¿Qué misterio envuelven estos objetos esféricos que nos han cautivado desde tiempos inmemoriales? ¿Qué es lo que tiene la particular forma de una pelota que fascina tanto a humanos como a otras especies del reino animal? En todas partes de esta gran esfera celeste llamada Tierra, las pelotas parecieran hacer girar el mundo.

El antropólogo John Fox se embarcó en una aventura por los lugares más recónditos del planeta y la historia de nuestros antepasados para intentar responder una pregunta, aparentemente sencilla, pero de difícil respuesta; que un día su propio hijo le formuló en el jardín de su casa: “Papá, ¿por qué jugamos con pelotas?”.

El resultado a ese interrogante se transformó en el libro “The Ball: Discovering the Object of the Game” (La Pelota: Descubriendo el Objeto del Juego) y luego en el documental inspirado en el mismo: “Bounce: How the Ball Taught the World to Play” (Rebotar: Cómo la Pelota le Enseñó al Mundo a Jugar). Descubrir las verdaderas razones por las que jugamos y la atracción que experimentamos cada vez que nos encontramos con una pelota, ese objeto universal que ha sido lanzado, pateado y rebotado por diferentes culturas a lo largo de la historia de la humanidad, son los temas centrales tanto del libro como de la película.

Repartidos en justas medidas entre ciencia, historia y ensayo cultural mediante la participación multidisciplinar de sociólogos, antropólogos, biólogos, psicólogos, zoólogos e historiadores del deporte, ambos explican el deseo y el propósito del juego, desentrañan las raíces de los juegos con pelotas, sus aspectos paganos, religiosos y rituales en antiguas tradiciones, y su relación con el mundo animal y nuestros primeros ancestros.

Entre los varios especialistas entrevistados, se destaca la teoría del biólogo William Calvin, que propone que jugar con pelotas es y ha sido un aspecto central en el desarrollo humano. Su estudio, citado en el libro, sugiere que existió una conexión evolutiva entre nuestra incorporación del lenguaje y nuestra precisión en el lanzamiento de proyectiles.

Así es como, desde lo más profundo de las selvas mexicanas hasta los más remotos poblados medievales, libro y documental, exploran los orígenes poco conocidos de los deportes más populares de los últimos siglos y rastrean cómo una simple invención como la pelota, ha logrado apoderarse de algunas de nuestras más intensas pasiones. Revelan el profundo impacto que este especial objeto ha tenido a lo largo del tiempo, ya sea a modo de eslabón para la sociabilización, en su rol para resolver problemas, o como disparador de la creatividad.

EXTRACTOS DEL LIBRO / The Ball: Discovering the Object of the Game

“Si el juego es alimento para el cerebro, la pelota es como una barra energética llena de proteínas y calorías. La pelota es probablemente el objeto inanimado más animado que existe en el planeta. Cinéticamente interesante, se puede rebotar, rodar, girar, lanzar, atajar, a diferentes velocidades. Es muy aerodinámica, pero a la vez impredecible en su trayectoria, capaz de aparentar desafiar las leyes de la física”.

“La pelota, ese objeto universalmente adorado, cuya invención y evolución marcó para siempre los juegos contemporáneos. Probablemente no exista otro objeto de juego tan fácilmente reconocible, fácilmente manipulable y mundialmente disfrutable, por gente de todas las culturas, habilidades y edades”.

“Las pelotas son herramientas sociales naturales. Agrupan a humanos y animales, incentivando su cooperación o competición, o como en la mayoría de los deportes modernos, una combinación dinámica entre ambas”.

“Los humanos se dieron cuenta que antes de correr para perseguir a una presa podían tomar una piedra con una mano y lanzarla con fuerza y puntería, para así tener más chances de cazar con éxito, sin tener que gastar tanta energía en el proceso. Hacer un lanzamiento requiere una secuencia muscular rápida y sofisticada, una función que en los humanos sucede en el hemisferio izquierdo del cerebro. La otra función que también está lateralizada en el hemisferio izquierdo es el lenguaje, que también depende de una secuencia muscular rápida y sofisticada”.

“A través de una amplia variedad de estudios que van de la neurociencia hasta la psicología del comportamiento, varios investigadores han encontrado evidencias que sugieren que el juego, no solo tiene un propósito, sino que pudo haber tenido un rol crítico en el desarrollo cognitivo, la adaptación y la supervivencia de los humanos y otros mamíferos”.

“Todos los animales que dependen del aprendizaje para sobrevivir juegan. Es la manera que la experiencia del conocimiento se transmite de padres a crías, proporcionando un espacio seguro donde se pueden testear los límites y las innovaciones”.

“Los delfines aprenden del mundo y expanden sus habilidades físicas y cognitivas, modificando sutilmente las reglas de sus juegos para hacerlos más estimulantes. Esta es la manera en que tanto delfines como humanos juegan y aprenden”.

“Según el psiquiatra Stuart Brown, fundador del National Institute for Play, el juego tiende a ser caracterizado por siete propiedades:

1 – Es voluntario.

2 – Tiene atracción inherente (en otras palabras, es divertido).

3 – Provoca pérdida de la noción del tiempo.

4 – Facilita la disminución del yo, al entregarse al momento.

5 – Promueve la improvisación, la imaginación y la invención.

6 – Enciende una continuación del deseo.

7 – No tiene propósito”.

“Distintos tipos de pelotas han aparecido con frecuencia en tumbas egipcias, preservadas junto a gatos momificados y otros tesoros personales. Pelotas de cuero cosidas, similares a las de hacky-sack, y pelotas hechas de papiros y hojas de palmera o lana, dispuestas dentro de vasijas de cerámica”.

“En el año 180 A.C., Galeno de Pérgamo, el físico romano y doctor de la corte del emperador Marco Aurelio, escribió el tratado ‘Sobre el ejercicio con pequeñas pelotas’, que conformó el primer caso científico acerca de los beneficios del juego con pelotas para el ejercicio y la educación física. ‘Creo que el mejor ejercicio es aquel que no solo ejercita el cuerpo, sino que también refresca el espíritu’, escribió. Galen vio tempranamente algo que hoy en día sabemos muy bien: los juegos con pelotas tienen la capacidad única de ejercitar y desafiar tanto al cuerpo como a la mente, afilando los sentidos e inspirando al espíritu humano”.

“En su famoso estudio de mitología europea (The Golden Bough), J. G. Frazer interpreta a los primeros juegos con pelotas, como competencias en las que atrapar el balón aseguraba una buena cosecha o una buena temporada de pesca. Otra teoría de W. B. Johnson de 1929, sugiere que para muchas de estas primeras civilizaciones, las pelotas utilizadas en estos juegos simbolizaban el sol”.

“Los españoles vieron con asombro esa pelota mágica que rebotaba por arriba de sus cabezas, disparada del suelo como si estuviera viva. ‘No entiendo como la pelota cuando golpea la superficie sale eyectada con tanta fuerza’, escribió Pedro Mártir d’Angleria, el historiador real de la corte española de Carlos V. El mismo Colón quedó tan impresionado con las propiedades de estas pelotas, que se llevó una consigo cuando retornó a Sevilla. Era el primer encuentro europeo con el material que hoy conocemos como goma”.

TRAILER DOCUMENTAL / Bounce: How the Ball Taught the World to Play

THROWING THREE BALLS IN THE AIR TO GET A STRAIGHT LINE (BEST OF THIRTY-SIX ATTEMPTS) (1973), es el llamativo título de una obra de arte realizada por John Baldessari (1931-2020), un artista visual californiano de los años 60s que utilizó recursos de la performance, la fotografía y el lenguaje escrito para producir obras que buscaban forzar los límites del arte conceptual de la época.

Baldessari ha expresado que su interés por el lenguaje proviene de sus similitudes con la estructura del juego, porque ambos operan con sistemas de reglas arbitrarias y obligatorias. Siguiendo esta idea, muchas de sus obras son secuencias de intentos por lograr una meta arbitraria, como es el caso de LANZANDO TRES PELOTAS AL AIRE PARA CONSEGUIR UNA LÍNEA RECTA (SELECCIÓN DE 36 INTENTOS) (1973), en la que el artista intenta hacer literalmente eso, y fotografía los resultados, para eventualmente hacer una selección de los mejores lanzamientos de 36 intentos (siendo 36 el número determinado por la cantidad de disparos que permitía un rollo fotográfico). El crítico Eldritch Priest consideró a este tipo de obras de Baldessari como ejemplos tempranos de lo que hoy se denomina arte post-conceptual.

La utilización de la gravedad cómo procedimiento de indeterminación es un recurso que aparece en numerosos ejemplos dentro del arte contemporáneo. Y así como Jackson Pollock goteaba pintura sobre la tela para perder el control sobre la línea, Baldessari pareciera parodiar esta idea del artista que expone su lucha contra las fuerzas y los elementos. Mientras Pollock orbitaba sobre los lienzos en el suelo con aires de creador original dentro del caos, Baldessari envía pequeños planetas al cielo en irónicos lanzamientos que, cual esculturas suspendidas, parecieran proclamar una derrota a la gravedad a través de las técnicas ilusionistas de la fotografía.

MINI BIO BALDESSARI:

Street Juggling, which could also be referred to as urban juggling, is in fact a concept that goes far beyond the mere location linked to public space. This contemporary trend in the arts of juggling is defined as a multi-faceted formula in which influences from other urban cultures coexist, and the sum of these parts results in a much more elaborate mix.

Street Juggling, which could also be referred to as urban juggling, is in fact a concept that goes far beyond the mere location linked to public space. This contemporary trend in the arts of juggling is defined as a multi-faceted formula in which influences from other urban cultures coexist, and the sum of these parts results in a much more elaborate mix. The Street Juggling recipe is made up of large percentages of skateboarding, street art, parkour, music and video. As last ingredients, an explicit pop look in the clothing style and, obviously, a lot, but a lot of juggling, finish and sum up this conceptual kaleidoscope. 

PIONEERS OF THE 90’S

To grasp the concept, nothing better than tracing a chronological line that details the evolution and assembles the puzzle of its definition. As in every movement, there are pioneers who started the path even without knowing it. In the era prior to the appearance of the term Street Juggling, two artists stood out and marked future generations with their routines and videos: Michael Moschen and Sean McKinney. In his famous video “Michael Moschen In Motion” (1991), which has just turned thirty years after its premiere, the king of contact and rolling balls starts the VHS with a tour through the streets of NY juggling with three bouncing balls and interacting with street furniture and passers-by. A three-minute sequence in which Michael deploys his technique around the city as an opening into the universe that made him famous. The great master of modern juggling with his unique body attitude, somewhere between a mime and a classical dancer, had no idea at the time that this routine could be the founding genesis of the idea of Street Juggling.

On the other hand, from the opposite coast and starting in the mid-nineties, a series of videos emerged that compiled tricks, experiments and endless risky antics performed by a handful of skaters and jugglers (including Tony Hawk and Jay Gilligan!). This material, which over time became cult videos, is known as Caught Clean, and it features the Californian Sean McKinney, who makes a fundamental contribution to this scene (in this excerpt from Caught Clean from 1997 we see him at his best), and anticipates the essence of what would define Street Juggling: A homemade video clip of a couple of minutes on a song by the punk band Supernova in which Sean appears behind a fisheye lens, showing off with clubs and balls while jumping from roofs and balancing on railings. There is a clear approach to the crossover with parkour (in those years still non-existent too), and mainly with skateboarding that would become a key component of the Street Juggling DNA in the last two decades. McKinney has become a counter-cultural icon for his style, reaching the pantheon of juggling history after dying at the young age of thirty years old.

STREET JUGGLING: THE START

The hinge of this story finally came in September 2006 on a recently launched YouTube (the first video of the mother of all visual platforms came out in April 2005), when the Street Juggling music video was uploaded. Produced by K8 Juggling and Fun Skateboarding, it shows Francisco Ciprian (@streetjuggling), pioneer and main reference, walking along the promenade and the port of Mar del Plata with a red suitcase full of clubs. This is where planets aligned and established the ground zero of this concept that continued to grow for the next fifteen years. The idea was clear; a defined script, sharp editing, great locations, a catchy track, the fisheye lens as a hallmark and a superlative juggling level at the time. As far as today the video reached more than 183,000 views!

THE INVASION OF SPACE

The following year and with the impulse of that initiation video, the DVD Space Juggling (2007) was released, a new production of K8 Juggling, but this time with a local and international dream team of jugglers and direction of Francis & Fan Skateboarding. The concept design was in charge of Germán de Souza (visionary director of the magazine Newton Las Pelotas!) who created an epic crossover between the classic arcade video game Space Invaders and the Street Juggling universe. The forty-minute DVD runs through many graffiti spots from Buenos Aires intervened by a crew formed by Marco Paoletti, Johans Jerez, Luis Niño Toto, Labase, Julian de Rosa, Francico Ciprian, Emiliano Sanders, Felipe Santa. The two thousand copies made of this DVD were sold out several years ago.

NEWTON MAGAZINE CONCEPTUALIZES

The response generated by the Street Juggling video first, and the DVD Space Juggling later, needed someone to put into words what was going on in the scene. And it was Germán de Souza himself who wrote, in an online edition of Newton Las Pelotas from 2008, an article entitled: Street Juggling: A new term in the air. This text, which serves as a kind of decalogue, highlighted a series of ideas and descriptions that work as a conceptual basis of this new movement. De Souza proposed the following:

“ We can define Street Juggling as a juggling discipline that takes place exclusively on city streets. This type of practice integrates urban furniture and public space into the game, so that any bench, telephone booth, bridge, stairway, wall, platform, or structure serves as an element for juggling as well as the element itself with which it is juggled, and it can be integrated either actively (bouncing the balls on different architectures or passing the clubs across a bridge or beam, etc.) or passively (using the urban environment as a stage or scenery).

It is a practice that evidently favors the juggling game with certain specific elements, such as bouncing balls and clubs, though it does not exclude other common juggling objects like diabolos, balls, devil sticks, etc.

Those who practise Street Juggling do not make any reference to the circus world as it is usually known, neither in their clothes nor in their way of juggling, they do not seek humor in their routines, nor do they pursue the role of a comedian. However, there is an attempt to achieve a high degree of difficulty in tricks, which many times stage juggling does not allow due to the risk that produces the fact that it cannot (or should not) fail on stage. In Street Juggling, the fact that an object falls is part of the gravitational reality, even if the fall is in part used positively or not within the juggling routine.

The practice of Street Juggling does not pursue an economic purpose, as it is not a street show, it does not include passing the hat, and does not even aim to gather an audience, nor does it seek applause. However, Street Jugglers can be financially rewarded by sponsorship from brands, advertising or by being hired for video productions or demonstrations at urban events, such as festivals or gatherings. 

Street Juggling represents the act of juggling itself, which can be practiced alone or in groups, in a relaxed way or with the aim of composing a routine that has a certain beginning and an end, with the inclusion (or not) of certain goals at the level of difficulty.

Street Juggling finds its best showcase in video. The video recording of juggling sessions allows to capture the best moments and their future reproduction. During shootings, there is no audience and this allows the juggler to develop, create, invent and show the best of himself or herself without the pressure of having to respond to the rhythm and timing of a show in real-time.

Street Juggling can reach different dynamics: training, composition, and testing (trial and error), thus recovering the playful nature of juggling without competition, where its relationship with art almost disappears. Street Juggling enhances the cunning, intelligence, skills and risks of the juggler who practices it”.

STREET JUGGLING MEETS SAO PAULO

Fast forward to 2014. The next stop has the name of a postmodern juggling heavyweight: Wes Peden. The New York juggler made his first collaboration with the K8 Juggling crew (Francis, this time in charge of the camera and editing, and Orlando Martínez, as a photographer) in a six-minute video on the outskirts of Sao Paulo. Wes Peden Sucks shows a series of tricks and routines with remarkable originality and difficulty guaranteed. This meeting in Brazil was the starting point of a friendship and work relationship that continued over the following years until today.

ORGANIC VALPO

Another important piece in the puzzle of Street Juggling is signed by the Chilean juggler Orlando Martinez (aka Organic Juggling), who over the course of a decade (2010-2020) held more than forty urban juggling events in Santiago de Chile, which laid the foundations for a generation of Chilean jugglers who dominated the scene in South America. In December 2019, within the activities of the International Juggling and Circus Arts Congress (CIMAC) held in Valparaíso, Orlando organized the Valpo Street Juggling. In this meeting something unprecedented took place: a competition with rules and prizes in which a series of competitors had to go through a typical Valparaíso street (with its slopes, urban difficulties and open-air murals) performing juggling routines with clubs while they were followed by judges, public and cameras recording each intervention. Undoubtedly a milestone for the young history of Street Juggling.

STROLLING THROUGH STOCKHOLM

The timeline ends with PARADE! (Street Juggling in Stockholm), Wes Peden’s latest production uploaded to youtube in December 2020. A video of almost six minutes in which Wes displays the full menu: running and juggling with five clubs through the Swedish capital, dodging railings and balancing on everything in his path while performing impossible tricks with three balls. Everything is part of the routine, playground games, garbage cans, a skate bowl; always in motion, always juggling. As a final trick, he throws seven balls standing on the roof of a moving car. A totally-normal everyday-thing.

What will be the next step in the evolution of Street Juggling? It will surely depend on the ripple effect that all these productions and the viralization of their videos can initiate. The organization of future competitions, festivals and specialized meetings that support street jugglers, as it happens with skate and snowboard riders, may play a key factor in the growth of this urban culture. But, ultimately, it will all depend on the emergence of future generations of new jugglers from around the world shooting their own videos and seeking for new ways to create routines, merge techniques and defy both gravity and the surrounding space. Are you ready to take Street Juggling to the next level? Stay tuned for K8 news!

PAPER PAGES CELEBRATING EMOTIONAL JUGGLING

To be true, making a print publication in 2021 is at least a poetic act. Florence Huet and Misaki Fukuda – the creators of YANA – know for sure about it. YANA is an independent art magazine with rigorous curation that exclusively compiles works and essays created by jugglers.

PAPER PAGES CELEBRATING EMOTIONAL JUGGLING

To be true, making a print publication in 2021 is at least a poetic act. Florence Huet and Misaki Fukuda – the creators of YANA – know for sure about it. YANA is an independent art magazine with rigorous curation that exclusively compiles works and essays created by jugglers. With an exceptional design and high quality printing, enormous dimensions and a thick spine holding 160 pages, its editorial content is tremendously innovative and progressive in the idea of ​​providing the art of juggling with a new platform to exist and be seen from a more intimate perspective than performative. “Mix of movement, rhythm, composition, mathematics, sports, architecture, design and hobby, juggling is a complex art form that resonates in many other disciplines”. With this idea, that the magazine itself proposes, YANA inaugurates a new page in the universe of juggling, a moving venture that deserves to be celebrated wherever you look at it. Through photographs, poems, collages and experiments, YANA is a refreshing call for creativity and diversity to the world’s juggling community, worthy of being collected as a cult object. You Are Not Alone!

Visit yanamagazine.com

@yana.magazine

#yana #yanamagazine #yanadiy #emotionaljuggling #indiemagazines #magazinelover #magloversahoy #welovemagazines #indiepress #peopleofprint #curatedbygirls #жонглирование #jonglage #giocoleria #ジャグリング #malabarista #malabares #juggling #printisnotdead #editorialdesign #indiemags #indiemagazine #magazineenthusiasts #magazinecover #mag #publishing #analogphotography #print #magazine #creative

As a part of the presentation of LIGLAB BUENOS AIRES -the first book from the Argentinean light painting group LIGLAB- Celebrating the International Day of Light (May 16th) and the International Day of Juggling (June 17th), @k8malabares and @liglab announce a Light Painting Contest, inviting people all over the world to paint with light in their homes. The contest is open to photographers, jugglers, and any enthusiast with a camera and a light device. The three winning photos will receive special prizes!

LIGLAB & K8 LIGHT PAINTING CONTEST

As a part of the presentation of LIGLAB BUENOS AIRES -the first book from the Argentinean light painting group LIGLAB- Celebrating the International Day of Light (May 16th) and the International Day of Juggling (June 17th), @k8malabares and @liglab announce a Light Painting Contest, inviting people all over the world to paint with light in their homes. The contest is open to photographers, jugglers, and any enthusiast with a camera and a light device. The three winning photos will receive special prizes!

CONTEST PRIZES

First Prize: SET X 3 LED BALL RGB-IR + 1LIGLAB BUENOS AIRES BOOK + 1 K8 MASK
Second Prize: SHOPPING ORDER IN K8 (AR$3.000) + 1 LIGLAB BUENOS AIRES BOOK
Third Prize: 1LIGLAB BUENOS AIRES BOOK

CONTEST RULES:

– The material will be received until June 13th, and the winners will be announced on June 17th in K8 and LIGLAB IGs.

– Participants have to follow the IGs accounts of @k8malabares and @liglab, share the image of the Light Contest in a story or post, and tag three friends to it.

– The long exposure photographs must use light-painting techniques taken during the days of the contests and have a resolution of 1 to 3 MB.

– Digital collages and photomontages with photoshop or similar software are not allowed.

– The content of the photographs is totally free and should not have any signature.

– Each participant can send up to two photos, but the same photo can’t be sent by many persons or groups.

– The participant must be the author of the photograph and must have the permission of models if the photo happens to have people on it.

– Photographs that don’t follow all the requirements detailed will be automatically disqualified.

– Photographs must be send by mail to concurso@k8malabares.com

– K8-LIGLAB will not make any use of the photographs sent to the contest, except the uses related to the contest.

– The jury will be formed by Dario Brancatelli (K8 Creator) and Alberto Brescia, Diego Altabas, Migma (LIGLAB members).

We wish you a good look and get ready to draw and paint in the space!

#liglabphoto #k8juggling#k8malabares #lightpaintingcontest #lightpainting

LIGLAB is a light painting group from Argentina, whose members are Alberto Brescia, Diego Altabás and Migma. Since 2009 they’ve been exploring different light painting techniques through photo-performance sessions. 

LIGHT PAINTING MEETS BUENOS AIRES

LIGLAB is a light painting group from Argentina, whose members are Alberto Brescia, Diego Altabás and Migma. Since 2009 they’ve been exploring different light painting techniques through photo-performance sessions. 

These days, the development of digital photography and the evolution of led technology, have taken light painting techniques to new and unthinkable levels, giving place to a blooming scene around the world and a growing tendence in modern photography.

All LIGLAB members share a common light juggling background and have been working with K8 elements since its early beginnings, promoting always creative partnerships toghether through the last two decades.   

After many years of photo sessions in a variety of landscapes (from wild nature to urban spaces) and a number of exhibitions in art galleries, the group has printed in 2020 its first editorial project named LIGLAB BUENOS AIRES.

LIGLAB BUENOS AIRES is a night journey through Buenos Aires city, where light painting emerges in haunting scenarios to create captivating images. The book is divided in three imaginary maps, which allows a random visualization of the pictures and multiple combinations between them.   

LIGLAB BUENOS AIRES

Editor: La Luminosa

Authors: Alberto Brescia, Miguel Masllorens y Diego Altabás

Photographic Edition: Julieta Escardó

Graphic Production: Eugenia Rodeyro 

Graphic Design: Lucía Peluffo Iriarte

Seize:  25 cm ancho x 35 cm alto.

Orders to: www.k8malabares.com 

#liglab #k8juggling #lightpainting #libros #fotografia #lightjuggling #lightart #lightpaintingphotogrphy #longexposurephotography #malabarluminico #laluminosaeditorial #fotografiacontemporanea

We had the honor of witnessing the first edition of the Street Juggling competition in Valparaiso.

Together with OrganicJuggling present at CIMAC, the first street Juggling competition that took place in Valparaiso, Chile. A large number of participants and jugglers were present in what was this great event. We also have the outstanding presence of Wes Peden throughout the day.

We had the honor of witnessing the first edition of the Street Juggling competition in Valparaiso.

Together with OrganicJuggling present at CIMAC, the first street Juggling competition that took place in Valparaiso, Chile. A large number of participants and jugglers were present in what was this great event. We also have the outstanding presence of Wes Peden throughout the day.

K8 Juggling at the Paraguay Circus and juggling convention 2018

Together with LigLab, we made a series of long exposure photos with the people who visited us at stand K8. A 1-meter long modular PixelStaff was used, with which different luminous geometrical figures can be assembled. If you are interested in our led Juggling products visit our catalog.

Light Juggling, a long-exposure photographic series made in total darkness with luminous juggling elements that show incredible spectra of light in movement, with photographs by Vittoria De Rosa and production of K8 Juggling

“Light is the main factor in our ability to interpret and define the universe, capturing light in long exposures breaks down our conventional understandings of time and space, time is no longer linear, we see multiple moments at once. we become time travelers “
Dennis Calvert

Fotografias de Vittoria De Rosa

Vittoria De Rosa was born in 1981, in Palermo, Italy.
In 2007 he moved to Buenos Aires where he currently lives.
He trained in the Combined Arts career at the Faculty of Philosophy and Letters, Alma Mater Studiorum, in Bologna, Italy.
Her curiosity for the different branches of urban artistic expression, such as fashion, breakdance, and juggling, led her to develop a self-taught career in photography where she captures an interesting vision of these trends.
In this opportunity, together with K8 Juggling presents his first book of photographs: Light Juggling, long exposure photographic series made in total darkness with luminous juggling elements that show incredible spectra of light in movement.

Jugglers: Javier Pinto – Orlando Martinez – Dario Brancatelli – Mariano Cienfuegos
Production: K8 Juggling

With the support of the Municipal Fund for the Arts of the Municipality of Tiger.

K8 Juggling developed a core for clubs unique in the world that contains all the features needed by professional jugglers: ultra lightweight, firm, shock- resistant, standard weight and ecological…

K8 Juggling developed a core for clubs unique in the world that contains all the features needed by professional jugglers: ultra lightweight, firm, shock- resistant, standard weight and ecological.

In addition, thanks to its design with 7 internal ducts. Lotus* technology absorbs the impact on hands making the juggling clubs more comfortable.

Clubs K8 Malabares with Lotus* core: super tough, ideal weight and maximum performance.

Many juggling products factories use the core of wood to manufacture juggling clubs. K8 Malabares is the juggling product brand that includes a revolutionary soul to your clubs that turns them into the most resistant and comfortable of the world.

The clubs dowell is the rod that connects a bumper with a spike inside the handle and the body of the club. K8 Malabares clubs offers an excellent relation between weight and balance related to its Lotus* core, due to a minimum weight and maximum strength as a result of its structural design composed of 7 circular ducts.  It’s a plastic core shock resistant that provides the product’s high durability and at the same time balancing the weight of each club, given that every core weighs exactly the same. One of the aspects of the juggling clubs with Lotus* core is that it absorbs the impact caused by air inside the 7 ducts of the dowell.

The Lotus juggling clubs model is available in 7 colors, including white. The handle is wrapped and stapled to the nylon core.  The core Lotus* is also present in the rest of the juggling clubs line (not only Lotus* model). The decorated clubs like Gualicho, Escher, Tribal, CRKS y KMFL8. The clubs for scenes such as Tango and Nieve and also in the training clubs or street juggling such as Pop and Funk clubs, available in various colors and combinations.

The shape of the juggling clubs: the body of the K8 Juggling clubs

The clubs body also known as moulded body gives it shape and the function of providing the particular own axel rotation. All the K8 Malabares clubs line has a body with an intermediate length and 84mm diameter. The Tango clubs are characterized by having a wider body which gives it a slower turn, ideal for a plastic and slower routine, they also offer greater stability in outdoor environments. K8 Malabares decorated clubs are also slightly heavier than the rest of the clubs line, because the decorative vinyl included in the club’s body adds a few grams.

Knobs, caps and screws: an important part of the juggling clubs

The knobs, caps and screws of a juggling club are also an essential part that determines durability and finish. The ferrules and caps of all club lines (except the Pop-juggling clubs built with EVA caps and ferrules) are made of shock-resistant thermoplastic material. The screws are made of stainless steel providing great durability and resistance to the clubs.

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Drag and drop to see the Lotus* Juggling Club in 360º

To see K8 Malabares Clubs in action press to play the video

K8 Juggling Lotus* clubs datasheet:

• Dowell: Lotus*
• Length: 52 cm
• Diameter: 8.4 cm.
• Weight: 210 gr.
• Handle: Spiral
• Screws: Stainless Steel
• Tops and knobs: Injected, maximum strength 90 and 70 Sh.
• Core: Nylon
• Colors: White, yellow, fluorescent green, fuchsia, violet, orange and red.

The X- Poi it’s a new K8 Malabares programmable luminous Poi, with this product you can create your own effects

The X- Poi it’s a new K8 Malabares programmable luminous Poi, with this product you can create your own effects.

The Flow-Art lovers have a new fetish object available at K8 Malabares store: The X-Poi its about a programmable one Pixel Poi with technology RGB-IR manufactured in Argentina.

K8 Malabares new generation of juggling light products

The X-Poi opens a new generation of flow art and juggling light products.

This new technology not only includes fascinating geometrical light patterns, also a wireless control system that allows you to choose the speed creating your own effects; a revolution on the world of light juggling.

The luminous Poi charging time is of 2 to 8 hours and its autonomy is of 1 to 2 hours, depending on the effect used and with a full charge of the Poi.  The new system RGB-IR works with the same charger as the rest of the lighting objects but it has new advances.

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How is K8 Malabares Pixel Poi

Pixel Poi it is an elegant piece with high performance, each side has 12 pixels. The Poi luminous core is rechargeable lithium polymer battery, carrying the word “bright” beyond. (It’s a very bright Poi). The electrical system has Li-Polymer batteries rechargeable with a charger. (Also available for sale at K8 Malabares stores and on-line).

New remote control that allows creating your own light effects

The new remote control comes with new functions for the RGB-iR entire line and with more controls.
REC-STOP-PLAY-SPEED’ OF RECORDING EFFECT.

The new functions allows recording and personalizing effects you want to mix and also providing the possibility of determinate the speed of recording effect.

The control can also be turned off pressing the off button when the product is disconnected. Bright flashes of colors will indicate the battery levels.

X-Poi datasheet

• 12 Pixel LED each side (24 total)

• Wireless: IR (infra red) 

• Memory: (records the last selected effect)

• 2 effects options with demo mode.

• Lithium – Polymer battery

• Protective charging circuit

• 1 to 2 hours of autonomy

• Charging system by USB and 220/110V

• Length: 36cm. Weight: 200gr.

• Control: spherical ferrule or double loop

• Guaranty: 1 year