Page 36                                     Fall 1991

Essays

 

What's the Best Way to Practice Juggling?

by David Naylor

 

Even as a complete amateur, I probably practise juggling several hundred hours a year.  Although I juggle solely for fun, I've often wondered if there were some ways of making the most of my available practice time. Is one way of practicing more beneficial than another? With this in mind, I contacted Professor Buckolz of the physical education department at the University of Western Ontario.

 

It turns out that there's been a tremendous amount of research in this area, much of which is highly applicable to juggling. In fact, the reference book on Motor Learning Research [ref. 1] recommended by Professor Buckolz features a juggler doing five balls on the front cover! 

 

Almost everyone who has tried to learn a difficult trick has encountered a performance plateau. During this time it seems that your skill level is not improving at all, or even that you're getting worse. Academics have some good news for jugglers here. As you will see, it's important to make the distinction between learning and performance.

 

Experiments have shown that while an individual's performance may level out or even decrease over the short term, the long-term rate of improvement is unaffected. Magill [1] states that "Plateaus may appear during the course of practice, but it appears that learning is still going on; performance has plateaued, but learning continues." This suggests that it is still worthwhile to practice on those "off days" when none of your hard tricks work - your tricks will have improved on the next good day.

 

Researchers have also looked at the effect of fatigue on the learning of motor skills. Near the end of a long practice session, you're having a rough time with difficult tricks and dropping a lot because you're tired. Personally, I've worried that this might reinforce poor juggling technique. Again the news is encouraging. Experiments indicate that mild to moderate muscle fatigue causes poorer practice performance, but does not affect learning [2]. However, extreme muscle fatigue does impair learning. So, even though you're not performing at your peak, juggling while slightly tired will still improve your skill.

 

Perhaps the most exciting research finding that I came across has to do with something called "Transfer of Leaming." Transfer of Leaming is the influence of a previously practiced trick on the learning of a new trick. This effect can be negative or positive. For example, absolute beginners usually encounter a negative Transfer of Learning effect when trying to learn three ball juggling. Often they have previously practiced passing two bails in a shower and it's a hard habit to break when trying to learn the cascade pattern.

 

As an experienced juggler, however, you can use Transfer of Learning to advantage when trying to develop equal skill with a trick on both sides of your body. For example, equal skill is needed in both hands when juggling even num­bers of objects in columns. It is well supported by experiments that "Transfer of Learning can be expected to occur between the same limbs when only one limb has been actively involved in practice [1)."

 

Simply put, your left hand will improve by practicing only with your right hand! This effect is undisputed among researchers. Also, experiments show that a skill is transferred more quickly from one side to the other if you first develop a fair level of skill on your favorite side (1). So, equal amounts of practice with both sides in a par­ticular trick is not the fastest way to develop equal skill. Jugglers may find this surprising since it seems to be a common conception that it's best to practice both sides at once when first learning a trick.

 

From my own experience, I feel that I learned the head roll faster with the above approach. Contrary to the advice in Dick Franco's book, first I learned how to roll the ball up and down only on one side of my head. Once I had the technique figured out on one side, the other side came much more quickly.

 

There's an enormous amount of research into the best ways to practice, and I've only touched on a few of the important findings for jugglers.

 

In a future article I'll discuss other important questions: Is it best to practice in one long session or several shorter sessions? While practicing, should you focus on one trick or various tricks? Should you always practice in the same place or change your setting? Stay tuned!

 

References

1. Magill, R.A.,"Motor Learning: Concepts and Applications," Third Edition, WCB Publishers, Dubuque, Iowa, 1989.

2. Lawther, J.D.,'The Learning and Performance of Physical Skills," Second Edition, Prentice-Hall Inc., Englewood Cliffs, NJ.,I977.

 

David Naylor is presently doing a Ph.D. in mechanical engineering at the U. of Western Ontario, London, Ontario, Canada. David has been juggling since 1983 and as yet, has not dropped a prop on the cat.

 

Juggling Our Selves

by Barrett Dorko

 

When jugglers decide to become performers, the elements of their art are obvious - skill, costume, props and stage. But they soon find that an essential part of performance not so easily seen or acquired looms before them ­ the creation of a character.

 

While the "gentleman" juggler may stand as an exception, I get the distinct impression that jugglers choose characters that have a single quality in common - they are childlike. These children may be playful and joyful, obnoxious and bratty, or silly and spontaneous. At the very least, though, any performing juggler is doing things other adults gave up long ago.

 

In 'The Power of Your Other Hand" (Newcastle, 1988), Linda Capacchione suggests that use of the non-dominant limb gives us the opportunity to discover creative aspects of our personality that are not ordinarily displayed. She emphasizes the tendency for this portion of our make-up to be reminiscent of an innocent child - trusting and truthful, but - easily scared into a quiet and non-expressive state.

 

In sensing the awkwardness and hesitation present when we use our non-dominant side, feelings that remind us of childhood surface and enhance the emergence of childlike, creative behavior. Juggling as a performance art seems especially likely to invite youthful exuberance in movement because the juggler is not confined to a piano bench, an orchestra seat or, like a dancer, scripted to a melody or beat.

 

If we propose that the use of our non-dominant side tends to affect our behavior in a trusting and innocent direction, is it reasonable to assume that overuse of the dominant side might push us in the other way? Well, have you ever heard it said of someone, "He's alright until he gets on the golf course (or tennis court, basketball court, ball field, etc.), then he turns into a complete jerk."

 

When was the last time you heard it said, "He's okay, but I can't stand to be around him when he's juggling?"

 

In my own profession, physical therapy, there is a strong tradition that the use of our bodies alters our way of seeing the world and that we can affect mental processes by manipulating the periphery of the patient. The legendary movement therapist Moshe Feldenkrais has even suggested that our brains evolved to keep up with our remarkably coordinated bodies, not the other way around!

 

The mythological king always had a jester nearby to entertain him, advise him, and help him see all sides of an issue. In fact, the jester makes the king whole. When I pick up my props, something inside awakens. My wit is quick, if somewhat unsophisticated, my movement is very unlike my usual plodding, and I begin to trust a bit more the world around me. It is a wonderful gift. ..                                                        

 

Barret Dorko is a physical therapist and a member of the Rubber City Jugglers in Akron, Ohio.

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