New trends have always embraced the wellness industry and Acro Yoga is one such combination which is gaining wide attention. With the wellness industry expanding in all directions, it will surely become the next trillion dollar industry. Companies in this industry have left no stone unturned in exploring the possibilities that have through the wellness market. Whether it is new trends, entrants or competition, the wellness industry always has something to look forward to.
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Safety in Physical Education and SportVIDEO ON THE TOPIC: 2018 Acrobatic Worlds, Antwerp (BEL) - Highlights MIXED PAIR FINAL - We Are Gymnastics !
Each warrior is played by an acrobat who wears a harness attached to a wire rope. The wire runs up to a complex configuration of equipment that enables the performer to leap, twist, flip, and fly while chasing others back and forth—that is, up and down the length of the vertical stage. The fight ends when the Forest People, at the bottom of the stage, hurl the Spearmen, at the top of the stage, off the battlefield.
As one, the Spearmen, all of them, fall upward. For the audience, it is a wonder, as if the movie Crouching Tiger, Hidden Dragon had come to life before their eyes. For the performers, it is a job, and they do it like troupers, twice a night, five nights a week. On the evening of June 29, , when Sarah Guillot-Guyard, 31, an acrobat who was playing one of the Spearmen, fell upward at the end of the battle, several things went wrong.
It would take a long time before anyone began to assemble a full picture of what those several things were. But as she was making her exit, at P. She fell face downward, in full sight of several fellow performers, who were stranded in midair, hanging by their wires, and in full sight of the audience, some of whom had no idea, at first, that they were witnessing an actual accident—because it is the nature of a Cirque du Soleil spectacle to make audiences believe that anything is possible.
Even the laws of gravity can seem to have no meaning. The performers were sheltered by no such illusions. One of them lunged toward Guillot-Guyard, reaching out his hands to try to catch her. But she was too far away, and falling too fast. Michael Jackson One , a clamorous, laser- and video-laced tribute to the King of Pop featuring street dancers from seven nations, played to a premiere audience packed with celebrities ranging from Justin Bieber to Spike Lee.
The audience gave the show a standing ovation. It had been a tough couple of years. Dwindling ticket sales and attenuated performance schedules following the earthquake and tsunami had forced the company to close its Tokyo Disney show, Zed , on the last day of Another show, Zaia , in Macau, closed less than two months later.
The circus is a risky business. Injuries come with the territory. Cirque has an outstanding reputation for safety, even though the cast and crew of its shows are so frequently hurt while training, rehearsing, or performing that compensation is a topic of black humor. Many more minor injuries are not required to be reported to the government. Cirque executives and company managers visited Cirque shows around the world for cast meetings, to provide basic information about the accident.
Right away, though, in Washington State, a thousand miles from the scene of the tragedy, a man named James Heath, a former rigger for Cirque, feared he knew what had happened. This knowledge tortured Heath. He had spent years waging a lonely battle to persuade Cirque, without success, to use a different rope. He finally gave up and left the company.
The decisions were made. The story is: How did we get here? The story, like so many circus stories, starts with a runaway. In the early s, in Saint-Bruno, a suburb of Montreal, a troubled boy, 14 years old, left home and wound up sleeping under a bridge. Drugs—he did a lot of them. Did he sell drugs, too? His comfort with uncertainty and his fierce survival instinct were honed while drifting as a teenager through Britain and France, where he learned to breathe fire as a street performer.
Lawrence River. His freshening up of the tradition may have borrowed heavily from the cirque nouveau movement, which had originated in France in the s, but Cirque struck the general public in North America with the force of a revelation. Its breakthrough show and first performance outside Canada, at the Los Angeles Festival, was the hottest ticket in Hollywood in —the year that Cirque also became a for-profit company.
Instead of three rings, Cirque had one. No more brass bands or calliopes; Cirque struck up the synthesizers and cued a twilit realm of rainbows, backlighting, and fog. Cirque banished animals, too—except for Homo sapiens. The human bodies at Cirque—beautiful, strong, exotically skilled—were different from those seen at other circuses in one crucial respect: they came with no names, as far as any audience member knew.
The average Cirque performer is an extraordinary physical specimen performing extraordinary feats, but someone who works behind a veil of anonymity—which tends to make all the performers, in the eyes of the audience, a little more than human, but a little less than people.
For the next few years, Cirque refined its formula in several touring shows. But Cirque did not become a household name until , when it colonized two American entertainment empires almost simultaneously.
First, the spectacular O, staged in and around a 1. The audience has no idea that this has happened until a pair of clowns go skipping across the surface at the very spot where, a moment earlier, a high diver had plunged into the depths. You know, suddenly—the wizard who discovered le Graal , almost! It became, like, everything was possible. Weeks later, when he regained full consciousness, Mark Brown could not move, could not speak, and could barely see or hear.
It weighed a thousand pounds and it was hung in the backstage fly space on a wire rope. Mark Brown had been sitting on a bench beneath the alligator head when it came loose. The falling prop shaved off one quarter of his skull and crushed his lower trunk, pushing his pancreas and most of his intestines temporarily up into his chest. The accident left him permanently paralyzed from the waist down.
At the time, the Cirque subculture in Las Vegas was basically a frontier village. It was a tight-knit group of almost who had left behind their friends and families in faraway countries and come to the desert for the chance to practice the exotic skills they loved.
So huge! During performances, technicians—or other performers, on their backstage breaks—would adjust the lines and mechanisms in concert with acrobatic moves as they occurred. The give-and-take of rigger and performer had always been part dance and part puppetry, involving constant mutual awareness.
But no system can eradicate the element of risk from aerial performance, and most acrobats would not eliminate it even if they could. The frontier village was now an industrial boomtown, becoming the kind of place where no one person could know the names and faces of every other. James Heath was one of those people. Years earlier, Heath had worked as a rigger on two Cirque touring shows. He left in to start a family and get an education. After the marriage fell apart and he left law school, Heath rejoined the circus.
Zaia would feature a lot of aerial acrobatics—a phrase that, to most people, connotes backflips. The winches themselves had been chosen, based on specifications given by Cirque, by a subcontractor that Cirque often hires, a theatrical manufacturing company called Stage Technologies.
But the answer Whelan gave was troubling to Heath. And aerial acrobats, more or less always, use swivels. Wire rope is wound like a helix—up close, or under a microscope, it looks like a spiral—so when you put a load on the end of it, the wire naturally tries to straighten out.
The strands are laid in two layers of slightly unequal size. The outside layer of the rope consists of 12 strands and the inside layer of 6. One last strand forms the core, around which the rest of them are wound.
However, the use of a swivel also makes the rope more susceptible to internal wear and deformation. With the torque unevenly distributed, the smaller inner layer absorbs the rotation from the larger outer one—and, overall, the rope loses some portion of its strength.
In rigging design, Cirque says it observes an unwritten but sacrosanct standard that a wire rope, when connected to a winch, should have a breaking strength that is 10 times greater than the weight of the load on the wire.
At Cirque, in most circumstances, the actual load is simply the weight of the performer hanging from the wire. In some circumstances—for instance, if the wire were to become caught—the load becomes the pulling power of the winch at the other end, which can be many times the weight of the performer. In old-school theatrical rigging, a standard of was considered fine.
Heath was concerned that 19x7 wire as used on winches to lift performers wearing swivels fell short of the ratio. Looking for a more conservative option for use in Zaia , he found a rope designed specifically to lift people who were wearing harnesses with swivels.
With swivels, XLT4 is stronger than equivalent-size 19x7. When Heath found XLT4, he was so excited that he started telling his fellow rigging designers, imagining that every Cirque du Soleil show might switch to this stronger wire rope. To Heath, none of these reactions added up. Heath presented his finding on XLT4, studies were done as to its feasibility for use in a human acrobatic rigging system. It is today employed in several Cirque shows, in Las Vegas, and on tour.
For tumblers in Rio and contortionists in Ulaanbaatar who dreamed of white-picket-fence domesticity, Cirque had made Las Vegas the promised land—a place where you could live the kind of year-round, rooted, conventional existence that had always been beyond the reach of circus folk. But most viewed the trade-offs with brisker pragmatism. Then he flew into space. After turning in his resignation, Heath had hit the road with a touring show called Saltimbanco , which had no winches or swivels and gave him a break from worrying so much about wire rope.
I am giving you the information to do with as you see fit: to bury it, or to take it to the top, as you prefer. James Heath, a former rigger for Cirque du Soleil, photographed with spools of wire rope in Seattle. Piecing together the chronology, Heath came to believe that the issue of wire-rope rotation had been highly charged for Cirque du Soleil not long before he began promoting XLT4.
And some colleagues did listen to him. Even a rigging designer who replaced Heath on Zaia , in Macau, converted to the new wire rope. The resistance to using it in Las Vegas, though, seemed to Heath impossible to overcome. In the spring of , Heath finally left Cirque for good. And eventually get chubby! The revamp was a rude awakening.
The Banquistes was the first title chosen for this book: it has been altered for two reasons which appeared conclusive after some consideration: the general public would have misunderstood it, and it would certainly have wounded those interested in it, who would have known what it meant. However this may be, after the perusal of this book, it will be readily understood that the contemporary acrobat, established, enriched, emerging into the middle classes, indignantly rejects a slang term which apparently assigns to him the same origin as that of our modern financiers. This intolerance is certainly not the only surprise reserved for the reader of these pages. We claim to lead him to the threshold of an unknown world.
The event included all five disciplines with men's and women's artistic taking place at the American Airlines Center and Rhythmic, Acro and Trampoline and Tumbling taking place at the Dallas Convention Center. It was a busy, fun and productive gymnastics weekend in Texas. Nearly acrobatic gymnasts from 10 countries competed in the Freedom Cup in Saint Paul, Minn. Sarah Prosen and Aubree Balkan finished second and third in double-mini. Send in your photos!
Combining Yoga and Acrobatics for a healthy lifestyle: Acroyoga
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Life and Death at Cirque du Soleil
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New trends have always embraced the wellness industry and Acro Yoga is one such combination which is gaining wide attention. With the wellness industry expanding in all directions, it will surely become the next trillion dollar industry. Companies in this industry have left no stone unturned in exploring the possibilities that have through the wellness market. Whether it is new trends, entrants or competition, the wellness industry always has something to look forward to. The latest trend being Acroyoga, a combination of acrobatics and yoga, is a gem in itself. Acro yoga seems perfect for people who want to benefit from both yoga and acrobatics.
Combining Yoga and Acrobatics for a healthy lifestyle: Acroyoga
Это и была реальность,-- и он совершенно точно знал, что произойдет вслед за. Алистра появилась первой. Поскольку она очень любила Олвина, то была не столько раздражена, сколько расстроена.
Незащищенное вещество, хотя бы и алмазной твердости, уже давным-давно было бы истерто в пыль. Но пока будет доставать энергии на работу Банков Памяти, пока содержащиеся в них матрицы будут контролировать образ города, физическая структура Диаспара не изменится. - Но ведь какие-то изменения были, - запротестовал Элвин.
Он сел и, затаив дыхание, напряженно вгляделся в покрытую мраком землю, прислушиваясь к рокочущему гулу воды и тихим звукам, издаваемым крадущимися ночными тварями.
Ничего не было. Свет звезд был слишком слаб, чтобы можно было разглядеть раскинувшуюся далеко внизу равнину; лишь еще более темная изрезанная линия, затмевающая звезды, напоминала о горах на южном горизонте.
Это карта всей транспортной системы планеты, а те вон маленькие кружки -- эти, должно быть, другие города Земли. Я вижу, что возле них написаны какие-то названия, только вот ничего не могу разобрать. -- В прежние времена там, наверное, было внутреннее освещение,-- задумчиво проговорил Хедрон.
Он внимательно прослеживал взглядом линии под ногами, отходящие к стенам камерны, в которой они находились.