Right now I am sitting in the backseat of a small van / large car: sandwiched comfortably between a yoga teacher and an aerialist. In the front seats are a burlesque performer and, driving, one of our two producers. We are en route to our second venue as part of the Cwtch Cabaret tour in Wales.
But I want to write now not about touring in the UK (which is a great and wonderful novelty for me!), but about a project which shows once more that jugglers are the geekiest of the circus community.
Earlier this month I was in Berlin for a week, participating in the first Juggling Teachers Meeting, held at the Berlin Juggling Center. Arranged by the centres owner, Alan Blim (the original founder of Berlin’s Juggling Katakomben), this five day workshop was supported by a European initiative for teaching, and had participants from Hungary, the Czech Republic, the UK, Italy, Spain, and of course Germany.
Berlin Juggling Center
So in all we had around a dozen students, and four teachers completed the group: myself, Alan Blim, Marco Paoletti, and Tim Roberts (long-time juggling teacher at the Chalôns school, now head of Higher Education at the Circus Space in London, and president of FEDEC).
Each of us was to teach a day (and to participate as students in the other days), and a target of the week was not only to teach our usual workshops or themes, but also to go deeper into the actual teaching theory behind our work. Each teacher had their own style and manner of course, which also meant that different teachers went at different levels, and in differing depths, into the theoretical aspects behind their teaching.
It became clear by the third day that teaching juggling in general can be divided into two large and different themes: long-term teaching (such as at a professional circus school, with the same students over a period of years), and short-term (like an hour workshop at a juggling convention). Knowing the context that the teaching is happening in informs the content and the detail of the work that is appropriate. Long-term teaching allows more personal research, and the teacher-student relationship can be more equal, with the teacher taking on something of a professor or mentor-like role. In short-term teaching, quicker results are usually desired by the students, and it can be more important to place focus on quick results – cool tricks or simple sequences.
Each of the four teachers material and teaching styles were very different from each other, but common themes showed themselves each days: suggesting that there is some common or shared vocabulary amongst us all. Building a strong foundation of technique and content, creating neutral space for new creation, exploring existing elements as deeply as possible, and noticing (and then breaking) habits we have formed.
Another major topic of discussion was a theme which I have talked about in previous blogs here: the reasons for, and the consequences of, the lack of permanent juggling teachers in comparison to those of other disciplines. As I have also postulated, I believe this is part of the reason for jugglers, historically speaking, pushing further creatively than other artists. But that has always seemed to be an accident of the situation (caused by students having a multitude of visiting, performing teachers), rather than the schools explicitly choosing to provide teaching in that manner.
The desire was always to create something more tangible from the weeks research, and through Tim’s involvement came the decision to write a juggling teachers manual for FEDEC. FEDEC has an ongoing project to create training manuals (free to download from the FEDEC website) for the circus disciplines, to promote exchange between the schools and a good level of teaching across all subjects. There are ten “chapters” so far, and two further (single wheel and straps) already in production. They start with the most basic of technique and preparatory work, before moving onto more advanced material. It became clear that the juggling manual doesn’t need low-level teaching material (the juggling students at the professional circus schools already enter with a high technique level), and so the focus shall be more directly centred on the artistic and theoretical aspects of the work.
Perhaps that approach can then feed back into the other disciplines, just as we jugglers can learn from them. It is also hoped that the work that was begun over the week can be continued and added to: to arrange another meeting, perhaps in London, with a greater mix of teachers with a greater range of experience and styles. Although the week was inspiring and felt very important, it also felt very much like a first step – a step towards a bigger and clearer project.