Rebound (juggling)

The juggling with rebound is a form of Jonglerie dating from the beginning of the 20th century. It comes to supplement juggling traditional, known as air, by granting to the objects an additional possibility: that to rebound . The figures carried out return in this category since the rebound is an integral part, controlled and recurring of the aforesaid the figure.

The object of predilection of the Jongleur S with rebound is the ball. This preference is explained in a historical way and a practical way. Indeed, the ball, by its spherical side, is the object which produces the the most regular rebound . Other objects can however be used like the rings or the bludgeons. It also happens that the other disciplines of juggling as the twin wheel take as a starting point the juggling with rebound to introduce this new parameter into their panel of possibilities.

Surface used to make rebound the objects is one of the points essential for the jugglers with rebound . The simplest surface is a plane and smooth ground which allow a regular rebound and simple trajectories. It is also possible to use tilted plans or walls, which was already the case of Street, first known juggler to have presented numbers of balls rebound S, in 1917. Rudy Horn and many its contemporaries used drums to recently exploit the rates/rhythms obtained by the sound of the rebound S. Plus, American Michael Moschen and the English troop Gandini Juggling exploited the rebounds in geometrical structures: Triangle (Moschen) and Cubic (Gandini).

Juggling with rebound made beautiful great strides these last years through the artistic exploitation of its many possibilities. Particularly in France thanks to DVD “ Bouncing in Paris ” put in scene by Vincent Bruel and Jean-François Valentine who is characterized by the exploitation from urban furniture and the novel methods from juggling among which the notation Siteswap.

Some properties

Juggling rebound is not opposed to air juggling, it supplements it and takes again the fundamental techniques of them. Thus, the majority of the air figures can be transposed in rebound . However juggling rebound brings a certain number of considerable specificities:

Lengthening of the temporal duration of the way :

Because of multiplication of the apogees and rebound S, juggling rebound makes it possible to optimize the space in which the trajectories are spread and to thus save time compared to the air throws. Where a long air throw requires a high degree of accuracy and a considerable physical effort, the equivalent in rebound request at best a throw of ten centimetres. Thus, the rate/rhythm of a cascade with three balls in rebound could be definitely slower for a tiny effort than its air equivalent. This lengthening is easily controllable; thus juggling rebound has a very great flexibility on the level of the tempo of the throws by the simple fact of the variety of the throws and of the possibility of carrying out several rebound S. So one often considers that to drive are equivalent a figure in rebound is more accessible than its air equivalent.

Occupation of space :

The principal characteristic of juggling rebound consists in adding to the space located above the hands of the juggler the space located in lower part. Moreover, the fact of making rebound ir the balls obliges the juggler to be spread not only in the vacuum which surrounds it but to also enter in interaction with multiple surfaces which surround it (ground, walls and other artefacts being able to be used as support with the rebound ).

English Modification of trajectory and “effect” :

If the trajectories remain always parabolic, juggling rebound makes it possible to segment them in a multiple way within a space, to see to even add effects (known as " anglais" effects;) who consist in modifying the trajectory after the rebound by printing a rotation with the ball at the time launching it.

Four types of trajectories

Each ball being able to be launched and caught up with Palm to the top or to the bottom , one classifies the trajectories in four types:

the hyperpassif (to launch palm towards the high , reception palm towards the high ): it is the longest trajectory - it has two apogees. The ball is launched to the top, reached its apogee, goes down again, rebounds , goes up up to one second apogee and goes down again to be caught up with.
the passive (to launch palm towards the high , reception palm towards the low ): the trajectory has an apogee before the rebound . The ball is launched to the top, reached its apogee, goes down again, rebounds and goes up to be caught up with before the second apogee.
the active (to low launch palm towards the , reception palm towards the high ): the trajectory has an apogee after the rebound . The ball is launched directly towards the ground, rebound it, goes up, reaches its apogee and goes down again to be caught up with.
the active hyper (to low launch palm towards the , reception palm towards the low ): it is the shortest trajectory - it does not have any apogee. The ball is launched directly towards the ground, rebound it, goes up and caught up with before its apogee.

The passive is the symmetrical one in the time of the active , however, taking into account the loss of swiftness at the time of the rebound , the liability will be more slightly slower.

Notation siteswap

In order to differentiate the types of throws used, the notation Siteswap gradually obtained modifiers adapted and associated with the throws rebounds . There is at the present time no general convention in this field. The two most advanced systems being the notation used by the software JugglingLab of Boyce Jack and Extended Bounce Notation (EBN) of Sylvain Garnavault, more recent and simpler.

To note the rebound S multiples it is enough to multiply the letters of the suffixes. In the cases of the notation of JugglingLab it is necessary to multiply the B before specifying the type of launching. For example: BBBHF refers to triple hyperactive rebound . In the case of the EBN it is enough to note the suffix as much once than of rebound . For same triple active rebound will thus have us qqq .

By combining the various types of rebound and the traditional air throws each sequence siteswap gives rise to innumerable alternatives enriching by this fact the discipline. New transitions become realizable and certain unrealizable throws in a traditional way open with us thanks to the time saved by (multiple) the rebound . Here an example which uses these new possibilities: one bases oneself on the sequence A3633 with the has in double passive rebound and the 6 in liability. The notations become ABBL36BL33 (JugglingLab) - Abb36b33 (EBN).

For reasons of temporal constraints imposed by the siteswap and the physique it is impossible to combine certain types of rebound S. For example, it is very improbable to see in the same figure a 3 double rebound and a 3 hyperactive. A table of the “natural” values was initiated by Vincent Bruel; it remains to supplement for the moment.

External bonds

Section '' rebound '' of the site The Cloon Brothers Band

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