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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