Episodes
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Harm van der Laan is a Dutch circus artist. We talk about his experience in running the Tall Tales Company, using visual art in a juggling performance and the patterns he likes. Also we discuss his many inspirations, and get some new insights in juggling as it evolved through history...Oh and yes, this video was recorded before the corona crisis.https://youtu.be/xTPi-i-fP4IPresented by eJuggleCreated by Daniel Simu â danielsimu.comFind Harm online:Talltales.nlinstagram.com/talltalescompanyfacebook.com/TallTalesCompanyTopics1:34 Circus Studio Rotterdam3:12 Tea over coffee4:27 The Dutch juggling championships6:12 What patterns to put on stage10:07 The concept guides the content12:57 Square Two, visual art to juggling17:57 Thinking like a juggler20:12 The relationship between basing and juggling25:37 How does juggling fit into circus arts29:32 Inspiration from circus history31:07 Retelling A Clockwork Orange33:22 Gentleman juggling and youtube36:00 Before juggling was sensational39:02 The future of Harm42:37 Where to find Harm43:40 The most important is to have fun44:22 A trick in the Circus Studio RotterdamPeople mentioned:Maartje BonariusLuke BurrageLuke WilsonAnthony BurgessHermann SagemuellerStanley KubrickKara (Michael Steiner)Steven RagatzSean Gandini
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Eric Longequel from France is a performer with compagie EaEo and Defracto. His original movement based juggling and funny diabolo character has gotten him to Cirque de Demain twice and 6 times into the jugglers top40! We talk about the influential people in Eric's life and the difference between juggling and character on stage.https://youtu.be/gA4oeJU2oNwPresented by eJuggleSupport this channel by becoming a member of the IJA or join our Patreon:https://www.patreon.com/ijajugglersCreated by Daniel Simu â https://danielsimu.comYou can find the podcast audio also on iTunesFind Eric online:https://Cieeaeo.comhttps://defracto.comhttps://filophile.free.frhttps://www.youtube.com/channel/UCnASWWy_BqqCvR31-xELjJALike JJ on facebook to receive all updates:https://facebook.com/JuggleJabberPeople mentioned:Manuel MitaschAntonin HarzGuillaume de MartinetMinh Tam KaplanMorganne CosquerJean-Daniel FrickerPich AlexandreJohan SwartvagherGaĂ«lle Bisellach-RoigJay GilliganLuke WilsonEdited transcript of the interview:Can you summarize how you started juggling and got here?I started juggling when I was 12 because I met a guy at my school who would juggle. We would play some games with tennis balls in the playground, he was able to juggle 3 balls and he taught me. The next year I found a hobbyist circus school, and from then on I juggled a lot. It was never professional until I was 24 years old, after I finished my studies as an engineer.It was a turning point. I could try to find a job, I had my diploma and all that but I also had an opportunity to make a show with Antonin (Harz) so I went for that, hoping that it would work and thatâs how it started. And then you make a show, you practice more stuff, you meet people, I met the Belgiums from Ea Eo and we made a show together, got to meet Guillaume (de Martinet) and now Iâve been a professional for 13 years.The show with Antonin got you into Cirque de Demain?Yes, but it took some time. We started to make it in 2005, just to make it not to perform it. It was our first show so of many things we had no idea how to do them. We had no idea about costumes, no idea about music, we had some ideas about diabolo but the all the rest was very complicated. The show was ready by the end of 2006, and then it took us something like two more years before we made a short version of it, an act. And then only in 2009 I dared to send the video to Cirque de Demain.Itâs rare for artists who donât come from circus schools to make it into such festivals. Did Antonin study circus?No. He also did some engineer studies, and just like me he switched at one point. It was quite reassuring for us to be 2 people, sharing our doubts and having difficulties together around the same things such as costumes, how do we sell a show â should we make a video, should we send it, should we call people and try to sell the show to them â itâs quite difficult when you donât go to a school because you donât get into a circus network that easily, you have to find a way in. For us that way was through the street festivals Chalons Festival (Chalons dans la rue), Vivacity festival, and Aurelliac festival which are all kind-of the same. These three big festivals are easy to get booked for.But hard to get noticed at. Iâve been to Aurelliac and Chalons and there is just so muchâŠYou donât have to be there and be the best and be the hype, you can also get there and find like 15 contracts for smaller street festivals in France, we have many little festivals in France, and if you have this then itâs okay. Things are starting to move and you get to know people and people get to see your show. Yes itâs hard to be noticed at this big festivals, but you donât have to be the super hype for it to work. There are many many theatre programmers there, and things can easily go well at such a festival if you donât fuck up.In this year of creation, when you did not yet know what and how, how did you sustain yourself?I worked as a math teacher on the side. I was living in Paris which was extremely expensive, so before I went on the big adventure I made a deal with my parents, the deal was that I would try for one year, and after one year I would have a discussion with them to see if I should try for another year. For that they agreed to help me financially, as long as I would also work. I would teach a lot of maths, but it was really not enough to pay for the minimum rent in Paris. I had to be in Paris because all of my very little network was in Paris so if I had left for another place I could not have done any show.In the end it took one year and a half for me to be able to pay my rent. I went to the first year talk with my parents and they thought I was doing quite good, I was getting hired for another festival and the machine started rolling. So thanks to them I am a juggler now.I read that you were training with Minh Tam Kaplan and Guillaume de Martinet in Paris, and later with Jean-Daniel Fricker and Johan Swartvagher, people who you still work with today. How did you attract such important artists into your life?Minh Tam was actually the first important person I met, because he had already been a professional for a few years. Guillaume was there as well and tried to become a professional and was asking Minh Tam for advice and stuff like this. Thatâs how I got to meet Guillaume and Minh Tam in the very small network of Parisian jugglers. There was also Pich (Alexandre) doing ball manipulation and he was also trying to become professional. By the way it was Pich who recommended me to go to Vivacity, and we went there together. So there was a whole team of Parisian jugglers trying to make a living out of juggling and we could support each other a lot. Pich, Minh Tam and Guillaume are people with whom I exchanged a lot on the subject.You mentioned Johan, I met him randomly. I was lost and not knowing how to make things so I took some workshops, and one of them I took with GaĂ«lle Bisellach-Roig, a very important juggler from France. I met Johan at the workshop, and he told me he was organizing a workshop so I went there as well and this is where I met Jean-Daniel Fricker. I took 3 workshops with Jean-Daniel and this was a big change in my juggling career. I learned from him some stuff that is still useful today. Like how to be on stage, how to behave body-wise, how to move in a certain way. Itâs hard to put into words. I did twice 10 days of workshops with him, it was very intense, and still now I can feel this thing that we did in the workshops, itâs still in my body.Iâve been very lucky, Iâve always met people who helped me. With Antonin it was super fun to work in the beginning, he was very clever about diabolo. And then the Belgium guys (Sander de Cuyper, Jordaan de Cuyper, Bram Dobbelaere), they were not afraid to make a big show and make mistakes. So everyone has been very helpful and I hope it carries on like this. Iâll be making a new project with Johan in 3 yearsâŠYou can plan so far ahead?Yes well, you decide to start the project in 3 years and as soon as you said that you start thinking about it, talking about it, sending emails about ideas. And of course you have the professional thing where you go past theatres and let them know that youâre working on a new project, asking if they want to help, participate or pre-buy the show, the whole commercial process⊠So as soon as we said weâll make a show itâs like you already startedâŠIs twice 10 days of workshop enough to learn how to be on stage?Itâs not the only thing Iâve done, Iâve done many other workshops. Hip-hop, dance, clowning⊠But these two workshops were very special. Itâs not much, 20 days, but it was such an intense change in my juggling. It was very life-changing.It was an intense way, a very deep way of speaking and working with the body and the body with juggling. For me it was really.. I didnât expect it â before I went to the workshop I thought I would hate it, because it was very weird and unusual, but in the end it there was a lot of freedom and in the exercises we could improvise a lot and explore lots of things. I took other workshops, plenty of them and they helped me a lot, but definitely these two with Jean-Daniel were very special.What do you practice when you train?These days I donât know exactly how I practice. For a while I was improvising a lot, being in body qualities, trying to find the right throw within this quality of movement. Or sometimes starting from a cool movement and trying to put balls in this movement, and finding the juggling that would make sense with this movement and that it would not just stick on top of it. Like when you roll on the floor and do a cascade, it is not very intricate. I like movements that that make me catch the ball that make me roll on the floor. It was half research, like very mentally â I have this movement, what body throw should I do, how can I make one more throw to make thing a bit more rhythmical â and also a lot of improvisation like throwing randomly and trying to understand which throw was good and which to do again.Nowadays I can feel the limits of this process. Most of the time when I improvise and I do something which I think is good, I have a hard time reproducing it a second time. It felt good, but when I do it again Iâm like âah not so sure it was this throw, maybe the body shape was not like this or I throw a bit later or earlier...â. So itâs very hard now for me to create material, new sequences. Also I am having this question: Why would I make a new sequence again?I suppose you have a lot of material alreadyWell I donât have so much. I think I can produce more of the same thing I have, but Iâm wondering why would I do it. I have a hard time finding the motivation. I remember that two months ago I found a nice sequence, which I have forgotten now because it was just more of the same usual stuff which I usually do. Iâm trying to do something new and itâs fucking hard because Iâm not so young and inspired any more, so itâs really hard to avoid repeating the same habits again and again. Now is a bit of a turning point as well.Why do you want to make something new?Itâs a good question, maybe to keep it exciting? Although it doesnât look rotten when I do it⊠I donât want my juggling to look like âoh, probably when he used to do it 10 years ago it was cool, but now it feels less intense, he doesnât do it so well, itâs less powerful...âBut donât you get better at the material you practice for 10 years?In the beginning, yes. But after a while you get lazier. You move like this and think âoh itâs fine.â I donât have to move so much, or at first you jump on the floor and crash and catch the ball here, and then later you just slide on the floor and catch the ball there because you donât want to drop and donât want to hurt yourself. So itâs hard to maintain a quality in the juggling. Especially with this kind of juggling which is a lot about how you move the body and how you shape it and how you feel inside, I rely a lot on my feeling â that I feel this movement is beautiful or whatever â so itâs not so fixed. It should be, but it is not the way it is unfortunately so I can get lazy over time. So I want to keep the juggling alive. Not to get a fixed thing that in reality is but a rotten little baguette.So thatâs the first reason. I wish I could be like a musician in a way. After they practice piano for 10 years and theyâre fucking killers, then they have these tools and then you can go and improvise. But I donât know how they keep being fresh. Because now when I improvise juggling I have a hard time being fresh, and Iâm reproducing the same old thing. And when you perform an old sequence because itâs safe and you feel comfortable with it, or because itâs good for this moment in the show? So I guess that the more material I have, and the more I get to choose what I actually want to do, it becomes less of a default choice. I think itâs exciting to push the juggling, to discover new things.These days Iâm working with Jay Gilligan, and itâs pretty exciting because he works totally different than me. He is all into weird objects and objects that donât exist. Itâs a very new inspiration for me.This is âHow to welcome the aliensâ? Is it still in progress?Yes itâs in progress, itâs coming out in April.How do you approach shows? The diabolo solo Brillantine et Moccasins is much more about a character progression than about movement, do you still work with character like this?The diabolo solo is very old, I made it before I took the workshop with Jean-Daniel. I was not so involved in the body work by then. It happened after Guillaume did the audition in Lido. We were at a convention, there was an open stage, we set the challenge to make an act for it in one hour with no music. Guillaume helped me to sketch the diabolo act. I had this character, very still and arrogant, because at the time it was a common joke between Minh Tam, Guillaume and me to do a trick and then show off all this humor. So I made the sketch of the act and it took years and years before I finished it because it was my first act. Morganne helped me a lot with the direction of it. When I performed it in Brussels, the version you saw, I had this fun exercise: I had this diabolo act with the character and a ball act with the movement, and the challenge was to make a show that starts with diabolo and ends with balls but doesnât look to weird. I only performed it once.Now I donât work so much with this character anymore, although I still perform the diabolo act from time to time. Contrary to the ball juggling I donât fear that it gets old. I mean, the older the better. Itâs always a pleasure to perform it again, especially because all the tricks that are in it â they used to be new 10 years ago, now they are really old so it is becoming some kind of very vintage diabolo act even in the technique which is now totally from the past.In the previous show with Ea Eo, m2, there was a lot of character work. Is this also present in the new show All The Fun?The new show has no character at all. It is what I like to do now, to go on stage and not have a character, I am just a juggler who does juggling performance. We are very natural and itâs very very juggling focused. I like to see a good show with character, but I donât like when the juggling doesnât make any difference. If there is a character I like it when the character and the juggling say 2 different things, and therefor create a whole thing together. I think itâs really fun when the juggling gives you extra information on the character, or the other way around. As well I think that the whole âcharacter versus jugglingâ is not a good way of seeing things. It is not so efficient to think about a show this way. The juggler Luke Wilson used to say âthe technique is the characterâ and I guess that for my diabolo act I could argue that this is the case. So for this show there is no character.What do you wish to be doing in 10 years from now?These days I am directing or advising a lot of shows and I like it a lot. I like it when some jugglers ask me to come to help them with a show, and they show the juggling material. I like to try to understand really well what the juggling is, and what the strength of it is, and dig and push to enhance this material. It is really interesting to try to understand the juggling of other jugglers, and it is really inspiring as well. It goes like âoh you did this trick, I think this trick is about being beautiful/being funny/whatever, so maybe we can try it like thisâ or âI think this is the kind of trick that if you do it twice it will be super niceâ etc. What I like as an outside eye is that the juggling from others is really an enigma that I have to solve. In the beginning it is just juggling, some technical stuff, but there is always something hidden in the technical stuff. These jugglers made this juggling for a reason, they like this body throw for a reason and they put all these body throws together for many reasons. Itâs nice to try to understand and suggest to try to do it with one ball/do it as a duet/try it with specific music to find ways to enhance or create a contrast the feeling that is already present in the technique. Itâs all about trying to understand what they do, and help them figure out what it is as well. As a juggler I know that I donât always understand what I like, and it takes the help of an outside eye to say âmaybe it is for this reason.âSo I imagine you only work with juggling based showsYes, I donât feel so good to direct a theater or dance show, I donât have the tools.
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Kati Yla Hokkala is the cofounder of Gandini Juggling, perhaps the world's most successful juggling company. We talk about how she started out, her background in rhythmic gymnastics, creating shows, passing, and much more.https://youtu.be/GLA8nzfj9p4Support this production by becoming a member of the IJA or join our Patreon:https://www.patreon.com/ijajugglersCreated by Daniel Simu â https://danielsimu.comYou can find the podcast audio at eJuggle or on iTunes: https://itunes.apple.com/il/podcast/juggle-jabber-daniel-simu-interviews-jugglers-about/id1209560737Find Gandini juggling online:https://www.gandinijuggling.com/Like JJ on facebook to receive all updates:https://facebook.com/JuggleJabberShow notes:0:30 Finnish words01:10 Blue Machine01:45 How Kati started juggling05:30 Learning juggling06:20 Incorporating movement08:10 Making simple juggling look so....09:45 Sharing patterns12:00 Juggling for a living13:50 Getting married to join Ra-Ra Zoo15:05 Rythmic gymnastics in Finland21:00 Running the largest juggling company22:10 Becoming producers25:30 Growing the company29:50 Juggling as high art35:45 Comercial performance38:05 Subsidies41:05 Being based in London42:00 Performing in circus and variete45:15 Meeting amazing jugglers46:30 Making juggling tricks48:55 Preparing tricks for performance51:15 Collaborating with dancers54:58 Revisiting old shows56:25 Glass bounce cube58:30 Kati's current shows01:00:10 Future ambitions01:03:30 Training the next generation01:07:00 Juggling a Wes trickPeople mentioned:Sean GandiniGil ClarkeJohn HoleJosĂ© TrigueroChris PatfieldWes PedenMike DayLindsey ButcherGabriel ProkofievAlexander WhitleyEncho KeryazovManu LaudeInaki SastreOwen ReynoldsSergei IgnatovKim HuynhJohn BlanchardChristopher Owston
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Sakari MĂ€nnistö about not planning, playing and discovering with technique!https://youtu.be/F71xATBhYyECreated by Daniel Simu â https://danielsimu.comYou can find the podcast audio at eJuggle or on iTunes: https://itunes.apple.com/il/podcast/juggle-jabber-daniel-simu-interviews-jugglers-about/id1209560737Find Sakari online:https://www.sakarimannisto.fi/https://www.instagram.com/mnnistol/Like JJ on facebook to receive all updates:facebook.com/JuggleJabberShow notes:0:38 Paper cup waste1:40 Juggle doll video4:58 Making tricks7:43 Learning tricks the fun way9:30 Youth circus in Finland11:58 High school in Turku14:30 Circus school in Turku14:53 Arkadi's influence17:38 Performing circus and juggling20:00 Shifting focus21:48 What makes a good show25:43 Future goals27:02 Written juggling guidesPeople Mentioned:Maksim KomaroJoonas RissanenAnthony GattoRauli KatajavuoriArkadi PouponPhilippe Vande WegheGet in touch with Daniel Simu:[email protected]
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Tony Frebourg is a diabolo player from France, and he's one of the best numbers jugglers with diabolo. He holds many world records such as the record for 5 high and 6 high, but be sure to watch this video to discover about his incredible ball, bouncing and even devilstick skill! Currently he is a full time performer with cirque du soleil in the show OVO and I was able to meet him there backstagehttps://www.youtube.com/watch?v=J6M3xHL7p1ICreated by Daniel Simu â https://www.danielsimu.comYou can find the podcast audio at eJuggle or on iTunes: https://itunes.apple.com/il/podcast/juggle-jabber-daniel-simu-interviews-jugglers-about/id1209560737Find Tony online:https://www.instagram.com/tonyfrebourgofficiel/https://www.facebook.com/TonyFrebourgOfficiel/https://www.youtube.com/user/tonyfreb0482Like JJ on facebook to receive all updates:https://www.facebook.com/JuggleJabberShow notes:0:31 Water and music...1:44 London and the Royal Albert Hall2:22 9 years in Cirque du Soleil3:40 Diabology DVD4:25 Learning diabolo5:41 Bouncing and other juggling skills6:30 Getting to high level8:08 Diabolo goals8:34 6 Diabolo start9:44 5 Diabolos on stage11:30 Diabolo holster12:20 Daily practise13:50 Training structure15:00 30 year performance dream16:14 Finding Tony online17:38 4 up pirouette without warm up18:56 shortest sticks in the worldPeople Mentioned:Guy LalibertePriam PierretGet in touch with Daniel Simu:[email protected]
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Marianna de Sanctis is the extremely loud and original hoop juggling clown from Italy. We talk about the emerge of hoop juggling, using emotions in training and on the stage, finding inspiration, and more!https://www.youtube.com/watch?v=AzouFwDJrnkCreated by Daniel Simu â danielsimu.comYou can find the podcast audio also on iTunesFind Marianna online:www.mariannadesanctis.comfacebook.com/Marianna.De.Sanctisinstagram.com/mariannadesanctisLike JJ on facebook to receive all updates:facebook.com/JuggleJabberShow notes:0:14 bees and wasps0:45 EJC gala 20122:00 How Marianna started hoop juggling3:42 Translating tricks to hoop4:50 Sources of inspiration6:20 Expressing through the hoop10:03 Different characters in different shows11:18 Originality12:40 Training14:14 Making videos18:28 Learning clowning19:20 Organizing a workshop22:10 Everything is good23:00 TrickPeople Mentioned:Alexandra SavinaValeria MutinelliGet in touch with Daniel Simu:[email protected]
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Manuel Mitasch is an amazing technical juggler and multiple world record holder passer. He is the cofounder of Jonglissimo where he performs and directs. Among other things we talk about coaching juggling, and the technical challenges of shows with light and multimedia props.https://www.youtube.com/watch?v=3LuXr2wurbA Created by Daniel Simu - https://danielsimu.comYou can find the podcast audio at here eJuggle or on iTunesFind Manuel and Jonglissimo online:https://www.facebook.com/jonglissimo/https://www.jonglissimo.com/https://www.youtube.com/user/jonglissimoLike JJ on facebook to receive all updates:https://www.facebook.com/JuggleJabber/Show notes:00:14 Lemon Ice Tea01:30 The complete Jonglissimo team02:45 Meeting and motivating Daniel and Dominik04:45 How did Daniel and Dominik become as good as duo Jonglissimo08:55 More coaching in the future10:00 Siteswaps with clubs11:04 LED props12:38 Creating a light act13:28 Programming LED clubs18:15 Juggglow ball19:34 QBS interactive projections25:29 more on lightpainting26:22 Going to conventions27:58 EJC gala show28:40People Mentioned:Christoph MitaschDaniel LedelDominik HarantFlorian CanavalMichael CanavalLuca PferdmengesJulius PreuSergei IgnatovEdwin GuggenbichleGet in touch with Daniel Simu:[email protected]
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Davide Cattaneo from Play Juggling is the manager and designer at the prop manifacturing company in Italy. We talk about ball and club design, creating tools for schools and professionals, and about happy accidents.https://www.youtube.com/watch?v=00AIQW9tHN4Created by Daniel Simu - danielsimu.comYou can find the podcast audio at eJuggle or on iTunesFind Play online:playjuggling.comfacebook.com/playjugglingLike JJ on facebook to receive all updates:facebook.com/JuggleJabberShow notes:00:12 Italian espresso01:30 Davide's job description03:25 The history of Play06:34 Learning to run a business07:55 Don't be afraid to make mistakes08:44 Selling cheap diabolos09:30 Making quality products for jugglers10:20 Props for circus schools11:25 The responsibility to make people enthusiast about juggling12:00 The international market14:52 Designing props16:28 Making px3 and px420:07 Inventing new balls22:15 Getting feedback on props25:08 Curiosity in new technology26:48 Have fun27:45 Flexible rings28:12 Brianza convention30:24 Why not to invent new products31:40 Custom props33:29 Future projects35:31 Collaborations with renegade36:53 Engraving props with the laser37:35 Upgrading the Play website40:00 Choose quality stuff!41:33 A trick from DavidePeople Mentioned:Wes PedenStefan SingTom RenegadeGon FernandezVojtech DedinaGet in touch with Daniel Simu:[email protected]
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Jay Gilligan is the amazing multifaceted juggler from the US, living in Sweden. We talk about his teaching experience in DOCH, the circus university, about directing, and about using your limited time to make the best juggling possible!Created by Daniel SimuYou can find the podcast audio also at iTunes:Find Jay online:https://www.instagram.com/instantjuggler/Like JJ on facebook to receive all updates:https://www.facebook.com/JuggleJabber/Show notes:00:14 Milk01:52 JJ jingle02:20 Many years of experience04:50 Participating in the juggling community08:00 Teaching at Doch in Stockholm10:25 The juggling curriculum12:50 Defining contemporary circus14:15 No juggling technique in class16:20 Concepts in class20:05 The closing act24:38 Passive student attitude27:30 Fast change in the school29:35 Advice for aspiring juggling professionals31:30 Juggling, the odd one out34:30 Better than going to school36:49 The university experience41:00 Director of juggling43:15 Working with Cie Defracto on Flaque48:56 Ghost trick writing50:55 Directing Magmanus Attached53:00 Directing school shows54:34 EaEo duet How To Welcome The Aliens57:00 What trick to practise1:02:00 Get an overview on what juggling is out there1:03:20 Using time resource1:07:00 Justifying juggling1:16:40 Find Jay on instagramPeople Mentioned:Luke WilsonJacob SharpeWes PedenViktor GyllenbergPeter AbergMaarten WilsErik AbergPatrik ElmnertTony PezzoEric LongequelGuillaume MartinetMichael MoschenVan Kim TranAndré Hidalgo (pilolip)Greg KennedyIvar HeckscherGet in touch with Daniel Simu:[email protected]://www.instagram.com/daniel.simu/Or say hi at EJC2017 in Lublin!
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Liza van Brakel, Anna Emilie Pedersen and Ronja Siewert form the passing group Triolar. I met them just a few days after the Codarts Circus Arts graduation show, in Rotterdam. We talk about how they became jugglers, how juggling compares to acrobatics, and about having fun!https://www.youtube.com/watch?v=zfhOmcmsLsEFind Triolar:https://www.facebook.com/Triolar/Instagram Liza: layzapayzaInstagram Anna: annaemilie9Triolar promo video:https://vimeo.com/201353970Like JJ on facebook to receive all updates: https://www.facebook.com/JuggleJabber/Show notes:00:18 Sekt with Strawberries01:50 Graduation show at Codarts06:06 Working on a variety show08:25 Prechac notation09:06 Juggling class versus acro classes11:00 Working as a trio11:56 Becoming jugglers14:54 Liza's juggling past17:20 Ronja's first juggling act19:06 Similarities of acrobatics and juggling21:30 One more try!?23:00 Always a harder goal23:50 Daniel's list25:07 Differences between the trio26:30 Lack of research30:08 Weird & stupid acts31:20 The next year33:18 Where to find Triolar34:25 Have fun!36:11 Aerialist problems38:10 Juggling accidents40:06 TrickPeople Mentioned:Debbie SchepersLuuk BrantjesYvonne VisserMerri HeikkilaJonglissimoGet in touch with Daniel Simu:[email protected]
