Raising the profile of circus
I started as co-founder of Snapdragon Circus in 1985 and left after their first tented tour in 1988.
I started Skylight Circus Arts in 1989:-
I decided to review the current profile and look at possibilities for future from the perspective of a Small to middle scale organisation. Turnover 200k 6 permanent staff and a huge range of projects
Skylight, like several other organisations across the country, has come a long way in the last 10 years. Building a positive profile of circus, in several areas, has been crucial to our success. Whilst entertaining and educating the general public, we have convinced Local Authorities, RAB’s, TEC’s, etc., of the value of circus as a performing art and of it’s value as a tool within education, youth and community work, rather than viewing circus as populist entertainment, a bunch of clowns, vagabonds and ne’er do wells!
The profile of our projects has changed greatly :
In Education and community– initially 1 day tasters, to short residencies and 4 week projects, we are now in the final stages of 3 and 5 year projects using circus as a tool for personal and social development of young people. – NLCB and Rank Foundation
In Performance – from the double act on the street to collaborative arts performances with professional and community participants, we are now at the end of the first year of a 2 year performance project, working with a variety of artforms in a collaborative manner, inclusive- with a broad range of ability and a wide range of participants, some from our on-going sessions, others from local communities eg the Asian community.
In Training – from being self taught to a programme of training for both professional and amateur including some accredited courses. Several local performing companies now use Skylight’s base to rehearse.
The organisation – originally working from home, in isolation, we now have a permanent base and are active in several networks concerned with the profile of circus: the now defunct NWCN, currently NAYC, the occasional Circus Forum and the recently formed ECU – promoting youth circus across Europe, supported by EFECOT.
A major factor from the outset has been the acquisition of Business Management skills and a Professional attitude and appearance.
Our profile has also been assisted by external developments:
International circus - Cirque de Soleil, Archaos, Cirque Baroque,etc have shown what is possible on the large scale.
Why does it not happen here, for I believe we have the inspiration and creativity.
This is demonstrated by our many small to middle scale theatre / outdoor performance companies, developing the presentation, combining other artistic disciplines. While the audience for theatre based shows may be relatively small it may be argued that circus is at it’s most visible in outdoor festivals eg Manchester’s Streets Ahead with small street shows to large aerial spectacles.
In the community, in general Hobby juggling has topped out –(Beard enterprises, eqpt manufacturers), but our ongoing sessions and the use of circus as tool for education, youth work, personal and community development is growing. We are currently planning several residencies eg 6 to 12 sessions with youth clubs across Lancashire and we are supporting some long term developments eg Bolton Lads and Girls Club £63k A4E for a circus and dance project, providing staff training and advice and support. We could do more if we had more staff!
Traditional Circus , the changing profile of circus has also had effects in this area, with the major companies experimenting with themed human skill shows.
Having built this profile what do we do next, what are the opportunities for Skylight and others? How do we raise the profile further?
Firstly Skylight is looking for other premises in which to continue its development,
A centre for youth arts based around circus, a training space, a space to develop and create performance.
There are opportunities locally with regeneration monies, both European – ESF/ERDF
and SRB5 – using circus to involve young people in their communities, in partnership with our local authority .
We will also be developing and extending our NLCB funded Circus City project, working over the long term with young people on local estates and with young people with disabilities.
The next phase of our A4E performance project – STORM will make further links with local communities, indeed we intend to broaden the potential of the lottery money by focusing SRB5 and BBC Children in Need monies into the same local area to see what can be done with a concerted effort over 1 year.
All the above will require the training and development of support staff from youth and play services to work with our Circus animateurs.
How do we develop without further training/ time for r&d on training ? Indeed I feel the training of Teaching staff / community circus animateurs will be crucial to our future.
To this end we are working with European links – ECU, to explore this area, with 2 conferences planned in the coming year. Eg Circus Elleboog, Amsterdam has been using circus for personal and social development for 50 yrs. They are contacting all past participants to see what effect circus has had on their lives.
One crucial factor for our, and others, development is the issue of core funding. Compared to other similar arts organisations in our region, doing work of equal value, we are underfunded at core. The balance is paid in blood sweat and tears – we cannot do this forever. If the core of organisations is secure we can raise the project money, we will also have more money to use as match - for leverage.
We are addressing this issue with NWAB and RMBC at strategic planning levels, hopefully at an opportune time, when power is being devolved to the regions, and the priorities are Young people, social inclusion, regeneration etc
We must also, between us all, create a solid environment for circus to thrive in,
paying attention to all aspects, not just the high skill spectacle. We can create a performance where the person who can only throw and catch one ball can have equal status in a show with the numbers juggler or skilled aerialist. We must create a route from the school taster session to employment as a performer, animateur or teacher for those who "get the bug".
Glossary of organisations (funders / eurospeak)
ECU – European Circus Union – for youth circus
Efecot – European foundation for education of circus and occupational travelers
ESF – European Social Fund
ERDF – European Regional Development Fund
NAYC – national Association of Youth Circus
NWAB – North West Arts Board
NWCN - North west Circus Network
RMBC – Rochdale Metropolitan Borough Council
SRB5 – Single Regeneration Budget 5
Jim Riley Artistic Director Skylight Circus Arts, Chair NAYC