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Juggler, Perfomer, Writer

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Coastal Exchange by Cindy Marvell

February 28, 2017 By cindy

http://local.cindy/wp-content/uploads/2017/03/CoastalExchange.mp4

 

Coastal Exchange

by Cindy Marvell

I. The Toss

Running toward the ship, we race the sea breeze

Down the shoulder-shaped slant of the cliff, Sinking intothe gray parking-lot palm

Which cradles the jugglers and all of the gear

In a last embrace.

 

Just so a thousand tiny fingers felt The brightly quivering soft cloth rounds Swooping and rolling through the misty air And merrily careening into happy hands Before we left Cork.

 

Festival memories, rain-covered costumes Are cram-jammed into the van, tripping us up As we scramble into the twilight gathering, Finding, waiting, linking, last crisscross chaos Of the journey home.

 

One long, purple note vibrates through the fog And melts away, and the whole coast of Ireland Shrinks to a thin blue curve as we stand shivering, Watching the marble carpet wake unroll

And stretch toward its source.

 

II. The Arc When the patterns of the past Seem too sprawling or too thin,

Then the poets of old Eire

Use their pens to rein them in:

 

From the fairies in the woods To the ferries on the seas: From the islands of Oisin

To the Aengus midst the trees.

 

I wish that I could dream a past

For circus clowns and troubadours-


Beyond the ring, beyond the street,

In minds that whirl and hearts that beat.

 

And mold a present, deep and true,

Where juggling blends with thought and sound, Where no one questions what we do

And golden apples cascade round.

 

But where do perfect patterns form– In blue sea depths or in bright stars? The constellations and the waves Weave space together, near and far.

 

I toss a thought up to the stars And watch it hover, shining bold Then reach to catch it as it falls But fail to intercept its flight.

 

It slips right through my sieve-like hand

And sinks to depths of mystery, While our exchange is bound for land And cannot fathom such a height.

 

Perhaps it will return someday, Sometime when I am old and gray, And bob about the surface waves

To mark the spot-a lost thought’s grave.

 

II. The Catch

Kerrumph—-back to earth! back to the vans!

As Pembroke’s jagged fingers enclose us My visions fade into the salty wind And I don’t know

Where I have gone

Or been.


Looking back, the faint trail of the ship’s path Haunts St. George’s Channel like a ghost, For in this giant juggle we are but props

To mark the path Of nature’s throws And drops.

 

What have I been thinking of? Rings and streets Are just like notes or inky letters on a page- Just like the plastic props we use to trace

The plunge and reel Of thoughts and dreams In space.

 

Now that I think of it, those heady stars

Were probably just the lighthouse lamps

and those weaving, thought-floating waves no more

Than braided ropes Pulling the ship To shore.

 

So keep your golden apples—silver too—

For we have found our own spheres, sure and swift And round their weather-beaten sides still lurk The smiling arcs

The children made

At Cork.

 

Cindy Marvell, 1988

Suspended Animation Magazine


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Youthful Hobbies Meet Careers With Panache

February 28, 2017 By cindy

The New York Times

 

SUNDAY, FEBRUARY 27, 2000

 

YOUTHFUL HOBBIES MEET CAREERS WITH PANACHE

                                                                                                               By CINDY MARVELL

 

When the creme de la creme of Brooklyn‘s New Way Circus Center comes to the William Mount-Burke Theater at the Peddie School in Hightstown on Saturday, everything in sight will be rising — not to mention swooping, rolling, flying, and tumbling. This troupe of young professionals, known as the Russian American Kids Circus, makes spirits soar and crowds roar. The 2 p.m. performance, which closes this season‘s Family Theater Series, will be followed by a 30-minute workshop for young audience members.

 

The circus performers themselves have some of the best in the business for coaches: veterans of Russia‘s Moscow Circus. Alex Berenchtein, winner of four international circus competitions, presides daily over a bevy of dedicated pupils who balance circus with school. Mr. Berenchtein, co-founder, his wife, Regina, and Igor Loktev, head coach, grew up in Russia, where circus buildings and schools are more common and students devote their young lives to learning the ropes from masters of the craft.

 

”For all my kids, it‘s a good future,‘‘ Mr. Berenchtein said from the circus‘s headquarters at the old Kings Highway Jewish Center on Avenue P. ”It is also 100 percent the best hobby.” Most of his students show up with nothing more than a desire to learn; soon they are hanging from the trapeze and hurtling across the mats. Misha Turovskoy, at 4 the youngest performer, started circus school as an alternative to trumpet lessons, and 5-year-old Lezi Ptatish, alias ”Mickey,‘‘ dons a mouse costume.

 

A team of talented 16-year-olds leads the cast. Andrew Vinokurov opens the show as a clown and deftly makes the transition from juggling to balancing on rolling globes to spinning plates and riding unicycles of various heights.

 

Tatyana Bass performs a solo hula hoop act. She and Slava Bokhman, an aerialist, have appeared twice on ”The Cosby Show.‘‘ Elaxanzra Betser specializes in diabolo, an hourglass-shaped spool that spins on a string.

Inna Kaushenskyay, 12, appears on MTV‘s ”Oddville‘‘ when not on stage. And 10-year-old Rebeka Lungin, the latest recruit, recently performed her trick bicycle act at Staten Island College.

 

Such stunts take years to perfect, and even the coaches need help. Olga Partigul, Ms. Berenchtein‘s mother and a full-time hospital worker, plays a key role as the school‘s executive director.

 

Community support and sponsorship from the Fleet Bank helped the project get off the ground.

 

”People like our artistic approach, and they like the results,‘‘ says Ms. Berenchtein, on her way to drop off one group of youngsters and pick up another, ”it‘s music, art and sport.‘‘

 

RUSSIAN AMERICAN KIDS CIRCUS

William Mount-Burke Theater, South Main Street, Hightstown. Saturday, 2 p.m.

(609) 490-7550.


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Watching the Pendulum in Portland

February 28, 2017 By cindy

Watching the Pendulum in Portland

“The Europeans come out of angst (like, two world wars, for example) and a deep desire to work artistically, spiritually, to make a statement. Americans grow from our vaudeville roots, and we just want to have fun!”

–Laura Green

Portland, the pearl of Oregon, has been called a European city. The Portland Convention Center, where the IJA Festival materialized, contains another rarity: Foucault’s pendulum. It rotates as it swings, mirroring the earth’s rotation. I enjoyed watching the pendulum swing between the IJA’s event-filled scenario and the EJC’s circus ambiance.

Frida Odden Brinkmann of Norway bounced balls on the marble galaxy beneath the pendulum. She also took Jerome Thomas’ workshop. Throw in a large number of visiting Asian jugglers, an Ukranian circus star, and American know-how from technicians like Matt Hall and Jason Garfield, and you have juggling bliss.

The opening dinner/show was an IJA classic. Perennial entertainer Rhys Thomas led the local talent pool. He attributed its depth to the large juggling club at Reed College. Thomas geared up for his next gig at the Alaska State Fair by sending up mental health, along with a few choice objects.

Festival planners Katje Sabin and Bill Gilliand are an IJA couple en tie-dye who led the Damento mini-fest before taking on the maxi-fest. They and their four children immersed themselves in the IJA’s wacky family (over 600 attended) and came up smiling. They even gave out first-aid kits with the IJA logo.

What could be more IJA than the Juniors Competition, complete with a Christmas tree, which lighted on cue? That and seven balls won second place for Tony Pezzo. William Wei-liang Lin of Taiwan took home the gold. In addition to the medallists, teenager Doug Sayers won two of the numbers competitions and will also be at the World Juggling Federation (WJF) in August. Dorothy Finnigan, a former Juniors medallist, acquitted herself magnificently as last-minute MC.

Artem Khomanko of Kiev won the Lucas Cup. His eye-popping fling included stellar 3-club technique, juggling 4 clubs while bouncing a volleyball on his head, and 5 clubs while balancing a headpiece on which he bounced a ball (repeated on stilts). He also juggled 9 rings on stilts, a feat for which he claims to hold the record, and wowed the crowd with his outgoing performance energy. It was classic vaudeville and traditional circus rolled into one, complete with IJA flags manipulated for a finale.

Michael Karas served notice that the competitions have gone quirky. Karas is a great talent on the American scene, with fine-tuned technique and wonderful performance ideas and abilities. Karas is definitely one to watch, whether in competition, performance or practice. He won a bronze medal and will perform at the Pittsburgh Playhouse this fall. Check Karas’ web site, JUGGLinGsanity, a haven for experimental juggling.

Strange though it sounds, it was as if the EJC came to the IJA on Friday night. This show, which swapped names with the “Cascade of Stars,” was produced by Sky King of Kinetic Juggling and featured guest artists the Mud Bay Jugglers of Olympia, WA, and juggler/choreographer Jerome Thomas of Paris.

The Mud Bay jugglers (Douglas Martin, Alan Fitzthum, and Harry Levine) look a bit like the Flying Karamazov Brothers, but their beards may be even longer. Their theatrically sustained characters and slo mo yet intricate interceptions were wondrous to behold. The Juggling Jollies, Amiel Martin, son of Douglas, Jule McEvoy-Schaefer, and River Mitchelle, added acrobatic pizzazz, culminating in a pyramid of club passing.

Jerome Thomas does not have a beard. He does have an amazing repertoire of tricks and moves, and his performance was eagerly anticipated. Thomas taught an intensive workshop that got rave reviews from students.

The midnight shows began at 11pm and were held on the roof of the local hotel, outside the bar. Acts ranging from Sharita’s belly dancing to Bob Nickerson’s poetry reading rocked the roof. The shows remained high and dry—but not too dry, and only moderately high…Ngaio and rope-spinner Keith Bindlestiff, whose tent show plays New York in the fall, were popular MCs.

Extreme Juggling, organized by Jack Kalvan and Ben Tolpin, was the hot new event in Portland. X challenged the jugglers to perform difficult tricks in isolation. Those braving gravity to be the coolest of the cool included Sean Blue with innovative ball spinning (he also won the 3-ring prop event) and Cate Flaherty with 3-ball stunts (she also won club gathering).

In the Individual Prop Competition, an informal version of the stage competitions, many thought the diabolo event was an IJA best. Excalibur moves (or horizontal play) have caught on. Yohei Ota won the devil stick event in a contest in which the value of flower sticks vs. “real” devil sticks was hotly debated. Ota’s devil stick wheel with rotating hand sticks was also a hit in the stage competition.

The highest concentration of female jugglers in the competitions is still found in teams, as demonstrated by the duo Les Filles and the Taipei Physical Education College quartet. There was one in Juniors: Patty Yi-Chieh Liao of Taiwan with diabolos. The Stanford Juggling Research Institute included a co-ed ensemble, making use of the escalators to elevate their skills yet another notch.

One could also watch former Junior & Senior champ Ryo Yabe working out between gigs in Tokyo. To see more, try the Japan Juggling Festival in October (jjf@juggling.jp). Yabe practiced hoop rolling with Carter Brown, as did team silver medallists The Dew Drop Jugglers. Diabolo duo Vanillatown also competed with a clever and buoyant routine. Allan Jacobs of the Gizmo Guys traded hat tricks with Championships Director Craig Barnes. Heather Marriott led the joggling races.

Ben and Yvette Schoenberg of Serious Juggling were among the vendors; their shop has moved to a new location in Portland. Dave Finnigan put up a “Necrology Board” honoring those recently passed, including Ryder Schwartz. See Alan Howard’s story in the last issue of JUGGLE or austinchronical.com. New Yorker Viveca Gardiner wrote the daily “Portland Report,” including Australian Reg Bolton in memorium.

Judy Finelli was the first female IJA president and founder of the Circus Center in San Francisco. To honor her the IJA arranged a special screening of Trailblazers: Women Who Juggle, which includes some of Finelli’s performances with the Pickle Family Circus. The DVD features diverse artistes from Ilka Licht and Kati Yla-Hokkala to Francoise Rochais and Noelle Franco. There is also rare footage and commentary by Lottie Brunn. After the film, Iman Lizarazu and Lana Bolin joined a squad led by filmmaker Connie Leaverton to pass clubs around Finelli. Wendy Parkman, Finelli’s juggling partner, also attended.

Kumar Pallana, 87, was the IJA’s special guest, winning the Lifetime Achievement Award. His lecture earlier on everything from his beginnings in India to his act on The Ed Sullivan Show and his later work in films (Steven Spielberg’s The Terminal) was captivating. Closing the Farewell Show, Kumar explained the mechanics of tray and plate spinning, rolling a globe on an umbrella and charming the audience with his everlasting appeal. Present in the audience was Bill Dietrich, who attended the first IJA festival in 1948 (think of the angst, the fun, the fools).

Individual Prop cigar box champion Nicholas Flair performed a new act involving acrobatics, mime, and hat manipulation. Peter Panic used his experience working the Edmonton Street Performers’ Festival to create a special routine for IJA audiences. His trademark volleyball routine was impressive as always.

“This man has no visible means of support!” Mr. Panic claimed while riding a tall unicycle. Juggler/comedian Scotty Meltzer directed the show.

Jugglers were encouraged to call NBC TV and vote for Mark Faje, a contestant on America’s Got Talent. Ivan Pecel, who also performed in the Farewell Show, was among the truly talented entrants. And at the time of this writing, The Passing Zone has advanced to the finals. Owen Morse and Jon Wee won the IJA’s “Award of Excellence.” They made a gracious acceptance speech in character and received a well-deserved standing ovation. Sandy Brown won the Extraordinary Service award.

Vova and Olga Galchenko were featured in Time Magazine, and made an appearance on the Today Show in New York. It sounds like they are headed to the WJF in August. Check the Galchenko’s web site for the full story and video.

If Kumar was the oldest juggler in attendance, it seems the youngest was my 5-week-old, Theo. We spent many hours watching the pendulum in Portland, and the jugglers. May the momentum stay with them until the next IJA Festival in North Carolina.

Cindy Marvell, August 2006


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The Real American Folk Song

February 28, 2017 By cindy

The New York Times

SUNDAY, AUGUST 8, 1999

THE REAL AMERICAN FOLK SONG

By CINDY MARVELL

”Teddy Roosevelt loved ragtime. Woodrow Wilson didn‘t like it. Calvin Coolidge wouldn‘t say.‘‘ So writes Max Morath of Woodcliff Lake in ”The Road to Ragtime,‘‘ to be published on Sept. 1 by the Donning Company Publishers of Virginia.

With 10 CD‘s, a Web site (www. maxmorath.com) and a master‘s degree in American studies from Columbia University, the author is a fountain of knowledge about his subject. Mr. Morath, 73, grew up with ragtime in his blood (his mother played piano for silent films), and it still oozes out of his fingers and onto the keyboard, whether piano or computer. ”Ragtime‘s magic brew of sweet melody, chromatic harmony and impelling syncopation does indeed bypass the intellect and go directly into the bloodstream,‘‘ he writes.

”The real American folk song is a rag, a mental jag, a tonic for the blues.‘‘

He left his native Colorado for New Jersey in the 1960‘s with dates at the Blue Angel in Manhattan, a contract with Columbia Records and a commission to create ”Max‘s Ragtime Era‘‘ for public television. Still, he credits the 1973 movie ”The Sting,‘‘ scored with Scott Joplin rags, with igniting modern America‘s passion for ragtime. ”It was anachronistic, but it worked,‘‘ he said recently, having just attended the annual Scott Joplin Ragtime Festival in Sedalia, Mo.

The lively coffee-table book, sprinkled with photographs by Diane Fay Skomars, his touring partner and wife, includes images of the couple‘s life and environs as parents and recording artists. Ralph Schoenstein, a Princeton writer and humorist featured on “All Things Considered‘‘ on National Public Radio, wrote commentary. The book may be ordered from Larsmont Inc., Post Officce Box 8680, Woodcliff Lake, N.J. 07675; fax, (201) 476-9052.


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The Original Object, Redux

February 28, 2017 By cindy

For jugglers, a sphere can be considered the simplest or most complex of objects. Two acts recently challenged limits and created beauty with these objects. Dmitry Chernov, having already won a bronze medal at Cirque de Demain in Paris as a teenager, performed his shaman routine in the Big Apple Circus. Les Objets Volants, a 5-person ensemble that started as a collection of French circus students, won a silver medal at this year’s Cirque de Demain. These contemporary styles ranged from Russian circus expertise gone eccentric to nouveau Gandinism running away with a time-honored circus award.

I caught up with Chernov after seeing his performance of “Juggler Shaman” in New York last December. My 5-year-old and I had to agree this was the best act in the show. Legendary clown Barry Lubin was a ubiquitous presence as Grandma in his last official tour with the BAC; he even came on to interact with the Shaman. But Chernov’s routine literally lit up a show that overall could lack the verve and finesse it had when Paul Binder was directing (this does not apply to every act, some of which were quite expert).

Dmytri Chernov, Big Apple Circus 2011:

Chernov also had the most ingenious costume, complete with lights and pockets all around from which objects conveniently appeared. No need for an assistant; this shaman understands his craft and entertains without exploiting it. Russian jugglers have always been able to handle high numbers of large spheres where most of us would resort to beanbags, and Chernov is no exception. Working with up to 7, he was flawless. Foot catches and acrobatic splits added dimension to the choreography.

Says Dmitry now of the creative process: “That was a long two years of creating the Shaman act, because it was hard to create the idea with pockets and to make juggling tricks with my costume. I’m choreographer and act director, and it was a big experience for me because I was 15 years old.” He acknowledges his parents for their help and guidance. His father, Valentin Chernov, worked in the Great Moscow Circus as part of Oleg Popov’s show in 1991. Two years later, Dmitry himself performed with Oleg Popov.

In 1995, Dmitry and Vanentin performed together with Popov. Since then, Dmitry has become a touring professional in his own right, performing with Neues Theater Hochst in Frankfurt, juggling on the TV show “Le Plus Grand Cabaret du Monde,” and appearing with Favorosi Nagycirkucz in Budapest, the Bolshoi Circus, Circus Conelli, Salon Mondial du Cirque in Paris, and at the Tokyo Dome. He also received the silver medal at the Premiere Rampe Cirque Festival.

Dmitry has also become interested in creating acts for other performers. “I have created an act for another Russian juggler, Dmitry Ikin. The name of the act is Idol.”

Dmitry reflects on his own evolution: “My performing of the Shaman act was much better at the Budapest Festival because I was already 18 years old and I already had much more experience. Paris festival was my first step and at 16 years old, to get a bronze medal was a big pleasure.” He plans to stay with the Big Apple Circus until the end of August. After that, he says he will create a few acts as a director in Moscow and will perform in Dresden, Germany, in December.

As traditional family circus moves into the new circus world, performers with a variety of backgrounds are coming full circle into the ring. Les Objets Volants, an ensemble that started as a collective of French circus students, has been pushing boundaries and crossing borders on the juggling scene. The troupe’s original name was Dropline. The recent cast includes organizer Denis Paumier, Jonas Beauvais, Jonathan Lardinllier, Olli Vuorinen, Malte Peter, and Nicolas Longuechaud.

Paumier recalls that four years ago he proposed a teaching project in the Academie Fratellini near Paris. He was asked to participate in the selection process and recruited three new students. Another joined, and then a year later, another. Paumier says he had an amazing experience working with the ensemble:

“They all had a large culture of juggling and each had a specific style or technique. I could bring them many other teachers to make them try different approaches. They also were able to work as a group, which is my opinion is quite uncommon in the juggling world.” With Paumier directing, the group made several appearances, including one as the opening act at Cirque de Demain in 2010.

Les Objets Volants – Transparences:

Malte Peter writes, “Alongside Denis Paumier, we are taught by Antoni (Antek) Clemm, Bene Borthe, and Ivan L’Impossible. (Sergei Ignatov was also a guest instructor.) Antek focuses on putting juggling on stage, and on working together as a group. Like Denis, Antek attaches great importance to innovation, and the passing patterns that we juggle are influenced by Gandini shows.” (Kaskade, 2010).

Les Objets comes by the Gandini influence honestly. Recently, Paumier performed with Gandini Juggling at London’s National Theater in Night Clubs and other pieces. Paumier had grown attached to working with the student group in France, so he proposed forming a professional company after graduation. The yeses were unanimous so Denis offered to act as producer.

“I contacted Cirque de Demain,” Paumier explains, “and they were interested. We worked as much as we could on the act and we were finally selected. The first version of the act (for the graduation show) was put together quite quickly with simple ideas. Some ideas came from me, some from them, and some came in the moment from nowhere special. I tried my best to give a shape to the whole thing.”

In one strikingly original move, called “the baseball trick,” a line is formed and the juggler at the head springs a line of balls off his wrist to be caught by performers in the line. While site swap is not used so much in this piece, the troupe has used it to generate new material. What takes the Demain piece past a clinical approach to tricks is a sense of movement, particularly facilitated by Beauvais with a nice form. The music is from the French band “Ready Made,” and the song is called “Faniculaire.”

Paumier comments that the act is not a goal in itself; rather, their aim is to make a full show. This has been in progress, and the premiere is scheduled in Reims, where Paumier resides, in January of 2013. In addition to the Demain act, the show will include solo and ensemble work with various props and techniques. Whatever the future holds, these artists are having a ball creating it!

Cirque de Demain, or Circus of Tomorrow, began in order to give young performers a chance to gain recognition on an international stage. Those who consider themselves emerging artists (the exact age limit is subject to interpretation) can apply to perform and might be selected for a host of prizes from circus and variety venues in addition to the medals. To apply for next year’s festival, check http://www.cirquededemain.com/web/index.php?option=com_artforms&formid=3&Itemid=99999

PHOTOS: http://www.dchernov.ru/home.htm Dmytri Chernov

http://www.youtube.com/watch?v=5muffJxXpME Night Clubs, Gandini Juggling

http://www.youtube.com/watch?v=V2YXhaZOzFM&feature=relmfu Short Balls, Gandini Juggling

http://www.youtube.com/watch?v=gZXAGh2J48A Jonas Beauvais and others

http://www.youtube.com/watch?v=c8yhHFNyFlE Transparencies, Les Objects Volants

http://www.youtube.com/watch?v=hYX3crq0aWY&feature=relmfu Dmytri Chernov, Budapest 2008


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