Download Re-routing traditional circus performance: towards a

DrGillianArrighi,SchoolofCreativeArts
UniversityofNewcastle,NSW,Australia
PaperforcirculationwithinthePopularEntertainments
WorkingGroupoftheIFTR,2013
Re‐routingtraditionalcircusperformance:towardsaculturalhistory
ofcommunitycircusinAustralia
Introduction
CommunitycircusactivityinAustraliahasevolvedanddiversifiedoverthepast
fourdecadesintoaninstitutionalisedandthusidentifiablesub‐cultureofthecircusarts.
Althoughlinkedintrinsicallytotraditionalcircusthroughitsphysicalactivities,1the
primarygoalsofcommunitycircusareverydifferenttothemotivatingdrivesofthe
traditionalcircus.NowadayscomprisinganintegralpartofthecontemporaryAustralian
circusecology—afieldthatincludeshighprofileprofessionalcompanies,traditional
family‐basedcircuses,aswellascontemporarycircus‐infusedphysicaltheatre,neo‐
burlesque,andstreetperformance—thepersistentphenomenonofcommunitycircus
hasbeenleftoutofculturalandperformancehistories.Thispaperbeginsanarrative
historyofcommunitycircusinAustralia,framedbythenationaltrendsandpolitical
policiesthathaveshapedit.
Clusteringintwodiscrete,yetinterrelatedspheresofactivitythatareidentified
bycontemporaryworkerswithinthefieldas‘youth’and‘social’circus,theumbrella
categoryofcommunitycircusisadirectdescendentofthecommunityartsmovement
thatwasprevalentinAustralia,asinsomeotherdevelopedWesternnations,duringthe
1970sand1980s.Thecommunityartsmovementofthe1970s‐80sstimulated
alternativeapproachestoartandperformancemaking,provoked,inturn,by
government‐fundedinitiativesduringthisperiod.Fundamentalshiftsinattitudetothe
roleoftheartsinsocietywereadoptedbygovernmentsatthefederalandstatelevels
andresultedintheflowoffundingforartsprojectsthattargetedAustralia’sincreasingly
diversecommunityinterests.Thesegovernment‐sponsoredinitiativesprovoked
changesinthewaysthatculturalproductionsweredelivered,consumedand
participatedinbythenewaudiencestheytargeted.Youngandenthusiasticindividuals
withfewornotiestoinstitutionalisedartspracticesofproductionandconsumption
weredrawntothecreativeopportunitiesopenedupbythesefundinginitiatives.Their
collaborativeandoftenaestheticallyroughapproachestoartandperformancemaking
wereinfusedwithenergeticidealismforsocialchangeatthegrassrootsstrataof
society.
Communitiesthatweredistantiated—eithergeographically,socially,orboth—
fromparticipationasaudiencesinculturallyhighbrowproductionsofmusic,dance,
theatreandthevisualarts—inconcerthalls,theatrehouses,orgalleries—becamethe
focusofgovernmentsponsoredcommunityartsfundinginitiatives.Theutopianideals
ofthecommunityartsmovementofthisperiodalignedparticipationinthecreativearts
withmovementsforsocialchange,acrossasubstantiallyexpandedfieldofartistic
endeavour.Thequotidianandthecommunitywerethenewtargetsubjectsfor
1
governmentartsfundingthatdrewpeoplewhowerenot‘artists’intoparticipatory
creativesituationsconceivedtomeshartwithworkinglife,andartwitheveryday
activity.
Avisibledecentralisationofperformanceandeventlocationsoccurredasaresult
ofaseriesofwavesofartsactivityacrossAustralia,givingriseatdifferenttimesandin
differentlocationstoadhocperformanceandrehearsalvenuesinformerwarehouseor
lightindustrialareasofmajorcentres.Atthesametime,thetouringofperformance
eventstosuburbanandruralareasatconsiderabledistancefromtheCBDlocationsof
establishedtheatres,concerthalls,andgalleriesaugmentedthestrategiesthrough
whichcommunityartsinitiativeswereenacted.Youngpeople,schoolchildren,
immigrantandindigenouscommunities,factoryworkers,ruralcommunitiesata
geographicdistancefromAustralia’smajorcities,andpeoplewhowere—forallkindsof
reasons—marginalisedfromthenormativeexpectationsofAustralia’swelfarestate
policies,becamethetargetaudienceforsociallyengagedcommunityartspractice.
AtspecifictimesandlocationstheAustraliancommunityartsinitiativesofthe
1970sand1980sevokedthecollectivistAustralianworkers’theatremovementofthe
1930s.2AswiththeparallelcommunityartsmovementsthatoccurredintheUK,theUS,
CanadaandIrelandfromthelate‐1960s,Australianliveperformancebecameaforum
forreimagining,andattimesre‐inventingperformanceformsthathadenjoyed
popularitywithearliergenerations.Re‐imaginedparadigmsofcircusandvariety
appearedinAustraliancommunityartsperformancesduringthe1970s,seedingthe
establishmentoflong‐livedcompaniesthathaveenduredtotoday,suchasCircusOzand
theFlyingFruitFlyCircusforyoungpeople.3Theartisticcreatorsofthenewwaveof
sociallycommittedliveperformancethatwasaimedatnon‐theatregoingaudiencesof
the1970schoseartisticdemocracyastheirpreferredcreativemethod,infavourofthe
hierarchicalstructuresofpowerlinkedtotext‐basedtheatre.Thesocialandpolitical
aimsofsomeofthisnewwork,aswellasthedemocratisedmethodofitscollaborative
creation,thus‘ghosted’politicallyengagedtheatrepracticestargetedateffectingsocial
changeintheUK,theUS,theSovietUnionandotherpartsofWesternEuropeduringthe
1920sand1930s.4
Australia’sprolificcontemporaryphysicaltheatreandcircusartsspectrum
maintainsperformanceactiontodaythatisfirmlyrootedinthetraditionalcircus.
However,theimpetusforwhatisbroadlyreferredtointhispaperascommunitycircus
didnotcomefromAustralia’straditionalcircussector.Instead,communitycircus
sprang,withconsiderableenergy,fromthemanycommunityartsprogramsand
performancegroupsfundedbygovernmentinitiativesduringthe1970s,aswellasthe
manylimited‐lifeprojects,workshops,festivals,andadhoceventsthatwerealsoaby‐
productofthisre‐focussingofofficialattitudetotheroleoftheartsinsociety.
Fortyyearsafteritsnascentstirringsinthecommunityartsmovement,
contemporarycommunitycircusinAustraliamaintainssomeofthestrongideologies
thatinformedthemovementsforsocialchangefromwhichitsprang.Aprimaryfocus
uponchildren,youth,andthosewhoaredisenfranchisedeitherphysicallyorsociallyhas
continuedtosustaintheguidingimperativesofthesector,aswellastheutopianbelief
thatcreativeengagementcanbeco‐optedforpositivechangeinpeople’slives.Justa
smallsampleofactivityrehearsedherewillservetoindicatethediversityofcreative
2
engagementthatiscurrentlyofferedbyAustralia’scommunitycircusorganisations.The
Women’sCircus,5establishedin1991todevelopandmaintainasustainablewomen’s
circuscommunityinMelbourne;ThePerformingOlderWomen’sCircus,6foundedin
1995tooffercircusartsskillsdevelopment,aswellasensembleperformance
opportunitiestowomenintheover‐40agerange;Blackrobats,7establishedinthetown
ofKuranda,NorthQueensland,andprovidingindigenousyouthwithcircusarts
participationopportunitiessince1994;themany‘youthcircus’providersacross
Australia,ofwhichthelongest‐runningistheFlyingFruitFlyCircusintheNewSouth
WalesandVictoriabordertownsofAlbury‐Wodonga;andUnthinktheImpossible,a
2013QueenslandGovernment‐sponsoredinitiativewithBrisbane’sFlipsideCircusthat
hastrialledcircusskillstherapytoaiddevelopmentofphysicalandsocialskillswith
disabledyoungsters,8arejustafewexamplesofparticipationopportunitiesinthecircus
artsthatarecurrentlyavailabletoavarietyofsocialandagegroupsacrossAustralia.
Uptothispoint,bothinmyintroductorydiscussionandinthetitleofthispaper,I
haveusedtheterm‘community’asifitsmeaningisunequivocallyclearandnotwithout
complication.However,Iusethetermwiththerecognitionthatitisproblematic,as
MirandaJosephwarnsusinher2002publication,AgainsttheRomanceofCommunity.9
LaterinthispaperIrefertothetensionscurrentlyemergingwithinsomeofAustralia’s
keycommunitycircusprovidersandsetthesealongsidethecritiquebroughtforwardby
Josephconcerning“deploymentsofcommunity,bothverbalinvocationsand
practices.”10Butfornow,inthisintroductorysectionofmypaper,Iusetheterm
‘communitycircus’inthewaythatthecircussub‐cultureusestheterm:toidentify
circusartsactivitythatisnot‐for‐profitandthusoccursoutsidethesphereof
commercialandprofessionalproduction.Itisthetermthatthecontemporarycircus
sub‐cultureusestoindicateitsactivitiesinboth‘youth’and‘social’circus,twodiscrete
yetcloselyrelatedfieldsofactivitythataimprimarilyatchildren,youth,andyoung
adults.
Terminology
Thetermyouthcircusreferstonot‐for‐profitorganisationsthatprovide
recreational,extra‐curricularcircusskillstrainingtoyoungpeopleagedupto18years
(andinsomecases,upto25years)throughweeklyclassesthataretimetabledin
tandemwiththeschooltermsandthusmatchthequotidianrhythmsofthefamilyunit.
Withinthispaperthetermyouthcircusindicatesorganisationswhoseprimaryroleis
teachingcircusskillstoyoungpeople;thetermdoesnotextendtothemanyinstances
wherecircus‐styletricksareintegratedintotheatricalperformancesofonekindor
anotherbyyoungperformers.Age‐specific(andthereforeskill‐level)groupclassesare
offeredonaweeklybasisbyyouthcircusorganisationsfortoddlersaged18monthsand
up(mothersorcarersalsoparticipateinclassesforpre‐schoolagechildren),andin
age/skillbandsthatalignwithdevelopmentagebracketsallthewayuptotheyoung
adultagebandof18‐25.Inaddition,youthcircusorganisationsprovideschoolholiday
workshops,intensiveshortcourses,endoftermperformanceoutcomes,aswellasthe
opportunityforhigherachievingchildrenandyouthtotrainatanadvancedskilllevelin
ordertoparticipateineliteperformancetroupes.Thispatternofactivityisrepeatedby
manyyouthcircusorganisationsacrossthecountry,thusallowingmetodescribethis
aspectofcommunitycircusas‘institutionalised.’Itisamodelofextra‐curricula,user
pays,publiceducationthathasmuchincommonwithdanceschoolsandmusic
3
conservatoriaacrossAustralia;childrenandyouthcould,inprincipal,movefromone
youthcircusprovidertoanotherandencountersimilarofferingsofpublicclasses
organisedaccordingtoageandskillbands.Severalyouthcircusorganisationshavehad
intermittentsuccessinattractinglimitedfundingfromphilanthropicaswellaslocal,
state,andfederalgovernmentartsfundingsources,butthisfinancialsupportpales
againstthelong‐establishedpledgingofpublicfundingformusicconservatoriaand
sport.Afterfortyyearsofactivity,thecircusartsarestillarelativenewcomertothe
state‐sanctionedprovinceofextracurriculaactivityforchildrenandyouthinAustralia.
(Lookinginternationally,thesituationisverydifferentinFinland,forexample,where45
newyouthandsocialcircusgroupshaveemergedinthepastdecade,buoyedbyfunding
fromtheFinnishgovernmentandEU‐wideinterestinthephysicalandsocialbenefits
thatareclaimedtoensuefromsocialparticipationinthecircusarts.)
Thisleadstothesecondofthetermsrequiringdefinitioninthispaper,thatof
socialcircus.Morethansimplyarecreationalpursuitofthecircusarts,thetermsocial
circusdesignatestheco‐optingofcircusskillsforsocialchange.WhilstCircusElleboogin
Amsterdam,establishedin1949,claimstobetheoldest‘youth’and‘social’circus
organisationinEurope,itistheCirqueduMondeprogram,initiatedbytheMontreal‐
basedco‐operationagencyJeunesseduMondeinpartnershipwiththemega‐production
conglomerate,CirqueduSoleil,whichhasprovidedthenamesocialcircustoan
interventionistapproachtosocialillsthatusesthecircusarts.
Datingthe‘emergence’ofculturaltrendsthatco‐optancientcreativeskillsfor
thesocialgoodcanbeproblematic.Onceadateissettled,theproofthattheseskillshave
neverbeforebeenmobilisedtoimprovetheself‐esteemandsocialintegrationofa
personwillinevitablybedifficulttoestablish.TheGlobalCitizenshiparmofCirquedu
Soleilobservelooselythatearlyinthe1990swaswhentheideaemergedthatcircusarts
couldbemeaningfullyappliedasaninterventionapproachforpeoplewhowere
marginalisedasaresultofcomplexsocialfactorsorwhoweredeemedtobe‘at‐risk’—
atriskofnottakingtheirplaceinsocietyascontributingadults,atriskofsuffering
disenfranchisementthroughlowachievementineducation,ofasaresultofmentalor
physicalhealthchallenges.Theterm‘socialcircus’isadirecttranslationfromtheFrench
(cirquesocial)11buttheatreandperformancescholarsandpractitionerswhoare
familiarwiththeaimsandprocessesofapplieddrama/theatrewillappreciatethatthe
term‘appliedcircus’wouldcarrythesameinference,since‘socialcircus’andapplied
drama/theatreshareprocesses,goals,andfundamentalideologies.12Quotingfrom
CirqueduMonde’sCommunityWorkers’Guide(2011),socialcircus:
prioritizesthepersonalandsocialgrowthofparticipants.Itencouragesthe
developmentofself‐esteemandtheacquisitionofsocialskills,artisticexpression
andoccupationalintegration.Itgivesparticipantsthechancetoexpress
themselvesandbelistenedto,torealizetheirownpotentialandtomaketheir
owncontribution…socialcircusisdistinctfromwhatwemightcallthe
professionalcircusoreventherecreationalcircusinsofarasitgivesmore
importancetotheexperiencehadbytheparticipantsthantotheartisticresultof
thisexperience,anditestablishesarelationshipbetweentheparticipantsandthe
communitythatgoesbeyondtheaestheticandentertainingroleofthetraditional
circus.13
4
CirqueduMonde’sidentificationoftheearly1990sastheperiodwhentheideaofsocial
circusbegantogaintractionindifferentpartsoftheworldcertainlychimeswithevents
inAustralia;Women’sCircus(established1991inMelbourne)isperhapstheearliest
organiserofsocialcircusprojectsthatweredirected,initially,atwomenwhowere
survivorsofsexualviolence.Duringthepastfifteenyearsorsoothercommunitycircus
organisationssuchasWestsideCircus(Melbourne),VulcanaWomen’sCircusand
FlipsideCircus(bothinBrisbane)havejoinedthepath‐breakinginterventionistmodel
pioneeredinAustraliabyWomen’sCircus.
AsmarkersinthedevelopmentofcommunitycircusinAustralia,myresearchis
revealingtwosignificantperiods:themid‐1970sthatgaverisetotheperformance
innovationsthatbourgeonedintothesub‐genresnowwidelyunderstoodasNewCircus
andyouthcircus,andtheearly1990swhencommunitycircuswentthroughsuddenand
significantgrowthanddiversification.InthenextsectionofthispaperIwillsurveythe
markersofthedevelopmentsIamindicatingandteaseouttheculturalandpolitical
stimuliforthesechanges.CommunitycircusinAustralia,aselsewhere,iscurrently
experiencingathirdstageofgrowthandinterest,coupledwithchallengesarisingfrom
changesinnationalandinternationaleconomiesandnewsustainabilityimperatives.In
thefinalsectionofmypaperIwillhighlightsomeshiftsoccurringwithinthesectorand
highlightsomeofthefactorsthatmaybeattherootofnewdirectionsinthesector.
AustralianisingtheatreandperformanceinAustralia
InTheatreAustraliaUnlimited(2004),GeoffreyMilnehasidentifieda‘second
wave’ofAustraliantheatre,extendingroughlyfrom1966untiltheearly1980s.Broadly
speaking,theseyearsgaverisetoa“newnationalisminAustralianculture”that
producedthecorrelativedesiretofindnewexpressionsintheatrethatweredistinctly
‘Australian.’14Itiswithinthisperiodthatcommunitycircusemergedandmaintaineda
marginalpresenceinAustralianperformanceculture.
TheearlyyearsofMilne’s‘secondwave’sawthebeginningsofrobustalternative
theatreendeavours,stimulatedbyinvigoratedyoungpeoplewhowereemergingfrom
activityinnewuniversityDramadepartmentsinSydney(UNSW),Melbourne(Monash),
andAdelaide(Flinders).Youngwritersusingaconfidentvernacularvoice,smallnew
alternativevenuessuchasLaMamainMelbourne,newtheatrecompaniessuchasthe
AustralianPerformingGroup(workingoutofadisusedPramFactoryinMelbourne),
andSydney’sNimrodStreetTheatreCompany(workingoutofarefurbishedstablein
theinnercitysuburbofSurryHills),togetherwiththeperformers,directorsand
designersthatclusteredaroundtheseinitiatives,weresomeofthekeyelementsthat
contributedtotheAustralianisationoftheatreproductionthroughoutthis‘secondwave’
period.15
Anothersignificantdevelopmentfortheproductionandtransmissionofcultural
formsthroughoutthisperiodwastheestablishmentofatax‐payersupported,national
fundingbodytoprovideadvicetogovernmentabouttheartsandstimulateproduction
throughfinancialsupportforthearts.Inlate‐1967thefederalLiberal‐CountryParty
coalitiongovernment(which,contrarytoitsname,wasontheconservativesideofthe
politicalfence)announcedthecreationoftheAustralianCouncilfortheArts
5
(establishedin1968).By1976thesubsequentLaborgovernment,ledbyprime‐minister
GoughWhitlam,hadreplacedtheAustralianCouncilfortheArtswiththeAustralia
Council,vestedwiththeroleasthegovernment’sartsadvisorybody.Thesixinitialart‐
formboardsthatcomprisedtheAustraliaCouncilservedAboriginalarts,literature,
music,theatre,craftsandvisualarts,whilstaseventhboard,theCommunityArtsBoard
wasaddedin1977(subsequentlysucceededbytheCommunityCulturalDevelopment
Unit).16TheemergenceofavernacularcommunitycircusfieldinAustraliaduringthis
periodthusmatchednewlynationalistinflectionsacrossotherartforms.
Milnehasdescribedtheeffectsofthe‘secondwave’oftheatredevelopmentin
Australiathus:
Itvastlyincreasedthenumberofpeopleworkingintheprofessionandwidened
itsaudience,notonlyamongtheatre‐goingadultsinthecitiesbutalsointhe
country.Italsotappedahugeaudienceofyoungpeople–notasthenow‐clichéd
‘audienceofthefuture’butasanaudienceinitsownright.17
Whilsttherecognitionofchildrenandyoungpeopleasadiscreteaudiencehasbeena
featureoftheatreproductioninpast‘moments’ofAustralianculturalhistory,18the
renewedandfocussedoutreachtothissubsetofsociety,coupledwiththedemocratising
imperativetotourproductionstocountryareasandtostimulateparticipationin
culturalactivitiesinruralregions,issignallyrelevanttothedevelopmentofcommunity
circusinAustralia.
AlsorelevanthereisMilne’sanalysisofadebatethatemergedintheearly1970s
aroundissuesof‘culturaldemocracy’andthe‘democratisationofthearts.’19Lessthan
5%ofAustraliansidentifiedthemselvesas‘theatre‐going’(althoughthisfigure,inall
likelihood,maynotcapturenationalparticipationinthecountry’samateurtheatrefield
that,insomeregions,wasanunderlyingelementofcommunitysociallife),20whilsta
smallproportionofthepopulationregularlyvisitedotherculturalinstitutionssuchas
artgalleries,orballet,opera,andsymphonyorchestraperformances.Inlightofthese
figureshoweverIwouldarguethatthepopulation’sparticipationin,andattendanceat,
culturaleventsintheirowncommunitysuchas:brassbandsandothergenresofgroup
music‐making,choralevents,eisteddfods,socialdancing,cabaret/nightclub
entertainments(suchasthosecurrentlybeinginvestigatedbyJonathanBollen),and
amateur/communityartandcraftsocieties,arenotcapturedinthesefiguresthatreflect
attendanceatprofessionallyproduced,so‐called‘high‐brow’events.
OneoftheAustraliaCouncil’skeyobjectiveswas“topromotethegeneral
applicationoftheartsinthecommunity”andforthesocial‐reformistLaborgovernment
ofthemid‐1970s,“thecommunity”reallydidreachbeyondthebourgeoissuburbsofthe
majorcities.WhilstthewholeofAustraliahasalwaysproveddifficulttoreach,thenew
Laborgovernment’ssocialreform‐agendaaimedforasmuchofAustralia’spopulationas
couldpossiblybereached.AmongstthestatedaimsoftheAustraliaCouncilwasthe
priority“toprovide,andencourageprovisionof,opportunitiesforpersonstopractice
thearts”and“topromotetheappreciation,understandingandenjoymentofthearts.”21
“Participation”wasalsoakeyobjective,22togetherwiththeprimaryaimto“provide
excellenceinthearts.”23Milneprovidesabriefanalysisofworkbycritical
commentatorswhohavearguedthatcommunityartsemergefromcomplexthreadsof
6
politicallyandsociallyengagedartspracticespanningseveralcenturiesandnumerous
internationalsites.Thelistofpossibleprecursorsforsociallyengagedartspractice
includes:themedievalreligioustheatre,paganceremonies,commediadell’arte,
VictorianMusicHall,circus,Meyerhold’stheatre,worker’stheatremovementsofthe
1920sand1930s,the1960scounter‐culture,BritishandAmericanpoliticaltheatre
troupesofthe1960s.Milneconcludesthat“the[Australian]communityartsmovement,
andcommunitytheatremoreparticularlywereundoubtedlypoliticallyinfluencedin
theirincubation(ifnotaltogetherintheircreation)andintheirpractice,muchofwhich
wasdistinctlyleft‐leaning,”whilstits“workingmethods,socio‐politicalethosand
theatricalgenresofradicalactivistpoliticaltheatres”were“certainlyadoptedfrom
abroad.”24
Acollaborativeactofhistory‐making
InDecember2010theAustralianCircusandPhysicalTheatreAssociation(ACAPTA)
conveneda‘muster’inSydney(nota‘conference’)forpeopleinvolvedwithor
interestedincircusandphysicaltheatreproduction.Iwasoneoftworepresentatives
fromthetertiarysector(theotherbeingoneofmypostgradstudents),therebecauseI
waskeentoopenupthefieldofyouthcircustointerrogation,cognisantthatIneededto
meetwithworkersandproducersinthisfieldandthatanysubsequentresearch
requiredadialogicrelationshipwiththesector.Oneoftheactivitieseveryoneengaged
inoneafternoonwasthecreationofa‘timeline’ofcircusinAustralia,anexercisein
groupmemory.(Seeimages)Somewhattellingly,thetimelinebeganin1975—a
contentiousmatterformeinlightofmyresearchintoAustralasiancircusofthe19thand
early‐20thcenturies—butatouchstonedateforthecurrentgenerationofcircus
performerswhoconsiderthattheircircuswas(re)inventedinAustraliainthemid‐
1970s.Reflectingeventsthatsomeofthemhadlivedthroughandbeenkeycontributors
to,thefirstperformanceseasonbythetroupenamedNewCircusfromAdelaidewas
notedin1973,alongsidethefirstseasonin1974bytheMelbourne‐basedSoapBox
Circus,astreettheatreandagit‐propgroupthatemergedfromtheAustralian
PerformingGroupatthePramFactory.MembersofNewCircusandSoapboxCircus
were,subsequently,theco‐foundersofCircusOz(founded1978)who,accordingtothe
group‐sourcedmemoryline,“builttentthemselves‘byhand’”andrespondedtothe
recognitionthat“Australianeedsitsowncircus–you’reit.”25Therewerestillquitea
fewfamilybased,traditionaltentingcircusestouringAustraliaduringthe1970sbutthe
youngproducersofAustralia’sNewCircuswantedadifferentsortofcircusianiteration
thatembodiedthenewdirectionsofliveperformancetheywereapartof.(Oneofthe
timelineentriesisthe1976show,“Waiterthere’sacircusinmysoup,”attheLastLaugh
venueinMelbourne,indicatingthecommonterritorythatwassharedbytherenewed
interestincircusartsandtheemergingnewcomedyfield.)
Graffitiedacrosstheearlystagesofthetimelinearepersonalnotesthatrecallthe
socio‐politicalimperativesandidentitypoliticscentraltothecommunityartsmovement
ofthe‘secondwave’—‘feminism,’‘hardwork,’‘grassroots,’‘purpose,’‘political,’‘young
andstupid,’‘tryanything,’‘charged,’‘inspired,’‘non‐hierarch’(sic),‘experiment,’
‘prototype.’NearbyonthetimelineareshorthandrecollectionsofAustralia’sgrowing
theatricalbricksandmortarinfrastructure,suchastheopeningoftheAdelaideFestival
Centre,andLaMamaandthePramFactoryinMelbourne.Aperfunctoryandslightly
7
facetiousnoteatthecommencementofthetimelineacknowledgesaseparateAustralian
circushistorythat,totheyounginnovatorsofAustralia’sNewCircus,waspartofa
parallelandnon‐intersectingperformanceuniverse:“Onceuponatimetherewastrad
circuswithanimals,forfamilies.TheytouredaroundAustraliaintheirtentswiththeir
truckseducatingtheirchildren.”
Twoentriesnearthestartofthetimelineacknowledgetheinternationalflowof
circus,andinparticular,communitycircusperformers,toAustraliaduringtheearly
1970s.In1972theNanjingAcrobaticTroupevisitedfromChina,aprofessional
performancetroupehighlyskilledintraditionalChinesecircusforms;andin1975(not
1972asnotedinthetimeline)ElCircodelosMuchachos(theboys’owncircus)toured
Australia.Thistroupehadbeenestablishedandwas,atthattime,ledbyaSpanishpriest,
FatherJesúsSilva,whohadestablisheda‘cityrepublic’forunderprivilegedboysin
Galiciain1956.Later,buildingonhisowncircusfamilyheritage,Silvaestablishedfirsta
circusschool,andthentheboys’circustroupethateventuallytouredinternationallyto
highacclaim.26ElCircodelosMuchachoswasanexemplarthatembodiedelementsof
whatwenowtermyouthcircus,thesociallyengagedaimsofsocialcircus,andthe
commercialinterestsoftraditionalcircus—oneofFatherSilva’saimsinestablishingEl
CircodelosMuchachoswasthatthetroupemightfinanciallycontributetoLaCiudadde
losMuchachos(theCityofBoys),the‘cityrepublic’.
Commentsappendedtothesetwoeventsonthetimeline(Nanjingand
Muchachos):“Noonehadseenanythinglikeit!Wewanttodothat!”and“Playful,fun,
wewanttodothat!”areperhapsmythologisingstatementsthatdenytheextentto
whichcircusandvarietyperformancewasincirculationduringtheyearswhenthe
peopleleadingtheemergenceofcommunityandNewCircusweregrowingup.
TraditionalcircusperformancewasaprevalentfamilyentertainmentinAustraliaduring
the1960s,andthecircusartshaveinfusedVarietyperformanceinAustraliafromthe
late‐19thcenturyonwards.JonathanBollen’sresearchhasshownthatliveVariety
becameoneofthestaplesoflivetelevisionproductionduringthe1960s,justafewyears
aftermainstreamtelevisionbroadcastingbeganin1956.27Thiswastheperiodwhenthe
innovatorsofcommunityandNewCircusweregrowingup,andthusitislikelythey
wereexposed,throughtelevisionandfamilyoutings,tovariousskilldivisionsofthe
circusartssuchasacrobatics,tumbling,juggling,cycleactsandthelike.Atleastoneof
theearlyNewCircusinnovators,SueBroadway,camefromafamilyofVariety
performers.
Thecircustimelineisaveryusefulrecordofpersonalknowledgeheldbythe
peopleattheACAPTA‘muster’inearlyDecember2010;neitherinfalliblenorabsolutely
thorough,itisneverthelessagoodbasisuponwhichtobuild.AbsentfromtheACAPTA
timelineisrecognitionoftheveryearlystirringsofcommunitycircus.Fromtheearly‐
1970scircusskillsworkshopstargetingyoungpeoplewereapartofmanycommunity
artsprogramsrunbygroupsinBrisbane(CircusArts),Sydney(PipiStorm),and
Canberra.PipiStormChildren’sCircus,forexample,tourednationallyfrom1975
throughtothe1980s,introducingperformance‐basedcircusskillstoyoungpeople
throughworkshopsandcommunityperformances.28Theintroductiontotheseskills,the
opportunitytogainproficiencyinthemandtoshowcasethemincommunity
performancesgeneratedinterestinaudiencesandparticipantsacrossthecountry,
especiallyinregionalareaswheretouringwasfocussed.AlongsidethegrowthofNew
8
Circus,mostvisiblythroughCircusOz,theestablishmentoftheFlyingFruitFlyCircus
foryoungpeoplein1979providedahighprofileandnationalfocusforwhatwas,bythe
late‐1970s,alreadyawell‐establishedinterestanddemand.
Throughoutthe1980stheFlyingFruitFlyCircusinAlbury‐Wodongabecamea
focusforyouthorientedcircusartsactivity.Itwasaswellasthelocusforseveral
internationalskillstrainingworkshopsthat,accordingtoaccountsofthoseinvolved,
substantiallychangedthecultureofAustralianNewCircusbyleadingtoamarkedly
higherlevelofskills.29Theinstitutionalisedgrowthofyouthcircuswashoweverslow
throughoutthe1980s.Bytheendofthedecade,Australiahadjusttwoyouthcircus
organisations,theFlyingFruitFliesand,1000kilometresaway,CirkidzinAdelaide,
SouthAustralia.Setupintheindustrialinner‐westernsuburbsofAdelaidein1986,the
guidingaimofCirkidz’sfounderswastoprovideahealthy,recreationalfocusfor
disadvantagedyouthinthearea—goalsthatspannedthetwofrequentlyintersecting
objectivesofwhatwenowdescribeas‘youth’and‘social’circus.Althoughthe
institutionalisedoutcomesofAustralia’scommunityartsmovementmayappeartohave
beenslim,bydecade’send,inthefieldofcommunitycircus,the1980swere
neverthelessaperiodthatgaverisetoseveralwomen’scircusinitiatives;thefirst
communitycircusfestivalinBrisbane(1983);astrengtheningofideasaroundwhat
youthcircuscouldbe(asaresultoftheflagshipFlyingFruitFliesyouthcircus);a
consolidationofNewCircus’sstyleandethos,particularlythroughCircusOz;30the
arrivalofRegBoltonfromtheUK(clown,teacher,communityartsworker)whosettled
inWesternAustraliain1985;31theinclusionofphysicalcircusskillsandacommunity
artsethosinUniversityprogramssuchasCharlesSturtUniversityinBathurst,New
SouthWales;anincreaseindisusedlightindustrialspacesthatadhoccollectionsof
artistsoccupiedforrehearsalandclasses;andtheincreasingubiquityofcircusartsin
conjunctionwithmanycommunityartsprojectsacrossthecountry.These,andmany
otherfactors,suchasthegrowthofartsfestivals,theincreaseinartseventsfundedby
localgovernment,andabynowentrenchedfascinationwiththephysicalinnew
Australianperformance,allcontributedtothecommunitycircusboomofthe1990s.
Communitycircusinstitutionalisationduringthe1990s
Throughoutthe1990sasurgeinyouthandsocialcircusinAustraliamirrored
similartrendsoverseas.32Athome,thisgrowthoccurredalongsideanincreaseinadult
physicaltheatreandcontemporarycircuscompaniesproducingnewworkfor
commercialmarketplacesthatincludednationalandinternationalartsfestivals.33The
followinglistrecordscommunitycircusgroupsthatbeganinthe1990sandarestill
operating.Thus,allofthefollowingnot‐for‐profitorganisationshavebeenoperatingfor
between14and23years,mostwithminimal,andattimesnoexternalfundingfrom
sourcessuchaslocalcouncils,communityorganisations,philanthropy,state,andfederal
artsfundingsources.Partofmylargerprojectwillinvolveaninterrogationofthe
extraordinaryresilienceofthesegroupsandtheoperationalmodelstheyhave
developed.Withregardtogroupsthatstartedupduringthe1990sandarestill
operating,thefollowinglistmaywellbeincomplete.Notrecordedherearethemany
groupsandadhoccommunitycircusprojectsthatwereeithershort‐livedorattachedto
publicfundingthroughlocalcouncilsorlargercommunityartsprojects.
9
WarehouseCircus(established1990inCanberra),ayouthcircus
“dedicatedtoimprovingthementalandphysicalhealthofyoung
peoplethroughthemediumofcircus”;
Women’sCircus(established1991inMelbourne),perhapstheearliest
organiserofsocialcircusprojectsthatweredirected,initially,atwomen
whoweresurvivorsofsexualviolence;
SpaghettiCircus(established1992,Mullumbimby,northernNewSouth
Wales),ayouthcircusabouttomark21yearsofoperations;
Blackrobats(established1994inKuranda,NorthQueensland),providing
indigenousyouthwithcircusartsparticipationopportunities;
TheatreKimberley(established1995,Broome,WesternAustralia),a
subsidiaryofwhichisSandflyCircus,providingpublicyouthcircusclasses
andperformanceoutreachtoremotecommunitiesinWA’snorthwest;
POWPerformingOlderWomen’sCircus(established1995in
Melbourne),tooffercircusartsskillsdevelopment,aswellasensemble
performanceopportunities,towomenintheover‐40agerange;
VulcanaWomen’sCircus(operatingsinceitsfirstprojectin1995in
Brisbane),outreachprogramsto“marginalisedcommunitiesofwomenand
youngpeople,”supportforemergingartsworkers,performers,andriggers,
andprojectworkwith“youthservices,healthservices,counselingand
supportservices,Indigenousservices/groups,schoolsandlocalcouncils;”
WestsideCircus(Melbourne)established1996byDebbyMaziarzwhowas
amemberofWomen’sCircus.Outofaninitialprojectforfemalejuvenile
offenders,theprogramextendedtooffercircusskillstrainingand
performanceopportunitiesforyounglocalwomen.Sociallyengaged
interventionprojects,apublicprogramofclassesforchildrenandyoung
people,andpublicperformanceshavebeenthebasisofthegroup’s
operationsuptothepresent;
WestAustralianCircusSchool(establishedmid‐1990s,Fremantle)
providesclassesandperformanceopportunitiesforpeoplefrom3+to
youngadults;
SlipstreamCircus(classesfrom1997,established2000,northwestcoast
ofTasmania),communityyouthcircusorganisation;
FlipsideCircus(established1997,Brisbane),circusartstrainingfor
childrenandyouthfrom18monthsto18years;socialcircusprogramswith
variouscommunitypartners;
Aerialize:SydneyAerialTheatre(established1999,Sydney)“topromote
circusandaerialskillsinthecommunity.”Publicclasses,corporateand
communityperformance.In2000AerializeestablishedZanyYare,apublic
youthcircusprogramintheBlueMountainswestofSydney;
Thedecadeofthe1990swasalsowhendedicatedcommunitycircus
festivalsbegantooccuronaregularbasis,andwhencircusartswere
trialedinafewNSWprimaryschoolsasastrategytoengagechildrenwho
weredifficulttoteach.34
Eachofthegroupsmentionedabovebeganinshakycircumstanceswith
interwovengoalsthatincludedenrichedsocialintegrationfortheindividual,
contributiontothecommunity,aswellasimprovementstotheindividual’shealthand
socialwellbeing.Thedrivesofthepeoplethatbeganthesenot‐for‐profitorganisations
10
wereidealistic;eachofthesegroupswasfoundedwithanunwaveringbeliefthat
participationinthecircusartscanfostergoodhealth,creativity,andastrengthened
senseofself‐esteemandwell‐being.ArecentdocumentwrittenbyBrisbane’sFlipside
Circusarticulatesaknowledgebasethathasalwaysunderpinnedyouthandsocialcircus
activity—thatthecircusartscan,anddofoster:
positivedevelopmentofyoungpeoplebypromotingactiveparticipationand
community‐mindednesstoencourageleadership,resilience,confidence,
improvedcommunicationskills,respect,andahealthylifestyle.35
Byitsverynature,circustrainingandperformanceishybrid.Bothsportyandcreative,it
producesimaginativeoutcomesasmuchasitdevelopshighlyskilledphysical
proficiencies.Withmusicanddanceitsharesthedevelopmentofrhythmandprecise
physicalskills;withsportitsharesthedevelopmentofstrength,speed,physical
developmentandteambuildingwhilstavoidingthecompetitivespiritsoessentialto
sportingendeavour;withdramaitsharesthedevelopmentofself‐confidence,
performanceskills,andlateralthinking(recognisingtherearemanysolutionstoasingle
problem)butiswithoutthespokenwordandcharacterdemandsintrinsictoawritten
text.Thephysicalexuberanceofthecircusarts,withinthenexusofdisciplineand
creativity,arefactorstowhichparentsandcircustrainersattributeitspopularity.The
samedocumentfromFlipsidenamestheorganisation’scorevaluesas:“toshowoff,to
takerisks,totrust,todreamandaspire,toworkhardandtolaugh,”alistthatcaptures
someofthevaluesthathaveinfusedcommunitycircusactivityinAustraliasinceits
emergenceduringthe1970s.
Withtheexceptionofsomeofthecoreactivitiesofthevariouswomen’scircus
groupsnamedabove,children,youthandyoungadultshavebeenandcontinuetobethe
principaltargetsubjectsformostcommunitycircusactivity.Theseparationof‘youth’
and‘social’circus,bothinterminology,andinpractice,isarelativelyrecentdistinction
thathasgainedsometractionwithinthesector.Bothinstinctsinformedthe
establishmentofmostofthegroupsnamedabove,aself‐consciouslegacyofthe
communityartsmovementinAustraliathroughoutthe1970sand1980s.The
terminologicaldistinctionthatIhavehadrecoursetothroughoutthispaperisinuse
throughoutthecircussectorinAustraliabutitsuseisbynomeansabsolute.Mylarger
project—togather,interrogate,andnarratetheculturalhistoryofAustralian
communitycircus—hasledmetodescribeafieldofactivitythathasnotpreviouslybeen
thesubjectofhistoricalinvestigation,withinacontextthatrecognisesbothnationaland
internationaltrends,andterminology.
Itisincumbentuponme,withinmylonger‐termproject,tointerrogateandtease
outthebroaderaesthetic,social,andpoliticalconditionsthatcontributedtothegrowth
ofcommunitycircusinAustraliaduringthe1990s—someofthecontributinghistorical
influenceshavebeenmentionedabove.Acrossthefieldofexpandedartspractice
internationally,the1990sisaperiodwhen,accordingtoartcriticandacademic,Clare
Bishop,a“returntothesocial”occurredthroughoutmanyartforms.36This‘socialturn’
inthevisual,liveandperformanceartscoincidedwithmovementsforsocialchangeand
resultedinasurgeofparticipationandcollaborationinthearts.Inbroadterms,the
expansionofyouthandsocialcircusthatoccurredinAustraliaandinternationally
duringthe1990schimeswithBishop’sanalysisthatparticipatoryartduringthisperiod
11
derivedfroma“utopianrethinkingofart’srelationshiptothesocialandofitspolitical
potential.”37Asdiscussedinthispaperhowever,thegenesisofthefloweringofsocial
engagementthroughthecircusartsthattookplaceinAustraliaduringthe1990s
occurredtwodecadesearlier,whenanewtrajectoryforthecircusartsemergedfrom
thecommunityartsmovement.
Concludingcomments(provisional)
Anecdotally,thecommunitycircussectorisundergoinganotherperiodofgrowth
inAustralia,primarilyinyouthcircus.Thefullextentofactivityisnotfullyknownandit
isgenerallythoughtthatamappingofactivityisdue.Since2000newgroupshave
becomeestablished,afewhaveevaporated,inmostcases,thegenealogiesof
organisationswithinthissphereareintertwined.Pocketsofindigenousactivity
currentlyoperateoutsideofmoremainstreamsectoractivityinAustralia’smajor
centres.
Circusactionisalsoleachingintogymnastics,dance,andfitnessorganisations
whereaesthetics,playfulness,bestsafetypractices,andwhatcanbesummedupasthe
ethosofcommunityartspractice,arefrequentlyomitted,andatbest,secondary,tothe
functionandnoveltyvalueofphysicalcircusaction.
Currentchallengestothesectorincludethematterofcertificationforcircus
trainers.Thereisatpresentnorequirementforcertificationasacircustrainerbut
mattersofinsurance,liability,healthandsafetyaremuchmorepressinginoursociety
thattwentyyearsago.Theyouth/socialcircussectorisdecidingamongstitspeers
whether,orhow,toinstituteagreed‐uponlevelsofcertification,andwhetherthesewill
becomeamandatoryelementofbestpractice.
AsaresultofrecentdiscussionwithtwoofAustralia’syouthandsocialcircus
organisations,Iperceiveanother,ideologicalchallenge—whattodowiththe
‘community’incommunitycircus.Mostorganisationsthatsetuppriorto2000have
experiencedachangeofleadershipandinsomecases,theleadinstigatorofthegroup
departedwithmisgivingsaboutthedirectioninwhichtheorganisationwasheading.
Withboardsofgovernance,weeklywagesandinfrastructurebills,establishedprograms
tomaintain,andtheneedtobecome‘competitive’inthecompetitivefieldoffundingand
philanthropy,utopianidealsthatunderpinnedtheprecariousandlabour‐intensive
formationofthesegroupsarecompetingwithsustainabilitygoalsinachanged
economicenvironment.Theexigenciesofsurvivinginthecurrenteconomy(when
flourishingisabettergoalthanjustsurviving),thedesiretolaydownsuretyforthe
futureoftheorganisation,andpressuretoproduceworkofahighaestheticvaluethat
will,inturn,attractcentralisedartsfunding,arejustsomeofthechallengesinfluencing
thesectortoday.Inpreviouserasofchange—the1970‐80s,andthe1990s—‘the
process’incommunityartswasmoreimportantthantheaestheticqualityof‘the
product.’Communitywas,aspositedbyMirandaJoseph,“thedefiningotherof
modernity,ofcapitalism.”38Embeddedinthe‘Romantic’discourseofcommunitywasa
“narrativeofcommunityaspriorintimeto‘society,’locatingcommunityinalong‐lost
pastforwhichweyearnnostalgicallyfromourcurrentfallenstateofalienation,
bureaucratization,rationality.”39Thefoundationofcommunitycircushasalwaysbeen
12
itshumanizingandenablingvalues.Balancingthesevalues,alongsidethesector’s
growingpopularity,andwithincurrenteconomicconstraints,arejustsomeofthe
challengesthatcommunitycircusorganisationsinAustraliaarenegotiating.
NOTES
1Classesincludeskillstraininginacro‐balance,arangeofaerialwork,hula‐hoop,stilt‐walking,juggling,
acrobatics/tumbling,silk/tissu,unicycle,diabolo,Germanwheel,poi,etc.Strength,flexibility,discipline
andplayfulnessresultfromthetraining;teambuildingandcollaborationarecentralelementsinclasses.
2Sydney’sNewTheatrewasestablishedin1932andcontinuestoday.IntheHunterValleyregionthe
Workers’EducationAssociation(WEA,established1913)nurtured“abroadrangeofculturalactivities,
includingamateurtheatre[and]wasassociatedwiththeemergenceofaNewcastlebranchoftheNew
Theatreinthe1930s.”(G.ArrighiandDavidWatt,"(Re)Constructingthearchive:aregionalperspective
onperformancehistories,”inScrapbooks,SnapshotsandMemorabilia:HiddenArchivesofPerformance,ed.
GlenMcGillivray(Bern:PeterLangAG,2011),67‐82,at48.
3TheFlyingFruitFlyCircusisbothatrainingcentreofexcellenceforyoungpeopleaged8‐18anda
performingartscompany.SubstantiallysubsidisedbyStateandFederalfunding,FFCalsoprovideshigh
schooleducationandisoneofAustralia’seliteartstrainingcentres.http://fruitflycircus.com.au/
4SeeforexampletheBlueBlouseagit‐proptroupesandLivingNewspapersinSovietRussia(1920s),
BritishWorkers’TheatreMovement(est.1926),RedMagaphonesintheWeimarRepublic,andthe
FederalTheatreProjectintheUS(est.1935).
5http://womenscircus.org.au/
6http://home.vicnet.net.au/~powcirc/
7Seephotographicstillat:http://www.flickr.com/photos/festlinx/3037277411/
8http://www.flipsidecircus.org.au/Circus‐Classes/Unthink‐The‐Impossible.aspx
http://www.qld.gov.au/disability/children‐young‐people/circus‐therapy‐experiences/
9MirandaJoseph,AgainsttheRomanceofCommunity(Minneapolis:UniversityofMinnesotaPress,2002).
10Joseph,RomanceofCommunity,1.
11IgainedthisinsightduringameetinginNovember2011withGilFavreau,Directeur–Actionet
responsabilitésociales(Director,SocialActionandResponsibility,GlobalCitizenshipService),atCirquedu
SoleilInternationalHeadquartersinMontreal.
12See:HelenNicholson,AppliedDrama:thegiftoftheatre(Basingstoke:Palgrave,2005);Monica
PredergastandJulianaSaxton,AppliedDrama:afacilitator’shandbookforworkingincommunity(Bristol,
UK:Intellect,2013);PhilipTaylor,Appliedtheatre:creatingtransformativeencountersinthecommunity
(Portsmouth,N.H.:Heinemann,2003).
13MichelLafortune,CommunityWorker’sGuide:whencircuslessonsbecomelifelessons(Montreal:
FondationCirqueduSoleil,2011),14.
14GeoffreyMilne,TheatreAustralia(Un)Limited:Australiantheatresincethe1950s(Amsterdam:Rodopi,
2004),123.
15SeealsoGabrielleWolf,MakeitAustralian:theAustralianPerformingGroup,thePramFactoryandNew
WaveTheatre(Sydney:CurrencyPress,2008);JulianMeyrick,SeeHowitRuns:NimrodandtheNewWave
(Sydney:CurrencyPress,2002).
16SeeMarkGauntlett,“Funding‘Australia,’CanadianTheatreReview74(Spring1993):12‐17;Justin
Macdonnell,Arts,Minister?GovernmentPolicyandtheArts(Sydney:CurrencyPress,1992).
17Milne,TheatreAustralia,215.
18OngoingresearchbymyselfandVictorEmeljanowontheEntertainingChildrenprojecthasbroughtto
lightmainstagetheatreproductionsproducedforchildrenandtheirfamiliesduringtheperiodpost‐1880;
theEasterandChristmaspantomimeseasonsofthelate‐19thcenturieswereproduced,arguably,for
youthfulconsumersandtheirfamilies;theatreinschoolsinitiativesoccurredduringthe1950sinpartsof
Australia,andreappearedwithgreatstrengthduringthe1980s.
19Milne,TheatreAustralia,217.SeealsoDavidWatt,“CommunityTheatreinAustralia:‘Excellence/
Access’and‘Nation/Community’”,CanadianTheatreReview74(Spring1993):7‐11.
20Todate,verylittleresearchhasbeenundertakeninconsiderationofamateurperformanceinAustralia.
21Milne,TheatreAustralia,217.
22Watt,“CommunityTheatre,”8.
23Milne,TheatreAustralia,217.
24Milne,TheatreAustralia,219‐220.
13
25ForahistoryoftheemergenceofNewCircusinFrance,theUS,CanadaandAustralia,seeJaneMullet,
“CircusAlternatives:theriseofNewCircusinAustralia,theUnitedStates,CanadaandFrance,”PhDdiss.,
LaTrobeUniversity,2005.
26ObitforFatherJesúsSilva,TheTelegraph(London),12September,2011.
27“Televisionpromoteditselfasthenewmediumofentertainmentbyindulgingitsaudience’snostalgia
forpastgenresofvarietyentertainmentfromthestage.Minstrelshows,musichallsongs,old‐fashioned
dances,periodcostumesandveteranstageperformerswerestandardfareinthefirstdecadeofvariety
televisioninAustralia.”JonathanBollen,“FromTheatricalNostalgiatoModernistDesign:nightclubsas
venuesforliveentertainmentinMid‐20thcenturyAustralia,”inAWorldofPopularEntertainments,G.
ArrighiandV.Emeljanoweds.,(Newcastle‐Upon‐Tyne:CambridgeScholars,2012),68‐82at73.
28Thisinformationcomesfromaconversationwithmycolleague,BrianJoyce,anearlymemberofPipi
StormChildren’sCircus.
29In1983theNanjingAcrobaticTroupeofChinaprovidedatrainingprojectatFFC(Nanjing1),followed
byasecondtrainingprojectin1986(Nanjing2).TrainingprojectswithartistsfromtheMoscowcircus
followed.
30“Inthe[CircusOz]1988showthecircus’skillsandpoliticswereprobablymosteffectivelycombined.
Sincethenthecircushaschangedmarkedly,withanincreasingemphasisonfamily‐styleentertainment.
By1995,therewasvirtuallynosignoftheleft‐wingpoliticaledgealthoughtheskilllevelandthe
entertainmentvalueofaveryslick,professionalproductionremainedhigh.”Milne,TheatreAustralia,35.
31TheinfluenceofRegBoltonuponthedevelopmentofcommunitycircusinAustraliahasbeen
significant.
32R.Sugarman, Circus for Everyone: circus learning around the world (Vermont: Mountainside Press, 2001); S.
Ward, “The Not So Naughty Nineties: a decade of circus developments 1991-2001,” (2001) at
http://www.americanyouthcircus.org/Default.aspx?pageId=794362#steve_ward, accessed March 29, 2011.
33GeoffreyMilne, “Promoting Agency or ‘Stepping-stones R Us’? Recent Melbourne Youth Theatre,”
Australasian Drama Studies 47 (Oct 2005): 121-139 at 135.
34PaulWoodheadatDubboSouthPrimarySchoolledtheseinitiatives.IamindebtedtoPaulforsharing
everythinghehaswrittenabouttheseprojectswithme.
35Flipside,briefing,April2013.
36ClareBishop,ArtificialHells:participatoryartandthepoliticsofspectatorship(London:Verso,2012),3.
SeealsoShannonJackson,SocialWorks:performingart,supportingpublics(MiltonPark,Abingdon,UK:
Routledge,2011).
37Bishop,ArtificialHells,3.
38Joseph,RomanceofCommunity,1.
39Joseph,RomanceofCommunity,1.
14