| Names | |
|---|---|
| English | flip-flop throw |
| English | flip throw |
| English | HIFANA throw |
| Properties | |
| Articulation | throw |
| Shake Length | n/a |
| Parent Techniques | flip |
| Difficulty | medium |
| Prevalence | standard |
| Position | |
| Start | flip position |
| End | flip position |
| Glyph Notation | |
| Glyph | combine flip-flop and flip throw |
| Usage | |
| Dynamics | |
| Volume | low |
| Range | low |
| Ease | low |
| History | |
| Source | unknown |
| Location of Origin | unknown |
| Date of Origin | unknown |
| Influences | n/a |
| Signature Players | n/a |
Catching an asalato through gripping the string in one's fist. Easier to do after performing an air-turn pause throw.
Placeholder.
The catch sound is important. It must be clear and distinct.
Watari Sato has a variation where the index finger holds onto the asalato as it is thrown, with the rest of the fingers flat. When the asalato is released, the index finger moves to line with the other fingers and all fingers are flat.
Can also pull down on the gourd as it is being thrown, causing the asalato to spin faster in the air.
Placeholder.
Placeholder.
Placeholder.
Placeholder.
Placeholder.