Contact juggling

In 1986, American juggler Tony Duncan was reported to be holding audiences spellbound with an act that involved rolling a single ball all over his body.

Since then, this form of manipulation has received further popularization through instructional materials and performances developed by artist other than Moschen.

Zoom TV claimed that the ball possesses special properties that make it "appear to float" and improve balance and control[5] (see "Controversy", below), and saw significant commercial success.

In 2010, an updated and revised third edition of the book Contact Juggling[6] was released by Ernest Graphics Press.

Points where the prop may be balanced (also known as placement, or trap) include: the temple, the center of the forehead, the back of the neck, the eye socket, the mouth, and the most difficult; the top of the head.

There are various forms of contact balls such as:[citation needed] Some jugglers have claimed that portions of the book Contact Juggling and any juggling performances that contain elements similar to Michael Moschen's original "Light" performance are breaches of Moschen's intellectual property or copyright.

In 1992, Michael Moschen threatened not to attend the International Jugglers' Association annual conference in Quebec, Canada, where he was to be a guest of honor, due to Ted Alspach's favorable review of the book Contact Juggling in the Fall 1991 issue of the IJA's periodical, Juggler's World.

[8] The wide commercial success of the "Fushigi Magic Gravity Ball" in 2010 reignited the controversy within the contact juggling community.

The Winter 2010 edition of the IJA's periodical Juggle features a 4-page article about "the Dynamic/Contact/Sphereplay/Fushigi Controversy" by Brad Weston, including an interview with the president of Zoom TV Products, the marketing firm that produced the Fushigi ball.