32-6,p3

THE PROFESSOR CONFIDENCE CORNER

By Dave Finnigan - IJA Education Director - Edmunds, WA

They came from all over the U.S. and around the world to participate, tossing objects skyward to the syncopated beat of the latest disco music.

Costumes were colorful and the young competitors buzzed with excitement as round after round of the contest unfolded. Most were perky teenagers, with ballerina poise and the flexibility of gymnasts. They romped through their routines to the roar of an appreciative crowd.

On the night of the World Championships, the 10 teams marched in to the strains of John Phillip Souza. From Belgium, Canada, England, France Germany, Italy, Japan, Netherlands, Scotland and the United States, they followed their flags out onto the floor. Standing in formation, TV cameramen encircled the pack. The judges were announced and took their places on the podium. The finals began.

Each contestant had six minutes for a routine. Spinning objects were tossed through space and caught again in an incredible variety of styles. By performing intricate gymnastic, dance, and tumbling moves, participants individualized their acts in thrilling ways.

The sustained roar of the crowd, and scores of 9.7 and 9.9 confirmed that we were watching the peak of the art. After the best were selected, winners ascended the ceremonial platform for presentation of medals. Anthems were played for proud parents beaming in the wings.

Another year's competition passed with a final announcement to remind us that we could reassemble in Nice, France, in 1981 for the second World Championships of baton twirling.

The above refers to the post-Fargo championships I attended here in Seattle. Their competition contrasted well with ours. However, two things that were somewhat subdued in Fargo stood out among the twirlers the pageantry and youth.

I was amazed to see them juggling three, four and even five batons in cascade and shower patterns. Of course, I issued a general invitation to attend the IJA convention in Cleveland next summer. We should consider holding a joint convention some day, as both juggling and baton twirling would benefit.

In this same ecumenical spirit, I will be writing editors of major gymnastic and acrobatic journals to invite their members to bring elements of their skill to our convention. They, in return, can take away whatever of the juggler's art they may be able to use. Our umbrella is big, and we can fit many skills under it.

It seems to me we should recognize and welcome the fact that their are several approaches to competition. They are compatible with each other to my mind, but I'd like for others to consider my ideas and tell me their own opinion.

The first approach is found in gymnastics, skating, diving, and baton twirling contests. Judges who are themselves practitioners of the skill rank the competitors in these "sports" involving movement of objects or the body. For both judges and audience, specific standards of performances, called school figures or compulsories, must be completed. The figure for technical presentation is usually then multiplied by artistic interpretation.

The IJA has been pioneering the second approach now for years. It is based far more on the the artistry of presentation than on the capability to do specific moves. Its roots are in theatrical presentation rather than athletics. It is far more subjective in nature, because judging different competitors is like comparing apples to oranges and sometimes watermelons to lemons. This competition can be a lot more fun to watch and participate in, since style is as important as skill and imagination the key to success.

How about two categories of competition? One for recreational competition judging strictly technical skill might attract more young jugglers beginning to control juggling's disciplines. It might even be restricted to age 17 and under. A separate theatrical juggling competition would resemble the current IJA championships. As now, it would broaden the art in general, bring new styles and ideas on integrating performance with precision at a high level.

As the Flying Karamazov's have said, "First you have to get your discipline together --- then you can improvise."

Junior competitions based on compulsory moves brings about the possibility of local championships to feed into a national or intemational structure. Juggling cells are popping up all over the U.S., but there are fewer young people joining the ranks than many think. I believe in setting up the following categories of competition for the next few years:

JUNIORS: (Under 17) Boys, Girls, Team

SENIORS: (Theatrical performance) Men, women, team

The old system of executing the most different tricks in an allotted time period might suffice for the compulsories. Or, a set of school figures to be executed in order might be developed. Special endurance competitions might be established for individual props.

As a third alterative, I imagine a ranking of jugglers by by color. This Japanese form uses competition (Kata) as the basis for attainment of higher levels. With three objects in the air, you eam your white belt. Brown belts might be masters of four objects or of esoteric arts such as ball spinning or club swinging. Black belts should be able to play with five balls, or execute tricks which demonstrate full control at an extremely high level of skill.

Judges would be those already wearing black belts. You would apply to be examined as you presented your art, and those failing could reapply at subsequent conventions. This third approach could be easily tested at a convention to see if it strikes sparks.

Last issue I suggested inviting young associates to conventions. This issue I'll like to add that you shouldn't forget your heroes, either. I've asked two of mine to come.

Kumar of India is one of the greatest plate spinners of all time. Retired from show business now in Dallas, TX, he played the vaudeville circuit, circuses, fairs and television in North America and Europe. Conducting a workshop for physical educators in Dallas in August, I was privileged to have his help. He performed "black belt" feats to perfection still, claiming he had not practiced in 15 years. He was great, and the physical educators ate him up.

Francis Brunn, whom I met at the Western Washington Fair, is also interested in coming to Cleveland to assist in workshops on ball spinning and balance. During the fair, Brunn shared the stage with Pat Boone for five days.

Needless to say, the local "juggling junkies" all trouped out to watch the man of whom Karl-Heinz Ziethen wrote, "Francis Brunn, the unforgettable legendary name of an artist never equaled and praised as a miracle, will exist always as the greatest juggler genius of our time. This is no exaggeration." It wasn't indeed. Under intolerable conditions, the Nijinsky of juggling danced through an unequalled routine.

We talked with Francis between shows and on a whirlwind tour of Seattle to buy a ball. He praised Asparagus, a show now appearing in San Francisco, and expressed a secret desire to see the Flying Karamazov Brothers at work. He admonished us not to look to other jugglers for inspiration, but to study other art forms --- dance, music, mime, gymnastics.