movement. You could call that dance. Yes, I've studied ballet, I've studied modern, a little bit of jazz, Tai Chi, some acrobatics, gymnastics. My intention has never been try to to tell people I'm a dancer-juggler. I'm intrigued with the possibilities of movement that come from what the object's possibilities are. I like to find out how a certain object mov es. Let's take this salt shaker: how does it roll? It's got some straight lines on it that make it roll in a bumpy manner. Or you can spin it in different ways. Where the stability and instability of the movement is. That, to me, is what dance with objects is about. And I'll tell you it's strange, because it's almost like a Zen process to spend enough time so that the dialogue begins, and the exciting ideas and the exciting emotions start to flow. Then I start getting somewhere. Kaskad : This leads us into the question about how you approach working on new material. MM: I don't know how I work on material. This is something important for me to say. For me the work is as important as anything else in life. It's right up there next to my relationship with my wife. It's so personal, I have so much respect for what can happen. Whether you be a painter or any kind of artist, if you try to express very important things about the way you live your life and the way your life occurs to you, it can 21 happen anywhere, anytime. I know I must put in an eight-hour day, I know I must go to my studio because I need to work, but I can be sitting somewhere in a park and suddenly I'll find some object will fascinate me, visually or by handling it, I get a wonderful feeling of something, and this is where I'm very strongly related to someone who may be called a sculptor. I am fascinated with dynamic shapes, or shapes that have a potential for being dynamic. And it can be a tremendous burden to work that way be~ause you are never not working. You always know you may stumble on a new fascination. So sometimes you have to try to shut down, and it's good to be able to do that. There's only a certain amount of energy you have each day, and when you're performing every day you have to give a lot of that energy to the performance, so I only have a little time. In my dressing room there are some models that I'm working on for some new pieces. I can't stand not to have a stimulation, not to have something new for my subconscious to be working on. Even when I'm on stage I might start to think about innovations. Kaskade: When you've got something to work on, do you have someone who looks at it and says, "If you put this light on it, it looks even better"? MM: I now work with a lighting designer that I pay, a director that I pay, who sometimes works as a movement consultant with me, a sort of co-choreographer. I work with a musical composer who makes my music. But I don't go to these people right away with an idea. I suffer through the first number of attempts at the development of something that I think is interesting, then finally I get the courage to go to them. The first person I always consult is my wife, because she knows my instincts and she knows my honesty and she knows my bullshit. She can tell me the truth about how things look and it doesn't hurt too much. But when you're evolving ideas it's usually a pretty lonely enterprise to get it through. And with a lot of pieces over the years I've had to make 5, 6, 7 attempts at each one before it ever becomes a reality. I have a giant room full of old pieces and old ideas that still haven't quite made it. Kaskade: Are there any jugglers working now that inspire you? MM: Yes, there are people who inspire me - not to emulate or to copy or anything like that, but who inspire me because of their dedication either to a singularity in their work - which is to do an incredible

22 zz JIM. Good question. A real long time ago. I have a very strong feeling against competition, and in America there was this phase when they had strong competitions and that was the identity of juggling. So years and years ago I went with a partner, Peter Quinine and we did some spoofs on the competitions. The structure of performance can be so much more magical than competitions. Kaskade: Do you have any career highlights? JIM. I'm not that old yet. Kaskade: How old are you? JIM. I'm 34. Yes, certainly, there's highlights, lowlights and mediumlights and everything else. The highlights? Some shows, like perseven minutes - or somebody who has an amazing technique and who has an obvious honesty in their performance. Or an extreme simplicity. You know, some of the Chinese porcelaine jugglers are the most inspiring because it's almost as though they don't really think beyond the work. They are a natural phenomenon. It's harder to isolate the western jugglers because there are so many influences that have been borrowed. But there are originals, such as Francis Brunn, and Ignatov Is amazing in that he's a product of a teaching that was given. to him plus his own amazing technique, and he's created a couple of new forms. That always inspires me, because really none of us are so important, it's what we create that's important. Most of the things that are done within juggling don't inspire me. I'm much more fascinated with things like shapes in nature, architectural shapes which are man-made derivations of nature, interpretations of nature, dynamic revelations of accidents of man versus nature, or man embracing nature. I'm inspired by literature, and very prominently I'm inspired by emotional things that have happened to me in my life and things that have become either tremendously difficult to deal with, or things that have been so joyous that you don't know what to do. The great American juggler, Bobby May, was the first one well, no, I saw Francis Brunn on television years and years ago at the Rastelli Festival on a satellite hook-up thing. I didn't understand what he did (I was about 13 years old) - I didn't even know that was juggling, I just couldn't understand it. But it just blew me. Anyway, I'd seen films of Bobby May at juggling conventions and I was in awe of his ability to play. Because he was like a young boy just playing. It didn't matter that his technique was monstrous For me, juggling is very much about risk in what he could do, but the simplicity of how he played was what came across to me, and I'd say he was the single most inspiring personality, whereas Francis Brunn was probably the most inspiring passion. Kaskade: We'd be interested to hear about your relationship to the audience. What you've said so far is very personal, and it almost sounds as though it would be satisfying enough for you just to work these ideas out for yourself and just do them without anybody watching. JIM: Well, I never considered myself a performer. I didn't grow up wanting to perform, and I'm not from a performing family. Looking back to my time with Penn Gilette, it's true that I started to perform because he had the need to perform. It's was part of his psychological make-up: he was a performer, and he used juggling to perform. I got hooked into it because it is a physical release and a physical exploration. I separate juggling into two worlds: the performers and the back-yard jugglers - I don't say amateur/ professional. There are those that try to communicate something and those that don't need to try to communicate something, who just communicate with themselves in what they do. I have evolved different styles with I love the excitement of coming up with a new idea different pieces so that, with the three-ball act, for example, it becomes a very direct communication with the audience: I spend a lot of time working with the audience, and we have a dialogue that way. Then there are other pieces where it's a very solitary existence, where they are privy to embracing, to the extent that they want to, what is going on. It's more of a dance performance. I needed to go beyond the barrier of having to communicate with the audience all the time. I needed to go in the other direction and say, "This is a world that you can participate in as an audience or you can choose not to." I can structure it so that it can happen for the audience. So that has balanced it out so that I can go on with my life and still be a performer, because I didn't instinctively want to be in front of an audience as a performer. I love to practise, I love the excitement of coming up with a new idea. Over the years of performing I've evolved a combination of need/ addiction, as all performers do, to be in front of an audience - to see how it works, to get the applause and all that, but also the need to really communicate on many different levels,. and have them come back with whatever it means to them. And that's where it lies for me, I love both worlds and I make pieces accordingly. The triangle piece was an attempt to really wake an audience up, whereas the crystal ball act is very soft, and hopefully gets Into the spiritual and emotional realms. Kaskade: What about communication with other jugglers? When was your last convention, for example? forming on a special benefit where Gene Kelly was backstage and he saw me warming up and he said, "That's good." Things like that. Meeting Francis Brunn and having him see my work, inviting me out so that we could talk, and then a friendship developed for a long period of time. Standing backstage at the Moscow Circus in New York and seeing Ignatov doing 9 rings in the middle of all the horses circling for the Cossack riding act. There have been great performers that I've seen, related to my work, and there have been great moments that I've had in my work. Certainly when you surpass yourself as a performer, when you embrace the risk... For me, juggling is very much about risk. I won't say physical risk, but emotional risk: the investment of your spirit in something that could fail. By which I mean that you're vulnerable to the realities that we all live with, and if those become too much you sort of lose the roll of the dice. And I lost the roll of the dice sometimes. But there are many more times when I haven't lost it', when I've succeeded in the risk, and I've been able to come off and feel that no matter how scared to death I was, I've still managed to function and do something that I felt was important. Those are the highlights. Equally, a highlight for me was to come on stage, throw three balls in the air, and one went off stage right, one went off stage left, and one went into the audience - so there was a juggler without anything to do. That was a highlight for me, because it taught me a tremendous lesson in humility, and it was good for me. If it happened every night, it wouldn't be good for me. Kaskade: I expected a completely different sort of answer. I thought

23 you might talk about the Big Apple Circus, or some of the other places you've performed. MM: Well, no, those are things for the scrap book in your mind. They're interesting and important, and there are times when you'll reflect on those. There are times when I'll go on stage having fully prepared, as I do every show, and be scared to death for some reason, a 4-month old daughter, and I grew up in the country, as did my wife, so that's our priority: to allow our daughter to have an environment that is not so frantic, so rough around the edges. The travelling is a necessary evil sometimes, though it's also a wonderful possibility. I grew up in a small town and I never thought I would travel, so I've embraced the There are so many people who don't understand where my work has come from, they just see a technique and take it scared to death to take that first step, and sometimes a memory will just hit me which tells me: "I did it then, I can do it now." Kaska.de: Where else are you going in Europe after the Tigerpalast? MM: Right now, nowhere. I'm going back to New York. But I would like to bring my whole show back to Germany. Kaska.de: Is it you who does the management and the negotiations? MM: Well, by default now. I was very unhappy with my management in the States, and I have a lawyer that can do some negotiating for me, but that's not really adequate representation. What I really need now is a very good management - that I trust, and that's the difficult part. I'm not really interested in going from agent to agent because I don't belong in that world. I can do television, I can do private shows for corporations, I can do private films, etc. and I'm very lucky to have a good instinct for negotiation and to be able to be very direct and forceful about it. But that has never been my priority. Till about now I have never seen money as being a strong priority. Bu t I know now that money buys time, money buys materials, etc. Having spent the number of years I have in making the work and putting that first, I think it's about time for a change. Not because I want to be rich and all that stuff - sure, everybody would like to have enough money to be able not to have to worry about things - but because I think I've taken enough risks so tha t now I deserve to be able t o take more risks, artistically speaking, and have that funded. I've succeeded enough times, but still the world is cruel sometimes, and you may learn very quickly that you're not as important as you may have thought. Kaskade: I suppose you spend a lot of time travelling. Do you still have a home in New York? MM: Yes, my wife and I live in New York in a loft, and we're trying to get the money together so that we can move out of New York and live in a country environment. We have travelling over the last 15 years. But now, it wears on you. Having been to the four corners of the globe, maybe twice or three times, I now want to go back with the right intention and the right emotional support. I'm so committed to my wife and my child that I don't want to be left with my work as this cold need that demands that I go away and doesn't make me very happy. That is always the case with performers, I think. You have to go where the money is sometimes, and you have to go where the commitments are. It's a very rare individual that can land a run in the right place they want to be and have their family living there for a few years. Kaskade: Well, I'm afraid I've run out of questions. MM: The only other thing I'd like t o say is that I think it's pretty apparent from the way I've put things into words that I care very much about my work, and it's been stolen from, videotapes have been made. Last night somebody was videotaping under the table, so we had to stop the show - it's wild. People don't have an idea of what they're really doing. And by trying to understand from the other perspective, I think people would be much better off. I'm not saying this because I want to lecture anybody, I'm just sick to death of French circus schools getting a videotape of my work and then teaching from it. Or the Cirque du Soleil opening with somebody doing the crystal balls. Ti1ere are so many people who don't understand the first thing about where the work has come from, they just see a technique and they take it. And I'm not going to be able to change anything about that, that's the way the business is sometimes. Somebody has a good idea and then,... Thankfully - and this is where ego comes in - I've had a lot of good ideas and I continue to have ideas or feelings that inspire me to work. I just wish upon other people that they want to explore in a way that's personal for them, rather than take the easiest way out. Because the easy way out is only going to get you a very small reward. It's really interesting to go through that process. When you go to a dance class, a ballet class, there's a mirror so that you can see yourself - see what you're doing right or wrong in relation to the true technique. In juggling It's the questions, not the answers, that can take you in a very long direction a process of years and years of studying, of becoming very unhappy with what I was performing as a juggler. I had to go through a very strong process of humility, of understanding that there have been great, great jugglers doing unbelievably amazing things. What I try to embrace is that humility and let that be the starting point for my work. Of course, a performer has to have an ego to get out in front of people, and you build that as well. But what can really destroy that process is the sense of people in the field of juggling that don't want to think - not that they don't have the capacity, because everybody does or who choose to be blind to the respect that should be given to process. For me, process is terribly important. I believe in everybody having evolved their own process or having been given one, and then they judge it and then they go on with their work. In many cases people in the field have not given my work that respect: I've been copied or there is no true technique. There's gravity, there are many inventions that man has made to make gravity more interesting, to make all the forces of nature more interesting. And then you learn the skills. There are so many interesting things to learn that are in the public domain, so why choose the latest fad or the latest interesting thing to steal from? I know other jugglers have_ measured the size heel on Francis Brunn 's shoes to try to figure out how he does what he does, or who videotape Ignatov's act and then run backstage to measure his clubs. It's wild! To bring things back to the realm of art: I don't try to make pieces to make answers, I try to embrace questions. Those are the things that are interesting. In this day and age you can find answers to almost anything, but it's the questions that can take you in a very long direction. I don't believe I have any answers for anybody else, I'm still trying to find them for myself.

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25 zs ~at's On***What's On***What's On***What's On***What's On***What's On***What's Or Con vent ion Calendar Berlin "Let's juggle CON VENTION Hamburg Convention F rei burg Convention Toulouse Convention again" Convention DATE May May May 90 l - 4 June 90 Whitsun Haus der Jugend Colomiers Stadthaus Bock le rpark VENUE Eppendorfer Baum Uhlandstr. 2 Martin Kammann Plinio & Jojo, Le Lido Die Jonglerie Eppendorfer Weg 4 Jonglierfachhande l, 29 Avenue St-Exupery Hasenheide 54 D-2000 Hamburg 20 Bruno Zilhlke F Toulouse D-100 Be rlin 61 CO NTACT ADDRESS(ES) Malenstr. l Tel: D-7800 f'reiburg I. Br. or: Tel: 0761/74991 PRICE OM (incl. 2 meals + Public Show) Change of date I I Street Promotional a rea with Juggle rs from East and SPECIAL FEATURES performers' competition open stage - talent West a re invited to see ( ) cancelled. scouts will be there. the holes in the Wall 4th International 2nd Silverlands 3rd Verona Juggling Swiss Juggling Acrobatics f'es tival J uggling Convention Karlsruhe Convention Convention, Italy Convention, Zug of Holland :i - 4 June June June l 7 June June 90 Whitsun Nijm ege n Silverlands Park University sports halls Palas port At the tent, Holland Ha ll I and II Plazzale Olimpia Biirgerasyl and the "Old Stadium" Fons Bennink Bob Townsend Jutta C. Beyer Meeting Reception!Jomini canen- Hingmaster Sophienstr. 58 Commune Di Verona Kim, Te l straat 22 Silverlands D-7500 Karl s ruhe l Assessorato a ll o sport Kl.l Nijme ge n Chudleigh Tel : (evenini::s) 0721 / 3 Meeting Giocolieri Werni, Ho! land Nr. Newton Abbot 28530, (Barn - 5 pm) Palas port Te l: De von 0721 / Thomas - Piazza Olimpia Or Han- England Geil:\ Ve rona, Italy / Tel: 045/ or l>m 45.- ~ r ee OM 25.- (incl I meal + I brea kfast) Wanted : Peo p le to lead wo r ksh ops "Juggle r of th e Year"- Competition I st Austrian Juggling 3rd Ostwestfalen 43rd!JA Convention Airborn 13th European Convention, Klagenfurt Convention Los Angeles Braunschweig Juggling Convention W. Germany Oldenburg, Germany June July July August Open Air Swimming Pool University of University sports Oldenburg Field and Tennis halls Kirchen le n ge rn California complex, Unive rsity near Bielefeld Los Angeles Beethovenstral3e Edmund Wallisch Gemeinde Sandy Brown. PO Box Karin He rtze r Verei n zur Forderung Anzengruberstr. 12 Kirschenlengern 3069, Ft. Leaven worth Klint 18 des Freizeitsports 9020 Klagenfurt z. Hd. Johannes KS 66027, D-3300 Braunschweig Jonglierfesti val-biiro Austria Ridderbusch Tel: 913/ Tel : 0531 / Un i versi tat Olden burg, Tel: 0463/ Am Rathhaus 2 Ginny Rose, Ammerliinder Heerstr. D-4983 Kirschenlengern 15 Montcalm, Buffalo, 63-65, Oldenbu rg NY Tel: 0441 / Tel: 716/ Mon-Fri 9am-12 and 2-5 pm. DM 40.- (incl. I meal) Public Show on a boat on the Worthersee lake

26 Z6 ***What's On***What's On***What's On***What's On*** ' CONVENTION'90 IN OLDENBURG ~qv + oc~. ~~~ +.~'$~0 ~~ Drachenf achgeschaftu. GroGhandel Der Laden fiir Jonglage 1.B. ** HeRJ::S dub8 )l\ FLIC FLDC 2900 OLDENBURG BERGSTR. 12 TEL Air Jazz \tvill be there! If any of you were considering not coming to Oldenburg for the 13th European Convention, you'll surely change your minds when you hear that Airjazz from Colorado, USA, have confirmed their participation. But there are plenty of other reasons for coming: On 30 August, 9 am, the festival is kicking off on campus. In the afternoon there will be activities in the city centre, and a Jugglemobile will be waiting to greet the juggling fanatics. There will be stages set up all over the pedestrian area. With tricks big and small we hope to whet as many spectators' appetites as possible before the official opening ceremony takes place at 6 pm. After that you're invited to plunge into an unprecedented workshop programme, which continues on 31 August. Besides courses for beginners and advanced jugglers, new this year are socalled "Off-Limit-Workshops" in which jugglers can present their latest tricks with diabolo, devil stick, etc. to anyone who's interested, whether they juggle or not. On Friday evening it's time for the "Open Stage". Everyone has the chance to go on stage and do his or her stuff before the midnight fire display rounds off the evening's events. On Saturday you can create your own spontaneous workshops and prepare for the Parade through Oldenburg's city centre, which will be dominated by games and activities to get the local people involved. Oldenburg schoolkids will decorate the town with their own works of art, specially for the occasion. We arranged with the local educational authorities to hold an art competition. During art and handicraft lessons, the children will produce paintings, posters, collages, clubs, balls and all sorts of other things, which will be on exhibition in local shops during the festival. On Saturday evening, the Weser Ems-Halle, seating 6000 spectators, will stage the Public Show, starring Airjazz among others. We aim to put on a colourful, creative programme combining juggling with dance and movement, featuring all kinds of performers from fresh amateurs to experienced pros. Whoever is still in the mood can party until the small hours in the circus tent. 13. EUROPEAN JUGGLING CONVENTION L w D E N B U R G GERMANY Sunday is another special day for kids. We're offering them games and other physical activities with the "Play Elephant", and an open stage by children for children. While all this is going on, t he jugglers will be deciding where the 14th European Juggling Festival 1991 will be taking place. As usual the convention in Oldenburg will include a mini-trade-fair for juggling equipment. And if you need a rest from all the hustle and bustle, you can visit our exhibition on the past and present of juggling.

27 h**what's On***What's On***What's On***What's On***What's On***What's On***What's I Technical Details HOW TO GET THERE: BY AIR: For the well padded wallet, the nearest airport is Bremen. The No.5 tram takes you to Bremen railway station, where an hourly service takes you the remaining 30km to Oldenburg. Once you're there, the No.4 or No.10 buses take you to the university. BY ROAD : Coming from Bremen, take the A28 motorway towards Emden. From Groningen (Netherlands) you aim for Bremen. The exit from both directions is "Haarentor". This puts you on the Oldenburg ring road. Turn right and the campus is 300m further on, where there's plenty of parking space. BY RAIL : First get to Bremen, then change for Oldenburg, and take the No.4 or 10 bus to the university. BY SEA : For those of you who like something exotic, try getting here by ship. From Wilhelmshaven you can paddle down the River Weser, turning down the River Hunte at Elsfleth, docking in Oldenburg harbour which is right in the city centre. The same applies if you're coming from Bremen. PRICES : Registration fee for the whole festival is DM 50, from Friday to Sunday, DM 40, Saturday to Sunday DM 30. In return you receive a Festival information folder, the ticket to the public show and your special badge. This also entitles you to take part in all the workshops on offer during the festival. ACCOMMODATION : That depends on what you bring with you. As organizers, we hope you'll all bring tents, which can be pitched on the campus grounds. If you don't have your own personal roof you can bunk down in the communal tents, sleeping a maximum of 20. Don't forget your sleeping bag and ground mat. There are also large dormitories in one of the university buildings for DM 6 per night each. If you prefer to go to the Youth Hostel or a hotel, call the Festival Office on , or the Oldenburg Tourist Information, FOOD: The university canteen (with a justly good reputation) is putting itself out for the four days of the convention. Breakfast, lunch and supper, as well as coffee and cakes and elevenses can be enjoyed here. The chef promises international cuisine as well as his usual excellent whole food. On top of that you can buy yogurt, quark, vegetables, salads and, for the opponents of healthy food, there are chocolate bars and all that sickly stuff. If you 're still interested in receiving an information sheet, write to: Verein zur. Forderung des Freizeitsports, Hochschulsport der Uni versitat, Jonglierfesti val-bi.iro, Postfach 2503, D-2900 Oldenburg, West Germany. "D. 'NL Engineering Cotterless Double Chain Giraffes 5 & 6 foot (1.5m & 1.Bm) Zig Zag Giraffes Suitcase Giraffe 5-8 foot ( m) Extending Double Chain Giraffe Unicycle in Flight Case Phone for a price on (0202) Available direct from D. M. Engineering RIO 59 Fairmile Road, Christchurch, Dorset England, BH23 2LA or ask for nearest agent

28 Bad Wildungen Im Rahmen des Nordhessischen Kultursommers Veranstalten wir ein Fest der Begegnung in der Brunnenallee vom Wir laden dazu ein : Musikanten,Clowns,KleinkUnstler,Artisten aus Ost und West Wir bieten : Kostenlose Ubernachtung Vollverpflegung Honorar nach Vereinbarung Naheres durch : Aktionsgemeinschaft Wildunger Wirtschaft z.hd.herrn Karl L. Burk,bUcher bing,brunnenstr Bad Wildungen Tel.05621/6004 d8i' univ8i's8118 V8I'S~nde[ +. t + jonglerie +sou_.,, a.ktuelle f~hlitera ~ern + spielpadagogfk clowns, pa.ntorrume + zau ta.log antordern :ti:i~n!ej:m + bajloonidg + t;hee.ter, z1j'jrub, + kosmische angebote + + Kosmische auswa.h.l. + + iiberra.sch ungen geschenke ba.llons zaubereien gags+++ + effekte ~ l>y 1PDIBW~ ( ::::;:... + in unserem le.den mo-tr 9.: sa 9.:30-1: W&1'6ndorfer Btr. 8 D-4400 Jlii.nBCBr Tel Faz 02 Bl/B Ba BJl

29 ~at's Z9 On***What's On***What's On***What's On***What's On***What's On***What's On~ Oranjebooni The 4th International Oranjeboom Festival of Street Entertainment is taking place in Rotterdam, Netherlands, from August. This year is Rotterdam's 650th anniversary, so this is one more reason to celebrate. We invite all street artists to compete for the first prize: the Golden Cobblestone plus Hfl. 1500! Besides nice money prizes we can offer you some payment, workshops, free accommodation, free dinners, a lot of publicity and fun. Our theme is "New Circus", the use of skills like juggling, mime, acrobatics, magic, music, puppetry and dance in a theatrical way. The organizers are looking for a wide variety of street acts, real "street people" who can attract and hold their audience for about 20 minutes without the use of sound amplification. Because of the limited number of participants, a selection has to be made soon. If you are interested, please contact us as quickly as possible. For full information and an entry form, write to: Oranjeboom Straatfestival, Schiedamsedijk 7la, NL-3011 EK Rotterdam, Netherlands, Tel: (010) , (Peter Egge) Silverlands Festival of Circus Skills The 2nd Silverlands Festival of Circus Skills will take place on Sunday, 29 July. All are invited to show off their talents to Silverlands Park visitors. In the afternoon there will be a competition to find the "Silverlands Entertainer of the Year". There will also be special games of skill: unicycle races, diabolo hurling, knock-out juggling, etc. Information from: R.D. Silverlands, Stokelake, Newton Abbot, Devon Tel Cami val of Clowns Townsend, Chudleigh, TQ13 OEH, Sunday, 8 July. An annual gathering of some of Britain's funniest clowns at Silverlands. For information, see above. IJA Convention July We, the 1990 IJA convention organizers, would like to encourage jugglers from European countries to attend our convention this July in Los Angeles, the "city of angels." Of course, 1 O OOO miles is a major trek! But California has much to offer besides a week of juggling at the University of California, Los Angeles (UCLA). Within a stone's throw of the convention is the beach, Hollywood, Universal Studios, Disneyland, Mexico, the giant sequoias, and much more. The juggling at this "American" convention will be held in the Pauley Pavilion, scene of the 1984 Summer Olympics. It's enormous. Our public show, called "Cascade of Stars," will headline Kris Kremo, with Air Jazz, Garbo, the Raspyni Brothers and many others. Allan Jacobs will teach club swinging and passing workshops. Jugglers can stay in the student dorms which have swimming pools and are a 5- minute walk from the Pavilion. Three days before the convention there will be a pre-convention juggling festival on Catalina Island. Jugglers can camp, swim and snorkel before taking the boat back to the mainland for the UCLA convention. So please start to make your plans now! IJA members will receive information in the next issue of Jugglers World and a special convention pamphlet which will be posted mid-april. If you 're not a member but would like convention information, write to: Tom Bennett, Box 3707, Akron, OH or call (216) For the Catalina Island Festival information, write to Jahnathon Whitfield, 1615 N. French, Suite 203 C, Santa Ana, CA or call (714) See you in LA. Sandy Brown and Ginny Rose, convention organizers Zirkus Nach\.Vuchs Festival The 4th European "Zirkusnachwuchsfestival" will take place in Wiesbaden in late October/ early November. There are two competitions, one for children up to 15 years, and one for young people between 16 and 22. Closing date for entries is 1 September. Your initial application should contain a short description of your act and a few photos. Organizers are: 1. Wiesbadener Zirkus-Varietee-Schule Fratii Dumitru, Scharnhorststr. 46, D-6200 Wiesbaden, West Germany Join the UA! The 3,000 members of the International Jugglers Association worldwide invite you to become a part of this 40-year-old society of friends. Membership includes the quarterly journal, "Juggler's World,'' which puts the most comprehensive information on the field together in a handsome package. Learn new tricks for your act, find out who's hot, where festivals are held and read about the rich history of this dynamic variety art. Contact: UA: Box 29 Kenmore, NY "'...::...il ~'-' 716/ ~

30 30 t*what's On***What's On***What's On***What's On***What's On***What's On***What's c Erlangen Street Party In Erlangen's beautiful Schiffstrasse, there will be a 30th anniversary Juggling-Theatre-Birthday-Street-Party from June. Starts Friday evening and ends Sunday night. A festival without amplified canned or live music, but with juggling and other surprises. There is a gym available on Saturday morning. Entry is free. Those who want to or have to collect money on the street will have plenty of opportunity: neighbouring Nuremberg is a good place for tourists, and the weekend before in Erlangen one of Europe's largest comic-book fairs is taking place. For accommodation or car/ van parking, talk to me or my answering machine at least a few days in advance: Bernhard Schermeyer, Drausnickstr. 86, D-8520 Erlangen, West Germany, Tel Breininale 1-4 June We invite all clowns, artists and jugglers to come and show off their talent. The festival will take place on the Osterdeich fields right on the banks of the River Weser. Graphic arts, literature, media, music, theatre and an attractive programme of kids entertainment: this is the wide variety of events, both open-air and in four tents. Last year we had approx. 120 OOO visitors on the 5 Breminale days, with especially strong attendance at the weekend. Information from: Jutta Golda or Almuth Belitz, Am Deich 68, D-2800 Bremen 1, Tel Festival Open-Air The 14th Stemweder Open Air Festival on 18 August aims to attract friends of fun and good music. At the same time there will be a street performers' competition and a "Fooltime" (nothing to do with the school!). If you don't need sound amplification and can hold an audience for 15 minutes, why not apply to take part. Information from: Verein fiir Freizeit Jugend und Kultur, Postfach, D-4995 Stemwede Oppendorf, West Germany, Tel: 05773/ 8194 (Anette Engelmann) The at er ZUIIl Anfassen "Thea ter zum Anfassen" is an in - ternational theatre festival which is taking place July in Stilbeck (near Gottingen, West Germany). Acrobatics, clowning, mask work, juggling, song and th eatre. Information from: Rog e r Koch, Neuenbtirgerstr. 11, D-7538 Keltern 4, West Ge rmany, Tel: Einrader, Dreirader, Hochrader, Artistikzubehbr, ~(t~llll!!t«ij1<eu len van Dube, Hen~. Kel.Jle & Co, Pappnase, Devil-sticks, Yoyos, Balle, TUcher, Diabolos, Bumerangs, Frisbees -- /.,.-./..../.,.. "'"'.,,, ;::. und Buhnenausstattung, Schminke, Dekdfatioh, 8utiheneffekte, Theaterbekleidung Masken und alles fur Maskenbildner lull.lllllg glll l l u nl i '. vom Drehorgelspieler, Jongleur, zauberer, Artisten bis zum Zirkus mit eigenem Zelt - -kein Versand fur die Geburtstagsparty, das StraBenfest oder eine GroBveranstaltung Fahrradladen und balance GmbH KortumstraBe I Bochum 1 Fax I

31 On***What's On***What's On***What's On***What's On***What's On***What's On***Wha1 Sho""7s Ufa-Fabrik, Berlin The Licidei Clown Theatre (see review in Kaskade No.16) is appearing during the whole of August in the Ufa-Fabrik, Berlin. Tigerpalast, Frankfurt from 2 June - 28 July In June there will be classical variety, with Duo Shumagulow, magicians from the USSR, Ben Salama Trio, acrobats, Eva Proxima, hulahoop dancer. July's programme will be a Flamenco revue by and with Francis Brunn, Nathalie Enterline and Flamenco Rubio (guitar, dance and song). Advance booking: Tel or Tickets per Post, / 07. The Professionals Chris Christiansen, juggler, Circus Sarrassani, West Germany The Great Patrik, gentleman juggler, Circus Williams, West Germany Heavyweight juggler from Mongolia, Workshops: Theatre & For the third year Duo Deltawork (Ton and Wilma) and Fluidum One Person Theatre (Roger) are offering a 2-week workshop on a crobatics and the a t re in France (Beaumotte ). Emphasis is laid on combining both elements. Ton and Wilma are specialists in partner a crobatics, an art form in which the base man balances his partner in elegant, changing poses. Circus Berolina, GDR Karin Ingold, juggler, Circus Barum, West Germany Serge Percelly, tennis juggler, Circus Knie, Switzerland Constant, juggler, Circus Dannebrog, Denmark. Acrobatics Roger has specialized in physical theatre, a genre in which the whole body is used t o extremes. The course runs from 3-14 September. For more details, contact : Deltawork Acrobatics, Postbus 1669, NL-9701 BR Groningen, Netherlands, or Roger Koch, Neuenburgerstr. 11, D-7538 Keltern 4, West Germany, Tel ' ~ Q) P; [/) 0 H P; [/) ri +-' m H tolle Zaubersa ch en jeden Tag g e offnet i mme r noc ~ vie l fun Stuttgart Weberstrasse 86 Tel.0711/

32 3Z Sniall Calling all women jugglers, all over Europe! I'm 24 and have been juggling for 8 months. I would like to get in touch with other women who juggle. I can write in German or English. Looking forward to hearing from you... Sabine Bloedtner, Gildehauserweg 206, D-4460 Nordhorn, West Germany. Airborn - Video of the 1989 IJA Convention in Baltimore. 100 minutes, VHS. Price DM Also Jugglers World, magazine of the IJA. Available from Die Jonglerie, Hasenheide 54, D-1 OOO Berlin 61, Germany and all good juggling shops. Juggling videos wanted. Also have videos to exchange. Has anybody got a video of the public show from Maastricht? Please contact Dr. Dropit & Mr. Burnt Fingers, August Str. 19, D-5000 Koln 60, West Germany, Tel Ads Dear Friends, Jugglers of the World! We're "Boni & Caroli", a pair of unicyclists and jugglers from Barcelona, Spain. We would like tko receive information of circus/ theatre festivals throughout Europe, plus any national or international conventions taking place, to whom we could send information and publicity of our shows. We are also able to exchange appropriate Spanish information and addresses. Write to: Ramon Munoz, Boni + Caroli, C/ Goya, 6, I, Barcelona, Spanien. The Cycologist, the quarterly newsletter of the IUF, lampoons unicyclists while occasionally going for the juggler. Photos of your friends doing a dumb are frequently featured. Distributed jointly with On One Wheel, newsletter of the Unicycling Society of America. $15/ yr ($25/ yr foreign) in US funds to: Curt Morgan, Editor, The Cycologist, 5109 Vera Cruz Dr., Garland, TX 75043, USA Female juggling partner wanted. Blonde, shapely figure. Preferably multi-lingual. Must be into travelling to wild places and doing wild things. No experience necessary, I'm willing to teach. Please send photo. Stevie Gee, Pres. Kennedy Laan 22oas. Amsterdam, Netherlands. We juggling! The ultimate juggling sticker is here at last. Send DM 3.00 each + DM l.00 postage to Harro Zohnel, Orleansstr. 70, D Bremen, West Germany. Do you love the circus? Do yo u have a special affection for circus as a grand tradition and as a unique form of entertainment? If so, you would enjoy being a member of the CIRCUS FRIENDS ' ASSO CIA TION 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 5SJ, Great Britain. COL ORS NEW LINE OF AVA SINGLE UNICYCLES 24 GIRAFFES Write SEM ABRAHAMS ENGi 3600 BR t1aarssen P.O. BOX 1675 LAND colour sticker - "nur Jongleure haben alles im Griff" - for DM 1,50 each (DM I each for orders of I O or more) + stamped addressed envelope. Wolfram Gentner, Rathausplatz 2, D-7920 Heidesheim 6, West Germany

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34 34 Meetings AUSTRIA VIEN NA Anyone in the Vienna area who is interested in juggling and circus, please contact: Das Bunte Dorf - Freiraum. Davidgasse 79, 1100 Wien, Tel We organize meetings and workshops and know where to get props in Vienna Verein Schwerkraft. If you come to Vienna. look us up and we can overcome grav ity together. Tel or BELGIUM BR USSELS Co ntact: L'Ecole Sans Filet, Chaussee de Boondael 104, B-1050 Bruxelles. Tel DENMARK AALBORG Nordjydsk Jongl-r Laug meet at Sportsh-jskolen, Annebergvej. Thursdays from l O pm. Contact J-rgen, Tel or S-ren, Tel COPENHAGEN J ongl-rer mod tyngdekraften meet Mon pm in Medborgerhuset "H-nen". Ahlefeldtsgade 33. During the summer: Sundays, 1 pm around the fountain in Kongens Have. Contact: Erik, Tel , or Mette, Tel PIN LAND HELSINKI Contact: Graham. Tel PRANCE LY ON Co ntact : Jean-Claude Meunier, 44/ o Rue Carn ot, St. Fons, Tel. 16(7) NANTES Nantes Juggling Club meets at La Bernardier e, Rue de Dijon, St. Herblaln (a suburb of Nantes) PARIS Creation d 'un atelier de jonglage a Paris. Pour tout renseignement, s 'adresser a Edouard Fixe, Tel Workshops by the ADAC, organized by the Mairie de Paris. Thurs pm at 3 rue Amyot Paris. (Costs 300 FF for 3 months) "Forum des Hailes". an informal meeting takes place almost every afternoon. RENN ES Contact: Laurent Gautier, 32 rue du Dr. Frani;:ols Joly Rennes TOURS Contact: Compagnie Off, 37 Qua! d'orleans Tours, Tel GREAT BRITAIN BRADFORD Fridays 5 pm Mannlngham Sports Centre, Bradford. Run by Playspace, 40 Marlborough Rd., Bradford, W. Yorks. Contact: Sam Scurfield, Tel (daytime) or (evening) BRIGHTON Mon Kemptown Pier, 110 St. Georges Road (practice session). Tues pm, Natural Health Centre, Regents Street. (Workshop) Contact: Mim, Tel BRISTOL run by Fool Time. Mon pm and Thurs pm at Fool Time, 40 Thomas St.. Bristol BS2 9LL, Tel run by "Dab Hands". Tues. 7-9 pm in Horfield Parish Church Hall, corner of Church Road/ Wellington Hill, Horfield. CAMBRIDGE Patchwork Circus run circus workshops every Sunday evening from pm in the Cambridge Drama Centre, Covent Garden, Mill Road, Cambridge CB! 2HR. Tel ask for Richard or Richard! Anybody is welcome at any time. CAMBRIDGE UNIVERSITY Cambridge Jugglers Association. Contact: Michael Day. Meet Wednesdays pm (term-time) in Vivian Stuart Room, Newhall, Huntingdon Road, Cambridge CARDIFF Balls-Up now meet Monday nights, Sunday afternoons and occasionally on Tuesdays. Contact Ali on Cardiff CHELTENHAM Sundays 6-9 pm at The Youth Centre, Grosvenor St.. Cheltenham, Gloucestershire. Contact: Andy Clay, Tel I425 DERBY Tomfoolery holds open workshops every Thurs. 7-9 pm at Derby Community Arts. Contact: Lindsay Davies, Tel EDINBURGH Tollcross State Circus. Tollcross Community Centre, Edinburgh. Monday pm. Contact: Angelo, Tel HEBDEN BRIDGE, YORKS. "Snapdragon Circus" Workshop, Melbourne St., Hebden Bridge, Yorkshire. Mon. 6-8 pm. Tel LEEDS Hullaballoo Community Circus runs juggling workshops at Woodhouse Community Centre, Woodhouse Street, Woodhouse, Leeds, W. Yorks. Wed pm. Contact: Pete, Tel. Leeds (daytime) or Clare, Tel. Leeds (evenings) LIVERPOOL New Circus Network meets Thurs. 8-1 O pm in Toxteth Sports Centre. Contact: Max and Joe, Tel. 727 I074 or Jon, Tel LONDON Sunday 12-4 pm Columbo Street Sports Centre. Contact Max and Susi, Tel Tues. 7-IO pm, The Circus Space, the timber store, United House, North Road, London N7 9DP. For information, Te l Tuesday pm at Henry Thornton School, Clapham Common South Side. Contact: Dug Orton, Tel Wednesday 7-1 O pmat East Finch Icy Youth and Drama Centre, 142 East Finchley High Road, N2. Contact Ma x & Susi (see Sunday) Wednesday pm at Burntwood School. West Hill, SW18. Contact Du g Orton (see Tuesday) Thursday pm at Tulse Hill School, Upper Tulse Hill, SW2. Cont a ct Richard Briscoe, Tel Friday pm at the Strand Centre, Elm Park, SW2. Contact Richard Briscoe (see Thurs.) MAN CHESTER Workshops run by Manchester Community Circus. Sundays pm, Birch Community Centre, Birch Grove, Rusholme. Contact: Clive, Tel NEWCASTLE-UPON-TYNE Tues. 5-7 pm, Newcastle Polytechnic Students Union Juggling Club, Contact: Michele, Tel Tues pm, free juggling at Church Hall, Brighton Grov e, Fenham. Contact: Jim, c/ o Tel Wed pm, Workshop. The Buddle, 258b Statl0n Road, Wallsend. Contact : Simon NOTTINGHAM Juggling weekends and evenings. Contact: Callum, Tel , or Sue, OXFORD East Oxford Comm unity Centre, Co wl ey Road, Oxford. Sundays 5-7 pm. Contact: Hugh, Tel. Oxford ROCHDALE Mondays and Tuesdays. Contact : Jim or Noreen, Skyiight Circus in Education, Tel SHEFFIELD The Drop-Its, Jeremy and Chris, Te l. Sheffield SHETLAND Thurs. 7-9 pm, lslesburgh Community Centre, Lerwick. Sat am. Sandwlck Junior High School. Contact: Gary Worrall, Tel. Shetland (home ), (work). STOCKPORT Stockport Community Circus runs workshops every Wednesday from 1-4 pm at Pulse, Stockport Young People's Centre, Royal Oak Yard, Little Underbank, Stockport, Cheshire. Contact: Clive, Tel

35 TAUNTON Community Circus meets once weekly. Venue changes. Contact: Sally, Tel TUNBRIDGE WELLS Contact : Kevin Fletcher, Tel YATTENDON Yat tendon Juggling Club meets every Thurs. in the Yattendon Village Hall. 1 per s ession (50p concession). Contact : Barney, Tel ISRAEL JER USAL EM Jerusa le m Juggling Club meets every Saturday 10 am - 2 pm at Sacher Park, Sederot yizhaq Ben Zevi. Contact: Fred Schlomka, Tel , or David Perkins, Tel ext. 6 (answering service) 6 Ben Yehuda ITALY MILA N Mon.-Fri., 5-8 pm spring and summer, Parco Sempione-Fontana di De Chirico. Contact: Kinesis Piccolo Circo, via Elba 7, Milano, Tel (Claudio) PORTUGAL LISB ON Contact : Cesta D'Artes, Rua Alvestorgo 3 i, 1100 Lisboa SPAIN MADRID Asoclaci6n Malabaristas now meet Wed. from pm at the Madrid Youth Hostel, "Albergue Richard Schirrmann" en la Casa de Campo. Metro: Lago. Contact: Javier Jimenez, C/ Duques de Parcent No.2, bajo derecha, Madrid, Tel SWEDEN STALLARHOLMEN Sundays. Contact: Birgit Philipson, Tel SWITZERLAND AARAU lst and 3rd Monday of each month, Jugendhaus Aarau (y outh ce ntre), Flosserplatz, in the disco. Contact: Urs, Tel or Brigitte, ARB ON Tues. 7-9 pm, at the Seeparksaal by the lake (weather permitting, or in the Rondelle Youth Centre. Contact: Res Ryser, Tel BERN Thurs. from 7 pm, sports hall at the Ka-We-De lee rink and swimming baths in the zoo (next to the U.S. embassy!!). Contact: Gerda Saxer, Schonburgstr. 18, 3013 Bern. Tel DIETLIKON/ZH Thurs pm, Fadacher sports hall, Dietllkon. Contact: Bea und Piet, Tel GENEVA Tues. 6-8 pm at the cole d'ingenieurs de Geneve, 4 Rue de la Prairie. Contact: Cesar Salvadori, Tel or Bernard Gisin, Tel WEST GERMANY AACHEN Tues. from 5 pm in the Westpark, VaalserstraPe. Contact: Krenne Aymans. Dilppelstr. 16, Tel or: Uli Schneider, Bliicherplatz 4, 5100 Aachen, Tel ATTENDORN Mon. from 5 pm (fine weather) : Alter Markt (in front of the museum). If the weather is really bad: Jugendzentrum Attendorn (Youth Centre), Heggener Weg 9. Contact: Jugendzentrum Attendorn, Tel BAD REICHENHALL Mon pm in the sports hall of the St. Zeno school, Zenostrasse. Contact: Robert Hehenberger, Tel BAMBERG Mon pm, VHS Hall. Contact: Annette Grabiger or Manfred "Mac" Harder, Klosterstr. 30, 8600 Bamberg, Tel BERLIN Tues. 6 pm Statthaus Bocklerpark in the Bocklerpark, Kreuzberg. BIELEFELD Meet Mondays, 7 pm, Gymnastics Hall at the University. Contact: Jens Kordtomelkel, Melanchthonstr. 58, Bielefeld I BOCHUM Frl pm, Bochum-Werne. Contact: Manfred and Dieter. Fahrradladen und Balance, Tel BRAUNSCHWEJG Sun. 3 pm in the Prlnzenpark (fine weather) or In the FBZ-Atelier (bad weather). Wed. 7 pm, sports hall of the Neuen Oberschule, BeethovenstraPe. Contact: Karin, Tel BREMEN Mon., Thurs. and Fri. at 7 pm In the foyer of the University sports centre (winter) and in the Bilrgerpark (near the Stern) (summer). Contact: Holger, Tel BREMERHA VEN Monday, 7 pm in the Freizeithelm Lehe Treff, Eupener Str., 2850 Bremerhaven. Contact: Joachim Hamm, Pferdegasse 2, 2858 Geestenseth, Tel BROHL (NEAR COLOGNE) Sat. pm, on the field at Heider Sports Ground. Contact: Andreas Grob, Tel or Dette NeuP. Tel COLBE Wed pm in the Gemeindehalle Colbe. Contact: Heinz Paiz-Gerling, Tel DARMSTADT Wed., 8-1 O pm in the small sports hall at the Lichtenberg School, Ludwigshohstr. I 05. Run by TSG 1846 Darmstadt. Contact: Achim Voigt, Thurs pm at the Technische Hochschule (Technical College). old main building, HochschulstraPe, Room 11 / 25. Contact: Till Pohlmann or Andreas Hecker or Claus Schmauch DORTMUND Mon pm in Freizeitzentrum West, Neuer Graben 167. Contact: Sebastian Schlund, Tel DOSSELDORF Wed pm in the ZAKK, Fichtenstr. 40, Diisseldorf-Flingern. Contact: Guido Volkmar, Am Heidhiigel 12, Dilsseldorf, Tel ERLANGEN Tues. and Thurs. from 8 pm in the "E Werk". Contact: Andreas Jausch, Tel or ; or E-Werk, Tel ESSEN Fri pm at the University Sports Hall, Gladbacher Strape 180 (on the B224). Takes place regularly during term-time. At other times contact: Klaus Borkens, Tel or Rhlnozeros, Tel ESSLINGEN Mon. 7 pm, Jugendhaus "Komma", Jn der Maille 5. Contact: Klaus Riedel, Amstetter Str. 2, 7000 Stuttgart 61 FRANKFURT Thursday evenings in the small hall of the Volksbildungsheim (Underground Station: Eschenheimer Tor). Contact: Fritz Brehm, Tel Wed pm in the main hall of Frankfurt Fachhochschule (Technical College), Nibelungenallee, on the corner of Friedberger Landstrape. Contact: Thomas Mill, Tel FREIBURG Contact: Bruno Ziihlke, Maienstr. I, 7800 Freiburg i. Br. Tel FREISING Wed. 6-1 O pm, JUZ Frei sing Youth Centre. Contact: "Schlendertrauma GmbH", Thilo Matschke, Heckenstallerstr. 15, Tel FREILASSING Contact: "Begnackte Korper", Maximilian Auerbach, Gaisbergstr. 4, 8228 Freilassing, Tel GJESSEN Sun pm. Fine weather: sports ground on the bank of the Lahn. Bad weather: Credner Str. 6 (at the back). Contact: Ebl , Peter , Alex Contd. p.37

36 BUTTERFINGERS are moving..... from May 12th our new address will be.. Butterfingers Juggling Equipment Puzzle Tree Cottage Stoke St. Michael Near Bath, BA3 SLB England Butterfingers, the fast and friendly mail-order specialists; fast because we send out your equipment the day we receive your order - friendly because we make you cups of tea when you come and visit! Write for our new catalogue - everything from beanbags to walking globes!

37 37 GOTTINGEN Fri. 2-4 pm and Sun pm in the KAZ, Hospitalstrasse 6. Contact: Reinhard, Tel HAGEN Mon. 6-8 pm in the Peimke School, Pelmkestr. 14. Contact: Manfr ed Sc hlol3er, Tel or HAMBURG Wed. 3-6 pm in the gym of the University Sports Faculty, Rothenbaumchaussee/ Turmw eg. Ask for de t ails of furth e r meetings. Contact: Ka y Krauel, Schumannstr. 60, 2000 Hamburg 76, Tel , or Marti n Sc hneide r, Tel HAN AU Thurs pm in the Olaf Palme House. Con tact: Detlef, Tel HANOVER Tues. from 5 pm, Haus der evangelischen Jugend. Co ntact: Sebastian Mecklenburg, Sedanstr. 47, 3000 Hannover 1, Tel Thu rs. 7 pm in the UJZ Glocksee, Glockseestrasse. HEIDELBERG Mon. an d Fri pm. Rh ein-neckar Halle Eppelheim. In fin e weather, on the banks of the Neckar. Contact: Keule & Co., Tel HERNE/ RE CK LI NG HAUSEN Meeting almost every day. Contact: Katie, Tel KARLSRUHE Summer and fine weather: in the Schlol3garten on the big field, or at the Templ e. Winter: Mon., Wed. und Thurs. evening. Co ntact: Jutta c. Beyer, Tel (evenings) KASSEL Wed pm, Haus de r Jugend, Altmarkt. Contact : Joachim Wondrak, Tel or Lambert Zumbragel, Tel KEMPTE N Thu rs. 6-9 pm, Jugendhaus, Landwe hrstraj3 e. Co ntact: 0. Weizenegger, Tel or R. Jage r, Te l KOBLENZ Tue s pm, Kulturfabrik Koblenz, Mayer-Alberti-Str. 11, Tel , Contact: Christof Niessen Fr!. 5-8 pm, Youth exchange in "Haus Metternich", Milnzplatz 7-8. Contact: Tom Steinebach, Tel or KREFELD Wed. 6-8 pm, BI St. Josef, Corneliusstr. 43, Tel Contact: Ralph Herbertz, Te l LEM GO Sun. 7 pm, MWG-Hall. Contact: Richard Lunderstadt, Tel I 0695 MAINZ Tues pm Jugendzentrum (Youth Club) Mainz-Mombach (formerly Jahnschule), ZeystraJ3e. Contact: Reinhold, Tel MARBURG During term-time: Fridays 9 pm at the Institut fiir Lelbesilbungen (= Sports Faculty of th e University), Barfill3erstr. 1. Contact: Kathrin und Jochen, Tel or contact: Florian and Sebastian Gempf, Alte Weinstr. 11, 3551 Lahntal-Sarnau, Tel MONC HE NGLADBAC H Contact: Hermann-Josef Noll, Jiilicher Str. 71, 4053 Jilchen 1, Tel MUN ICH Contact: Michael Hock, Implerstr. 28, 8000 Miin c he n, Tel MONSTER Mon pm in the Schlol3garten (fine weather), or in winter and bad weathe r : ESG, Am Breul 4 3. Contact: Olaf Ze rfrowski. Tel NORD HORN We d. from 6.30 pm in Nordhorn Youth Centre, Barn. Contact: Ingo Mi chael, Niedersachsenstr. 61, Tel OFFENB ACH Mon pm, Gymnasium of the Anne-Frank-School, Eberha rd-v. - Rochow-Str. Organised by the Verein fiir Sport- und Bewegungskul tur. Co n tact: Hasi, Te l or Hans, OLDENBURG Tues pm, Thurs pm at the Carl von Ossietzky University, Uhlhornsweg (during term-time) OSNABROCK Wed pm in the Fachhochschule, Westerberg site. Contact: Andre, Tel or Jilrgen, Tel REUTLINGEN Mon. 7-9 pm in the "Zelle", Obere Wassere 3. Contact: Michael Kromer, Enge Str. 5, 7414 Lichtenstein, Tel ROSSELSHEIM Tues pm in the "Freies Kulturcafe", Mainst r. 11. Contact: Frank Lilckert, Tel SAARBROCKEN Tues pm at the university (term-time only). Contact: Markus Jaschek, Graf-Johann-Str. 23, 6600 Saarbriicken, Tel SCHW ABISCH HALL Kontakt: Axel Horn, Unterlimpurgerstr. 41, Tel SCHWEI NFU RT Tues. 6-8 pm in the Kulturhaus/ Schreinerei. Contact: Bernd Hofmann, Tel STUTTGART Wed. 8-1 O pm in the hall of the Adventure Playground West, Schwabs t ral3e. Contact: Hiltrud He nn, Tel Tues. 8 pm, Forum 3, Gymnasiumstr. 21, Tel TRIER Wed pm, Jugendzentrum Exzellenzhaus, Zurmaienerstr. 114 (in the gym on t h e firs t floor). Co ntact: Will y Rauchs, Maars t r. 4, 5500 Trie r, Te l OBERLI NGEN Thurs pm (apart. from s ch ool holidays ) in th e Freie Wal dor fschu le, Rengolshausen. Co ntact: J ohannes Hermann, Tel WIESBADEN Wed pm, Haus de r Jugend, Elsasser Platz. Contact: Soren Nossek, Rheinstra13e 115, Tel The Ugly Juggling Company BRIT AINS NORTHERN JUGGLING SHOP 7, BLACK SWAN COURT 69, WESTGATE ROAD NEWCASTLE UPON TYNE NEl lsg PLEASE WRITE OR PHONE FOR YOUR FREE CATALOGUE TEL: (091)

38 38 Dream Moves Are we going to see them on the Open Stage? Weird Can you (is it even possible?) throw the contents of a glass up into a column of liquid and catch it all (or most of it!) back in the glass? This was a move I wanted to do in my slapstick routine, as an apparent mistake. Complicated Is it possible to cascade three balls while keeping one other passing back and forth over the top? I can play four balls and throw one high, then briefly cascade the three before going back to four. I can alternate sides and even throw the ball over so that it lands back into the four ball pattern (after the brief cascade) on the other side. What I can't seem to do is throw that ball back after it has travelled over, cascade again, etc. Obviously the cascade doesn't have any "holes" in it, so there must be a brief 4-ball moment each time... or a strange little hesitation "beat". Perhaps it needs Charlie Dancey's computer... Toby Philpott, London Daring This idea came during a heated discussion with friends (hello, everybody in Munich): where do the clubs have to be thrown between two parachutists who are passing while in free fall? (Upwards, downwards, straight across?) Come on, you parachuting jugglers, go for it! Wobbly Something for uni freaks: Sitting on a tall unicycle, balance a normal unicycle on your forehead (not too impossible so far). But now, let the small uni topple off your forehead while at the same time getting off the tall uni so that you end up sitting on the small one! Historical A trick by Richard Eckert (19 l O) which I've always wanted to see done live: juggling a plate, champagne bottle, champagne bucket, ball and (!) billiard queue. Jorg Treiber, Wehr, W. Germany NB A picture of the final trick is on p.119 of "Richtig Jonglieren". Subscribe. UK subscribers: please send us a cheque for Non-European subscribers: please send us US$15 (cash if possible!) to cover the cost of AIR MAIL delivery. All other subscribers: please transfer OM 20 to our account, or send a cheque if payable to a German bank, or a eurocheque with the card number on the back. Please do not send postal orders or stamps. I would like to order the next 3 issues of KASKADE starting from the most recent issue the next issue 0 D Price for one year's subscription DM 20 (incl. postage) I'm paying in cash by cheque by direct transfer to: Gabi & Paul Keast Annastr. 7 D-6200 Wiesbaden West Germany 11 LJ 0 D Bank account number: Bank code: at the Nassauische Sparkasse, Wiesbaden NAME: ADDRESS: I would like the magazine in 0 English 0 German but I would rather read it in 0 French D? Copy Deadline for No.19: 15 July 1990 DATE: SIGNED: Only pre-paid orders accepted I Advertising Rates are available from the editors on request. Non-commercial small ads are FREE! Copy deadline for No.19: 15 July 1990

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40 die Jonglerie Einzelh andel GroBhandel Hasenheide Berlin 61 Telefon: O 30/ dub8 juggling equipment ~Iii ~OS BEST llilcycle Jonglierartikel. Unser Service. BALLABAllA * IOO GOGL * FLIC FIAC * UJFTIKUS * ODDBAIL * PEbASUS * Sfil.BRU<lI * dube'auch bei" Koln Maribo Oldenbur MUnster London Hannover Darmstadt Wilhelmshaven