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Continuing training for circus arts teachers : planning, facilitating and evaluating"This publication was born out of the FEDEC's desire to equip school directors and pedagogical directors with a tool enabling them to provide their teachers an offer of training and professional development in line with the evolutions of the profession of circus arts teacher in a professional circus school and adaptable to its local, national or international context.
The first part of this guide recalls the context and the reasons for its creation: it gives keys of understanding the stakes related to this guide and specify who the main recipients of this tool are. The second part defines the educational foundations of the INTENTS training sessions, which are real experiments of training environments. They are designed to serve as reference for the training courses to come. Finally, the third part introduces the proposals regarding the planning, the facilitating and evaluation of training schemes. These proposals deal with the two main categories of training set up ("intra" formations, within schools, on the one hand, and "inter" formations, bringing together teachers from different schools, on a regional, national or international level, on the other hand)." [editor summary]
Support and alignment : in search of balance : sensation, development and creation in equilibristrics : pedagogical guide"It is on the basis of field observations and concrete pedagogical issues that several texts are suggested to deepen, explain or question the notions linked with balance, while giving the floor to those who have animated or participated in the training. While this book is not meant to describe the exercises involved in these practice times, their observation has made it possible to draw threads and to propose different tools that can be transferred to the pedagogical practices of each one. The two main parts of the manual are: building balance and developing a connection with balance. More than methods that impose rules or protocols, these sensitive approaches allow, at a given moment, to formalise the practices and to spread them. For all that, they go far beyond speech and writing and find their full realisation only when the body is in motion. "
The manual makes it possible to formalise the practices of the professionals of today and to disseminate them. The proposals are transferable from one apparatus to another and from one practice to another and allow to start a transversal reflection on aerial skills or, more generally, on the way in which the circus arts are constantly facing, the stakes and difficulties of vertical work, weight and gravity. [editor summary]
Thinking Through CircusThinking Through Circus gathers ten dialogues with and between circus artists. Each entry bears witness to how a specific circus practice is (also) a practice of critical thinking, revealing how feminism, queerness, dramaturgy, love, disobedience, posthumanism and the aesthetico-political imaginary are rethought in and through contemporary circus practice.
With this book, The Circus Dialogues wants to tend to the embodied relationships between contemporary circus and today’s world, defending circus as a field in which experimental thinking is already happening and can continue to happen. Doing so, we hope to contribute to a more sustainable circus, expanding both accountability and agency within our field.
The Circus Dialogues is a two-year artistic research project at KASK School of Arts Ghent (BE) led by Bauke Lievens (BE), Quintijn Ketels (BE), Sebastian Kann (US/DE) and accompanied by Vincent Focquet (BE). Our work delves into and makes space for encounters between theory and artistic circus practice. The Circus Dialogues aims to shine a light on the circus as a field in which experimental thinking is already happening, and we work to ensure the ongoingness of such thinking in an artistic and institutional ecology that’s long-term sustainable. We do this first and foremost through our diverse artistic practices. In parallel, we organize reading groups and collaborative gatherings for circus artists. We have also published several Open Letters to the Circus. Our activities are conceived with the intention of helping to imagine the circus field as both important and political. Most importantly, we defend circus as an open and undefinable form. [editor summary]
Contemporary circusIn this volume, twenty-four creators come together with three scholars to discuss Contemporary Circus, bridging the divide between practice and theory.
Lavers, Leroux, and Burtt offer conversations across four key themes: Apparatus, Politics, Performers, and New Work. Extensively illustrated with fifty photos of Contemporary Circus productions, and extensively annotated, Contemporary Circus thematically groups and contextualises extracts of conversations to provide a sophisticated and wide-ranging study supported by critical theory.
Of interest to both practitioners and scholars, Contemporary Circus uses the lens of ‘contestation,’ or calling things into question, to provide a portal into ways of seeing today’s circus performance.
Conversations with: Lachlan Binns and Jascha Boyce (Gravity and Other Myths), Tilde Björfors (Cirkus Cirkör), Kim ‘Busty Beatz’ Bowers (Hot Brown Honey), Shana Carroll (The 7 Fingers), David Clarkson (Stalker), Philippe Decouflé (Compagnie DCA), Fez Faanana (Briefs), Mike Finch (Circus Oz), Daniele Finzi Pasca (Compagnia Finzi Pasca), Sean Gandini (Gandini Juggling), Firenza Guidi (ElanFrantoio, NoFit State Circus), Jo Lancaster and Simon Yates (Acrobat), Johann Le Guillerm (Cirque Ici), Yaron Lifschitz (Circa), Chelsea McGuffin (Company 2), Phia Ménard (Compagnie Non Nova), Jennifer Miller (Circus Amok), Adrien Mondot (Compagnie Adrien M and Claire B), Charlotte Mooney and Tina Koch (Ockham’s Razor), Philippe Petit (high wire artist), and Elizabeth Streb (STREB EXTREME ACTION). [editor summary]
Acrobates L’exposition Acrobates est réalisée par les musées municipaux de Châlons-en-Champagne en partenariat avec le Centre national des arts du cirque (Cnac) et en co-commissariat avec Pascal Jacob, historien du cirque et directeur artistique du cirque Phénix et du Festival Mondial du Cirque de Demain. À travers les collections des musées municipaux et l’incroyable collection privée Jacob-William, le thème de l’acrobate se décline sous toutes ses formes.
Acrobates met en lumière une sélection d’œuvres de typologies, époques et origines différentes, qui mettent toutes à l’honneur le geste acrobatique. Depuis les sculptures étrusques du ve siècle avant notre ère jusqu’aux œuvres de Picasso, Matisse ou Derain, le thème de l’acrobate est une inépuisable source d’inspiration.
Ce catalogue présente également des prêts de grands musées nationaux et internationaux, grâce à la participation de nombreuses institutions : Musée du Quai Branly-Jacques Chirac (Paris), MUCEM (Marseille), Musées Royaux d’Art et d’Histoire de Bruxelles, Nouveau Musée National de Monaco, Musée National des Arts Asiatiques – Guimet (Paris), Musée Picasso-Paris, Musée du Louvre (Paris), Musée des arts et métiers – Cnam (Paris), Musée Rodin (Paris), Bibliothèque municipale d’Angers, Musée Rolin d’Autun, ainsi que la collection privée « Circus Art Museum J.Y. et G. Borg ». [résumé de l'éditeur]
The art of feminism : images that shaped the fight for equality, 1857-2017Since its inception, the women's movement has harnessed the power of the image to transmit its message. From the posters of the Suffrage Atelier, to the photographs of Carrie Mae Weems, this comprehensive survey traces the ways in which feminists have shaped art and visual culture from the mid-nineteenth to the twenty-first centuries. Featuring more than 350 works of art, illustration, photography, performance, graphic design, and publlic protest, this stunning volume showcases the vibrancy and daring of the feminist aesthetic over the last 150 years. [editor summary]
I am a body of landf poetry is a place to question, I Am a Body of Land by Shannon Webb-Campbell is an attempt to explore a relationship to poetic responsibility and accountability, and frame poetry as a form of re-visioning. Here Webb-Campbell revisits the text of her earlier work Who Took My Sister? to examine her self, her place and her own poetic strategies. These poems are efforts to decolonize, unlearn, and undoo harm. Reconsidering individual poems and letters, Webb-Campbell's confessional writing circles back, and challenges what it means to ask questions of her own settler-Indigenous identity, belonging, and attempts to cry out for community, and call in with love. [editor summary]
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