Forums > Beginner Poi Moves > Poi and contact points or the idea I took from others conversations
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(the person actually known as Chris Bailey)
544 posts
Location: Austin, TX, USA
(the person actually known as Chris Bailey)
544 posts
Location: Austin, TX, USA
Posted:
The ideas in this thread came from a conversation Nick Woolsey told me he had with Drew at uberpoi. I just expanded on the ideas Nick gave me. You have to give credit where it's due.
I do not know alot about contact points or anything but I know you can make the poi head come to rest on just about any part of your body. I am guessing a contact point is anyplace where you can stop and object and have it rest. I mainly use the backs of my hands for now (hopefully some contact jugglers can add to this or correct me if I'm wrong)
In my newest video at 0.42 - 0.47 I do two examples of what I'm talking about. first the simplest version where you stall one poi while stopping the other poi on a contact point on top of the hand that your stalling the other poi with.
The moves I am starting to explore alot lately are from a weave and is the second move I do in that time gap. I do a forward weave but as I cross from right to left I catch the left poi on top of my right hand and carry it across to the other side creating an awesome effect in my opinion. This can be donw with either hand with either weave.
What's the next step? Stopping one poi on your shoulder while doing a pirouette? Or how about on your feet, head, etc... Or from a butterfly weave instead or an antispin one. I still have alot to play with myself but the ideas are there.
I am crap at text descriptions. I'm much better at talking, I do that ALOT. So hopefully the video will illustrate what I am trying to say. If not I guess I could try and explain this again.
The ideas in this thread came from a conversation Nick Woolsey told me he had with Drew at uberpoi. I just expanded on the ideas Nick gave me. You have to give credit where it's due.
I do not know alot about contact points or anything but I know you can make the poi head come to rest on just about any part of your body. I am guessing a contact point is anyplace where you can stop and object and have it rest. I mainly use the backs of my hands for now (hopefully some contact jugglers can add to this or correct me if I'm wrong)
In my newest video at 0.42 - 0.47 I do two examples of what I'm talking about. first the simplest version where you stall one poi while stopping the other poi on a contact point on top of the hand that your stalling the other poi with.
The moves I am starting to explore alot lately are from a weave and is the second move I do in that time gap. I do a forward weave but as I cross from right to left I catch the left poi on top of my right hand and carry it across to the other side creating an awesome effect in my opinion. This can be donw with either hand with either weave.
What's the next step? Stopping one poi on your shoulder while doing a pirouette? Or how about on your feet, head, etc... Or from a butterfly weave instead or an antispin one. I still have alot to play with myself but the ideas are there.
I am crap at text descriptions. I'm much better at talking, I do that ALOT. So hopefully the video will illustrate what I am trying to say. If not I guess I could try and explain this again.
Peace, Love, Circles
BRONZE Member
1 + 1 = 3
3,540 posts
Location: Bristol UK
1 + 1 = 3
3,540 posts
Location: Bristol UK
Posted:
I've been playing with this sort of stuff as well...
But, I have a head start, I'm a contact Juggler before a spinner...
I Catch a poi head in my cradle (back of the hand, for all you non CJ types) And (CJ) butterfly it before releasing it to spin again.
I've gone so far as to try chest rolling a poi as well...
And isolations!! The CJ type!! I do these with Glowpoi. Catch the heads, and do some nice Isolations with them, Make pretty patterns, then carry on spinning...
I've been playing with this sort of stuff as well...
But, I have a head start, I'm a contact Juggler before a spinner...
I Catch a poi head in my cradle (back of the hand, for all you non CJ types) And (CJ) butterfly it before releasing it to spin again.
I've gone so far as to try chest rolling a poi as well...
And isolations!! The CJ type!! I do these with Glowpoi. Catch the heads, and do some nice Isolations with them, Make pretty patterns, then carry on spinning...
Empty your mind. Be formless, Shapeless, like Water.
Put Water into a cup, it becomes the cup, put water into a bottle, it becomes the bottle, put water into a teapot, it becomes the teapot.
Water can flow, or it can Crash.
Be Water My Friend.
GOLD Member
Member
9 posts
Location: NE London, United Kingdom
Member
9 posts
Location: NE London, United Kingdom
Posted:
I've only just started on this sort of move and I agree -- they look and feel lovely. I got into it from isolations and learning to hyperloop. I rest them on each hand after the hyperloop has come out on either side. Then it is a reverse and back into the opposite hyperloop. I haven't had a good gander in a mirror but I think that if I was watching I'd go "Ooooh what did you do there?" I have also done the same but resting on the upper arms.
I think that the possibilities are enormous and I've had a bit of a taster with the weave that you mentioned.
Happy balancing!
I've only just started on this sort of move and I agree -- they look and feel lovely. I got into it from isolations and learning to hyperloop. I rest them on each hand after the hyperloop has come out on either side. Then it is a reverse and back into the opposite hyperloop. I haven't had a good gander in a mirror but I think that if I was watching I'd go "Ooooh what did you do there?" I have also done the same but resting on the upper arms.
I think that the possibilities are enormous and I've had a bit of a taster with the weave that you mentioned.
Happy balancing!
Capitalism kills. Kill capitalism.
SILVER Member
no excuses. no apologies.
1,799 posts
Location: aotearoa, New Zealand
no excuses. no apologies.
1,799 posts
Location: aotearoa, New Zealand
Posted:
its quite nifty to double-stall them on the (what did LTC say?.. the.. ) cradle of the opposing hand (weaving it) and then changing the plane down to a horizontal weave (helicoptering it 4-beat style), then bust it back into wall-plane when the helicopter comes down to land (as in, re-stalling them and such).
make sense?
its quite nifty to double-stall them on the (what did LTC say?.. the.. ) cradle of the opposing hand (weaving it) and then changing the plane down to a horizontal weave (helicoptering it 4-beat style), then bust it back into wall-plane when the helicopter comes down to land (as in, re-stalling them and such).
make sense?
those that know, dont say. those that say, dont know.
GOLD Member
Carpal \'Tunnel
2,895 posts
Location: Cambridge UK
Carpal \'Tunnel
2,895 posts
Location: Cambridge UK
Posted:
been playing with this idea a little as well since watching Jon and Simian's last video:
1 hand cradle > butterfly (contact move) > back to poiing
and also:
catch one poi head > enigma with other head circling it (still very messy)> back to poiing
been playing with this idea a little as well since watching Jon and Simian's last video:
1 hand cradle > butterfly (contact move) > back to poiing
and also:
catch one poi head > enigma with other head circling it (still very messy)> back to poiing
Because ActiveAngel sounds like a feminine deodorant
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big and good and broken
7,330 posts
Location: lunn dunn, yoo kay, United Kingdom
big and good and broken
7,330 posts
Location: lunn dunn, yoo kay, United Kingdom
Posted:
hey ed - check out [Old link] and see if you can work out what the technique might be...
i'm a massive fan of stuff like this rovo.
i don't do many stalls onto body parts but i do like catching poi heads and doing 'freehand' type stuff - i got chin catches fairly solid but these ar more one-off weirdness than a 'smooth move'.
working out how these manipulations can be used to create repeatable patterns is really challenging but produces some really original stuff.
my favoruite so far is a combination of pendula, circles and temple catches but i think my head catches need lots more work before this looks any good...
cole. x
Written by: Leaning_Towards_Corruption
I Catch a poi head in my cradle (back of the hand, for all you non CJ types) And (CJ) butterfly it before releasing it to spin again.
hey ed - check out [Old link] and see if you can work out what the technique might be...
i'm a massive fan of stuff like this rovo.
i don't do many stalls onto body parts but i do like catching poi heads and doing 'freehand' type stuff - i got chin catches fairly solid but these ar more one-off weirdness than a 'smooth move'.
working out how these manipulations can be used to create repeatable patterns is really challenging but produces some really original stuff.
my favoruite so far is a combination of pendula, circles and temple catches but i think my head catches need lots more work before this looks any good...
cole. x
"i see you at 'dis cafe.
i come to 'dis cafe quite a lot myself.
they do porridge."
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GOLD Member
(the person actually known as Chris Bailey)
544 posts
Location: Austin, TX, USA
(the person actually known as Chris Bailey)
544 posts
Location: Austin, TX, USA
Posted:
Catching poi heads is the sh*t!
With lit wicks the other night from a rev bf I threw my right poi under my left arm, caught the head and spun the handles for three revolutions before flipping it over my arm and catching the handle again. The people watching loved it but not as much as I did. I ended up jumping for joy in the middle of the spin and just my luck that was the night I didn't bring the camera along.
I tried playing with stalling the poi on my shoulder and turning like in the weave thing I was talking about but it is not working out yet. With enough practice though I think some god might come out of it.
Catching poi heads is the sh*t!
With lit wicks the other night from a rev bf I threw my right poi under my left arm, caught the head and spun the handles for three revolutions before flipping it over my arm and catching the handle again. The people watching loved it but not as much as I did. I ended up jumping for joy in the middle of the spin and just my luck that was the night I didn't bring the camera along.
I tried playing with stalling the poi on my shoulder and turning like in the weave thing I was talking about but it is not working out yet. With enough practice though I think some god might come out of it.
Peace, Love, Circles
BRONZE Member
1 + 1 = 3
3,540 posts
Location: Bristol UK
1 + 1 = 3
3,540 posts
Location: Bristol UK
Posted:
Cole... That stuff went straight over my head...
Was that a really hard way of explaining that you butterfly the poi, so that it looks like an upside down pendulum?
As for Digital poi... I do digital snakes with my glopoi...
Cole... That stuff went straight over my head...
Was that a really hard way of explaining that you butterfly the poi, so that it looks like an upside down pendulum?
As for Digital poi... I do digital snakes with my glopoi...
Empty your mind. Be formless, Shapeless, like Water.
Put Water into a cup, it becomes the cup, put water into a bottle, it becomes the bottle, put water into a teapot, it becomes the teapot.
Water can flow, or it can Crash.
Be Water My Friend.
SILVER Member
lurker
380 posts
Location: Nashville, TN, USA
lurker
380 posts
Location: Nashville, TN, USA
Posted:
oh crap. i had completely forgotten about that thread. that was where i came up with the "poibot = random newb" theory!! haha.
i've kind of come to the conclusion since then that most people find it very uncomfortable to leave the confines of named planes, limited contact points, and symmetrical timing. yes, finding and defining every type of 180 degree change (only) helps text descriptions and sometimes newbies, but hampers novelty in my opinion, and makes for "more technical"/"less flowy" spinners. not that that's a bad thing depending on context...
-- dut
EDITED_BY: Dut (1139427768)
Written by: coleman
hey ed - check out [Old link] and see if you can work out what the technique might be...
cole. x
oh crap. i had completely forgotten about that thread. that was where i came up with the "poibot = random newb" theory!! haha.
i've kind of come to the conclusion since then that most people find it very uncomfortable to leave the confines of named planes, limited contact points, and symmetrical timing. yes, finding and defining every type of 180 degree change (only) helps text descriptions and sometimes newbies, but hampers novelty in my opinion, and makes for "more technical"/"less flowy" spinners. not that that's a bad thing depending on context...
-- dut
EDITED_BY: Dut (1139427768)
BRONZE Member
HOP librarian
1,841 posts
Location: Prague, Czech. Republic
HOP librarian
1,841 posts
Location: Prague, Czech. Republic
Posted:
There is no contact in pendulum inversion.
Could it be just?
There is no contact in pendulum inversion.
Could it be just?
Written by:
Dut
I do not know alot about contact points or anything but I know you can make the poi head come to rest on just about any part of your body. I am guessing a contact point is anyplace where you can stop and object and have it rest.
{/quote]
:R
EDITED_BY: Richee (1139507664)POI THEO(R)IST
SILVER Member
lurker
380 posts
Location: Nashville, TN, USA
lurker
380 posts
Location: Nashville, TN, USA
Posted:
oh gawd. he said "pendulum inversion"... i think that's what caused the original split between Glass and Rev terminology. hehe. so does "inversion" there refer to inverted spinning (upside down) or inverse spinning (inside arms), or both?
i seriously forgot why i had a term for "anti-pendulum" until just now... that's two forgettings in one thread! new record! wait, how can something that's by definition below your arm be considered inside your arm in the first place?? 
only at the two ends?
grr. i confuse myself...
-- dut
Written by: Richee
There is no contact in pendulum inversion.
:R
oh gawd. he said "pendulum inversion"... i think that's what caused the original split between Glass and Rev terminology. hehe. so does "inversion" there refer to inverted spinning (upside down) or inverse spinning (inside arms), or both?
i seriously forgot why i had a term for "anti-pendulum" until just now... that's two forgettings in one thread! new record!
wait, how can something that's by definition below your arm be considered inside your arm in the first place?? only at the two ends? grr. i confuse myself...
-- dut
BRONZE Member
HOP librarian
1,841 posts
Location: Prague, Czech. Republic
HOP librarian
1,841 posts
Location: Prague, Czech. Republic
Posted:
Inversion use an inverted plane and inside an inside plane. Otherwise there is no inverted inside move, but it is. So Its two different pairs.
(look at Planes of confusion",Frame theory)
It was named like that.
-I imagine contact poin as "Place on body were you can stop Poi head and release handle." Your definition contain stills(stop in air) and izolation(full one and hard), let to separate it.
:R
Inversion use an inverted plane and inside an inside plane. Otherwise there is no inverted inside move, but it is. So Its two different pairs.
(look at Planes of confusion",Frame theory)
It was named like that.
-I imagine contact poin as "Place on body were you can stop Poi head and release handle." Your definition contain stills(stop in air) and izolation(full one and hard), let to separate it.
:R
POI THEO(R)IST
BRONZE Member
Bastard Newbie Messiah
1,269 posts
Location: Apparently lost in my ego, USA
Bastard Newbie Messiah
1,269 posts
Location: Apparently lost in my ego, USA
Posted:
inversion-
relation betwen two plaens.. inversion is not a plane but describesthe relation ship when two plane facings over lap...
inside-
plane facing.. describes relationship between the poi and the body.. think of your hand as bing the tip of a cone, and the poi circle being the bottom of that cone.. moving from tip to bottom determines the way the poi 'faces' if moving from tip to bottom you create a line that crosses the body (body being torso and legs) then it faces inside.. if going tip to bottom creates a line that moves in a direction that does not cross the body, it faces outside..
below your arm is not necessarily inside.. the bottom of a cork is below the arm yet it faces outside.. as does the top of a corkscrew.. a more accurate description would be between arm and body.. (not between arms) between arm and body can constitue above or below the arms depnding on the context.. and as such is more likely to yield an accurate descirption of 'inside'
inside and inverted can't be used together because they describe incompatible relationships.. inside is a relationship that one poi has with the body... inverted is a relationship that two poi have.. or more specifically that two planar facings (of whihc inside is one) have to each other..
oh.. and the glass/rev split was over hyperloops and such.. arashi/rev split over bf inversions, but we have since made up.. at least I think we have.. he mentioned gravy or something... haha..
inversion-
relation betwen two plaens.. inversion is not a plane but describesthe relation ship when two plane facings over lap...
inside-
plane facing.. describes relationship between the poi and the body.. think of your hand as bing the tip of a cone, and the poi circle being the bottom of that cone.. moving from tip to bottom determines the way the poi 'faces' if moving from tip to bottom you create a line that crosses the body (body being torso and legs) then it faces inside.. if going tip to bottom creates a line that moves in a direction that does not cross the body, it faces outside..
below your arm is not necessarily inside.. the bottom of a cork is below the arm yet it faces outside.. as does the top of a corkscrew.. a more accurate description would be between arm and body.. (not between arms) between arm and body can constitue above or below the arms depnding on the context.. and as such is more likely to yield an accurate descirption of 'inside'
inside and inverted can't be used together because they describe incompatible relationships.. inside is a relationship that one poi has with the body... inverted is a relationship that two poi have.. or more specifically that two planar facings (of whihc inside is one) have to each other..
oh.. and the glass/rev split was over hyperloops and such.. arashi/rev split over bf inversions, but we have since made up.. at least I think we have.. he mentioned gravy or something... haha..
More useless information courtesy of Rev...
Confusing the masses, one post at a time...
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BRONZE Member
HOP librarian
1,841 posts
Location: Prague, Czech. Republic
HOP librarian
1,841 posts
Location: Prague, Czech. Republic
Posted:
To add to my previous comment:
To add to my previous comment:
Written by:
Dut
I do not know alot about contact points or anything but I know you can make the poi head come to rest on just about any part of your body. I am guessing a contact point is anyplace where you can stop and object and have it rest. I mainly use the backs of my hands for now (hopefully some contact jugglers can add to this or correct me if I'm wrong)
[/qoute]Written by:
Richee
Your definition contain stills(stop in air) and izolation(full one and hard), let to separate it.
But if it will be like "Place on body were you can stop Poi head and release handle."
Trehe still be trap in it so, what is different between "contact point" and trap?
:R
ps: Rev>>Iversion > Over lap between wrich two planes? This is important fo me to understand it fully.POI THEO(R)IST
BRONZE Member
Bastard Newbie Messiah
1,269 posts
Location: Apparently lost in my ego, USA
Bastard Newbie Messiah
1,269 posts
Location: Apparently lost in my ego, USA
Posted:
its not an overlap of planes.. its an overlap of plane facings..
for example... in a buzzsaw you have the right poi facing left (think of it like your hand holding a camera facing left) and the leftpoi facing right (think of it like a camera facing right) and so the buzzsaw space is made of the area where the two plane facings over lap..
higher degree inversions are just those two plane facings twisted and untwisted around each other.. the same way two outer plane facings twist and untwist around each other in a weave or ttn..
its not an overlap of planes.. its an overlap of plane facings..
for example... in a buzzsaw you have the right poi facing left (think of it like your hand holding a camera facing left) and the leftpoi facing right (think of it like a camera facing right) and so the buzzsaw space is made of the area where the two plane facings over lap..
higher degree inversions are just those two plane facings twisted and untwisted around each other.. the same way two outer plane facings twist and untwist around each other in a weave or ttn..
More useless information courtesy of Rev...
Confusing the masses, one post at a time...
"Obviously, you're not a golfer.."- The Dude
"Buy the ticket... Take the ride..." -Raoul Duke
"FEMA has never done catastrophe planning..."-Michael Brown
BRONZE Member
HOP librarian
1,841 posts
Location: Prague, Czech. Republic
HOP librarian
1,841 posts
Location: Prague, Czech. Republic
Posted:
For more about "contact point", look at my previous qouted post.
:R
For more about "contact point", look at my previous qouted post.
:R
POI THEO(R)IST
GOLD Member
HOP's glowstick ambassador!!
128 posts
Location: Bay Area, California, USA
HOP's glowstick ambassador!!
128 posts
Location: Bay Area, California, USA
Posted:
If you wear kevlar gloves you can do some fun glowstick style catches
If you wear kevlar gloves you can do some fun glowstick style catches
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