Card flourishes are somewhat controversial as some magicians feel that flourishes and impressive displays of skills detract from card magic. 
The premise, a valid one, is that the presentation of manipulative feats indicate to spectators that a magician is skilled with cards and can effectively "cheat" with them. And a magician "cheating" with cards provides an explanation that nullifies any concept of magic.
As the thinking goes, a gambler (cheater) who is skilled with cards would never display flourishes. The gambler would handle cards as any average person does to not call any attention to his or her potential skills.
Card flourishers, on the other hand, display skill to capture the attention of spectators. Entire entire routines can be built around these flourishes.
I personally enjoy watching smooth card flourishes. And like many magicians, I incorporate flourishes in my card magic. I feel that flourishes show spectators that my magic is the result of practice and skill and not a trick deck. I also find that flourishes add a visual element to my card magic.
Another thought, card flourishing, or XCM (extreme card manipulation), is the only branch of magic that is great for YouTube. Here, practitioners can combine and showcase their moves and compare performances online.
Whether you learn and perform complicated card flourishes will depend on your personality and the way that you relate to your audiences. I can readily see the position of those who feel that flourishes do not belong in a magic routine, but I feel that the few that I perform work well for my magic. And if you really like learning and executing complicated card flourishes ala Dan and Dave, definitely go for it.
For more thoughts on flourishes as well as a list of the flourishes that I use in my magic, you can read the entire article here. Also, you can read my essay on "Tricks versus Skill."
So what prompted me to write about flourishes? For the past three days, I've been working on a fairly challenging card flourish, "Mele," from the new "Bluff" DVD (a good French title). The multi-sectional cut features spins and twirls that are different from anything that I currently perform.
The cut is quite visual and cool but the instruction on the DVD was sorely lacking: no dialogue or insightful tips or video from the first person perspective. There was lots of pausing of the video with my hands in awkward positions with the cards.
I learned from the DVD a fast, two-phase transposition called "JJ" that I may use one day. I also liked another flashy cut on the DVD called "Moulin Rouge 2," but the balancing of cards on the fingertips was far too impractical for my work.
More Reading:
Tricks Versus Skill
Learning Card Flourishes
DVD Review: Xtreme Beginnerz
The Trilogy (3 DVD Set) by Dan And Dave Buck
Comments
Here, here! This is a brilliant, balanced position on an issue that indeed sparks debate. Well said! I too use flourishes in my work, but not many. Mostly I just use the ones in Royal Road to Card Magic.
Hi everyone, stand back and cringe – its me – disappearing from one forum – and reappearing in another.
Here are words written at the turn of the last century by John Maskelyne and David Devant in the classic text ‘Our Magic’ (available from Amazon):
“‘The Art in Magic’ is a very different thing from ‘The Art of Magic.’ The latter term may embrace an immense number of diverse considerations. The former relates to one side only of Magic; a side which has never received the attention it deserves.
The real secrets of magic are not are not tricks and puzzles devised for the bewilderment of the public. Far from it. It will be found that, so far from being bound up in jugglery and paraphernalia, the true art in magic is purely intellectual in character, and comprises an infinitely varied range of interest. Our goal is the elucidation of those fundamental principles which, being reduced to practice, justify the claim of Magic to be classed among the Arts – not, of course, among the mechanical arts, but among the Fine Arts – the Arts with a big A. Indeed, it may be said, with some show of reason, that the man who cannot explain the principles involved in such questions as these, cannot claim to understand the inwardness of the magic art. It is that inwardness which governs a performers’ ultimate success or failure.
We presume that everyone will agree to the recognition of magic as an art. As a matter of fact, magic embodies both art and science.
Then, magic being admittedly an art, let us investigate the real nature of the Art in Magic; for, upon that investigation depends the disclosure of the real secrets of magic.
It was, we believe, Robert-Houdin who said that a conjurer is in reality ‘an actor playing the part of a magician.’ There is only one fault in that statement. He should have said ‘a great conjurer.’ Because, as we all know, there are many conjurers who only play the part of some other conjurer. A real modern magician, then, is essentially an actor. He must be so, or as the sole alternative, he must be a duffer. Both authority and common-sense unite in compelling us to the conclusion that the real art of the magician is identical with that of the actor.
With this knowledge in our possession, and fortified by the exercise of our own judgment, we realise the fact that a display of skill given by a magical performer should imitate, and, thus, convey to the spectators, the impression of effects produced by supernormal powers.
The study of practical details only leads to a knowledge of isolated facts. By means of study the student may learn what to do, in order to produce certain effects. But, however much attention he may devote to the acquisition of that detailed knowledge, he will never ascertain therefrom the reasons which underlie the processes he employs. He will only learn the ‘how’ of his work; the ‘why’ will remain obscure. In short, he will never really understand his business.
Everything he does will be done blindly. Every new departure he endeavours to make must be subject to conclusions arrived at by means of ‘trial and error.’ Any little variation upon his usual practice will represent a subject of extreme doubt. He can only think that what he proposes to do will produce the result he desires. He can never know what he is doing, because he does not understand why the things he does are successful.
On the other hand, the man who has gained a knowledge of the broad principles which constitute the foundation of the art side of magic must, necessarily, possess a great advantage, in such circumstances. He knows the reason why each effect he has already produced has been successful. He can follow the manner in which each of his previous devices has operated, in influencing the minds of spectators. Similarly, from his knowledge of basic principles, he will be able to deduce the proper manner of presentation, and the probable effect of any new conception.
Yet, in spite of the truth of the foregoing statements, many of those who practise magic, either as a means of livelihood or as an intellectual recreation, appear to be entirely ignorant of the very existence of such facts as those we have reviewed. In all probability, those men would feel highly offended were any doubt cast upon their claim to be regarded as artists. Yet, in all they do, they prove themselves to be mere mechanics. They can do just what somebody else has already done – and they can do nothing more.
Yet, one cannot help coveting the blissful ignorance and the sublime impudence which enable such a man to pose as an artist. The possession of an intellect so obtuse, and a hide so pachydermatous, must confer upon the possessor a degree of self-satisfaction unknown to men of real ability.
Some may, possibly, think we have been too severe. It must be remembered, however, that no useful purpose can be served by mincing matters, when endeavouring to uphold any just cause. If magic is to be raised to its proper level among the fine arts one must not withhold the statement of any truth, however disagreeable it may be, that may help to drive home the essential points which distinguish real Art in Magic from the false art, so often met with in the practice of magic.
Upon such points, the man who, even in a very minor degree, possesses the true artistic temperament, cannot help feeling and speaking strongly. He who seeks to acquire or to retain the social position assigned to an artist, can never lose sight of the maxim ‘Noblesse oblige.’ He who employs the tradesman’s methods must be content to remain a tradesman. His ultimate aim consists in the making of money; a thing with which art has no concern. It is true that, in art, even more profit may often be made than in trade; but whatever profit may incidentally accrue to the artist, his ultimate aim is far higher than matters relating to finance.” (unquote)
Magic, by its very nature, is ephemeral – and should always remain so (hence why I will not (knowingly) perform on YouTube). ANY distraction, whether it be someone coming in late, or someone dropping their change, will instantly destroy the ‘mood’.
Performing ‘flourishes’ is akin to a surgeon who lacks confidence boosting their ego by juggling with their scalpels – it serves no purpose whatsoever and detracts from the art.
Do it to amuse yourself or any child you may encounter on your journey by all means, but please remember – your duty is to your art and your audience. Nobody likes a show-off.
All the best – with honest intent,
Daniel
Leventino,
I honestly hope your routines aren’t as long as your prose! You’re right — no one likes a show off —- and that applies to comments on magic blogs as well as flourishes. Most of the time I do find some value in reading your posts, but this one was over the top — you could have made your point in 1/3 of the space.
As far as my take on flourishes, I think subtle flourishes are fine in parts of one’s routine that lack a visual aspect. Flourishes should complement your magic, not replace it.
GR magi
Thank you GR Magi – firstly for giving me some very positive feedback and restoring my confidence – and secondly, for correcting me for going ‘over the top’ with my post, for which I appologise.
You are right of course, I could have just written my 3 paragraphs and it would have made the point. But, with little exception, as all I have received so far have been insults which knock me back, I attempted to illustrate my standpoint towards becoming a true artist by quoting from masters of our fine art and be corrected if I have it all wrong. That was wrong of me.
There are some fabulous people on this site but all I see is ‘here here’ and ‘good show’ – never WHY such and so deserves a ‘here here’ – and seldom a true dialogue of considered opinion that examines magic and its place in this age of communication.
With regards to flourishes et al, having performed them and received little more than nods and smiles, I am not convinced that they have the merit today that they once enjoyed.
I wont bore you with the details, but watching Paul Daniels as I grew up made me take up magic as a means to overcome abject shyness and self-doubt. When I tried to obtain ‘the proper stuff’ all I could find were loads of cheap tat sold for extortionate prices. It wasn’t until I found a book that I treasure called ‘Professional Magic for Amateurs’ by Walter B Gibson that I really got going.
If I was starting anew today, I would say – forget all of this ‘magic for beginners’ nonsense and get right down to the real deal straightaway. That way, you will either respect the art and its complexities – or leave it well alone because it is beyond your grasp. The survivors will become true artists.
Again, many thanks for your kind words and advice.
With very best wishes,
Daniel
Card flourishes are “magic” to laymen. We tend to forget the reaction they have to a person doing incredible things to a stack of 52 individual pieces of pasteboard.
This stack of individual things is the part we tend to forget. Once any magician gets to be a solid journeyman level, we are not as impressed as by the time we get to this level, we are doing flourishes by rote and just to stay “limber”.
Even laymen who play a lot of cards are impressed by a skillful display of flourishes. They may be able to shuffle a deck and deal out to a number of people smoothly but will do a 52 pick up if they try anything more.
It is easy to get jaded in this business. We practice for hours and hours at the beginning just to do a passable Charlier. As we get better, it takes less time to pick up the more difficult moves. We then undervalue many flourishes or we go the other way and do moves that may look great to other magicians (which is a whole other subject, we shouldn’t be focused on impressing magicians, it’s the general public who pays us for the most part) but all a laymen sees is a deck being cut.
OK, I’ll stop now.
Hi F M
After a cold winter, a refreshing wind at last. Love your ‘passable Charlier’ expression on the ‘Charlier Pass’ – utterly brilliant!
Setting the classic texts ‘Our Magic’ and ‘The Art, Theory and Practice of Magic – Stage Illusions’ by Maskelyne and Devant aside for the moment, for years we have been bombarded with a plethora of hyped up material with very little guidance on what effects are REALLY good. It is often only by testing we accept or reject, according to incomplete returns. I remember the first time I saw water turn to ice just by squealing – it blew me away. The first time I did it myself – it freaked me out.
We are on a much needed wind of change from ‘old school’ to ‘new money’, and, just as Wayne is the promoter of change, judging by the storms I create, I am obviously a catalyst that speeds things up – but causes tempest in the process by those that are horrified by New Era.
Today, magic places its emphasis on the psychological factor. It was Theo Annemann who introduced subtlety, and proved his point by developing many neglected methods into outstanding mysteries. This demands a new dynamic – effective scripting. Using the ‘Torn and restored card’ to illustrate: ‘Old school’ has the card signed, torn up, and restored. New school tells a story about a Polish family who are sent to a concentration camp, separated, survive, and eventually come back together. THAT’S the significant difference! At the end of the day, good magic will always find its place.
http://www.blacksmagicgroup.com/store/products/Holy-Grail-TnR-DVD.html
PS: Get ‘Life is Beautiful’ on DVD from your local library.
During my ambitious card routine I fan the cards before losing the spectator’s card in the remainder off the deck. I believe that this little flourish enhances this classic routine and providing you keep a balance between the odd flourish and a good card trick then flourishes do have a place in card magic.