Mémoires et thèses 

Cette thèse interroge le rôle de la culture dans des formes émergentes de développement local construites sur l’usage des territoires (les communs) et la qualité des milieux de vie (le buen vivir). Plus particulièrement, nous nous intéressons à la contribution des communs culturels territoriaux dans la revitalisation de territoires marginalisés. Comment les ressources culturelles d’un territoire peuvent générer des communs mis à profit d’un processus de développement local ? Telle est la question à laquellecette recherche veut apporter réponses.

Pour ce faire, nous avons étudié le cas du quartier Saint-Michel à Montréal. En réponse aux difficultés socioéconomiques, en lien avec sa désindustrialisation, auxquelles il doit faire face, ce territoire s’est engagé, depuis les années 2000, dans un vaste chantier de revitalisation urbaine intégrée. La présence d’un cluster des arts du cirque a contribué à mettre l’action culturelle au cœur des stratégies de développement du quartier. Cela a conduit à l’émergence d’une instance originale de concertation culturelle rattachée à la table de quartier Vivre Saint-Michel en Santé.

Appuyée sur une abondante documentation, notre thèse montre que cette table de concertation culturelle constitue un commun culturel, soit une forme institutionnalisée de gouvernance communautaire, permettant, la création, le partage et la préservation d’un large spectre de ressources culturelles. Ce commun réunit acteurs culturels, communautaires, administratifs, citoyens et citoyennes. L’action collective entreprise en son sein contribue à développer le capital social et humain de ses membres, leur permettant d’acquérir collectivement des expertises culturelles, sociales et territoriales mises à profit de la création d’initiatives culturelles répondant aux attentes et aux besoins des habitant.e.s du quartier. Ce faisant, elle devient un outil d’empowerment collectif. Par ailleurs, elle facilite la mobilisation du milieu autour des initiatives culturelles élaborées par les membres, et permet la coconstruction de plusieurs activités qui contribuent à nourrir le capital socioterritorial du quartier. Ce commun constitue un cadre cognitif permettant de faire émerger une vision commune du rôle de la culture dans la transformation du quartier. Cette vision sert non seulement à façonner les initiatives élaborées collectivement au sein de l’instance, mais elle permet, en outre, d’orienter l’action individuelle des membres dans un sens collectivement avantageux et désiré. L’analyse institutionnaliste de cette instance met en évidence ses modes de fonctionnement et pointe vers l’émergence d’une gouvernance polycentrique et communaliste des dynamiques culturelles du territoire dans laquelle les citoyens acquièrent la capacité collective d’exercer leurs droits culturels tout en contribuant à enrichir les dimensions symboliques du territoire dans lequel ils vivent.

This paper examines the Bible as well as circus history and American history to determine the most effective way to design costumes for the musical Godspell by John-Michael Tebelak for a modern audience. The aim of all of this research is to re-center Tebelak’s original inspiration: The Feast of Fools by Harvey Gallagher Cox. Over the years since the premiere of Godspell in 1970, it has become heavily associated with hippies rather than clowns, despite the importance of clowns and clowning to the play’s inception.

Taking inspiration from primary research of circus performers, religious iconography, and early 20th century pop culture, the final costume renderings encapsulate the complexity and individuality of each member of the ensemble. The ten characters represent a variety of different types of circus performers, and the archetypes associated with each circus act also serve to illuminate the characters’ personalities.

Est-ce que par les arts du cirque, il serait possible d’explorer la complexité de l’écosystème du Saint-Laurent et de transposer sur scène ce qui nous y relie ?

écH2osystème est un projet de recherche-création sur le fleuve Saint-Laurent. Il évolue au gré de la vitalité de cet écosystème et d’une démarche collaborative intersectorielle qui permet de transposer les connaissances au moyen des arts vivants. Le modèle écH2osystémique qui découle de ce projet, aborde la recherche-création maritime tel un mode d’exploration et de transposition d’une forme dynamique de la connaissance à partir d’un écosystème dont nous faisons partie.

En 2017, je pars à la découverte du Saint-Laurent. J’assiste au décorticage des appâts, à la photo dentification des rorquals, au déploiement des filets de zooplancton, à la relève des casiers de crabes des neiges, au déglaçage de la voie maritime, à un chargement portuaire de minerai de fer, aux manœuvres de pilotage sur le tronçon fluvial. Du fleuve au golfe, je rencontre plus de 300 acteurs et actrices de cet écosystème, venant des sciences marines et des eaux douces, de la pêche et de l’industrie maritime et portuaire. Je navigue à bord de navires de recherche, brise-glace, barges, barques, remorqueurs, traversiers, vraquiers. De ce sillage, émerge écH2osystème dont le processus de recherche-création maritime s’empreint de connaissances scientifiques et sectorielles, de savoir-faire et de milliers de mémoires qui s’amoncellent.

À même le pont des navires, des liens se tendent. Ces liens deviennent à la fois les fils conducteurs du récit et les mailles d’un langage acrobatique maritime qui se tisse. Pour traverser du fleuve à la scène, je croise les codes pour imaginer des manœuvres à travers un appareil novateur. Deux artistes de cirque à son bord, le O d’écH2osystème s’accroche à une grue sur les berges, de sorte que le fleuve rythme le récit en temps réel, au son d’un paysage sonore qui met en scène les échos des collaborateurs et des collaboratrices du fleuve au golfe. En suivant ce fil, l’approche de collaboration et de cocréation émergeant de ce projet, questionne le rôle possible des arts comme mode de connaissances à partir d’un écosystème, vu tel un système d’interrelations complexes dont l’humain fait partie. (Dansereau, 1973, p.81).

La complexité de l’écosystème du Saint-Laurent est telle, qu’il est impossible de la cerner en cumulant des données physiques, biologiques, chimiques, géologiques, économiques, historiques, géographiques ou sociologiques. Selon le sociologue Edgar Morin et l’écologiste Pierre Dansereau, la stratégie de la complexité interpelle les arts, indispensables à la découverte scientifique. (1990, p.313, 1973, p.58) Dans un contexte d’abstraction scientifique où la complexité est telle, « les arts donnent une forme d’existence aux phénomènes ». (Sermon, 2021, p.135) Vus telle une forme d’exploration et d’enquête, les arts, de concert avec les sciences, ont un potentiel d’agir, face à la nouvelle situation écologique de notre monde. (Latour, 2021, p.25) Cherchant à rétrécir la vie (Brook, 2003, p.131) à une échelle qui nous interpelle (Eco, 1965, p. 22), le modèle écH2osystémique part du principe que les arts, tel un mode collaboratif d’exploration (Latour, 2021, p.25) et de transposition d’une connaissance dynamique par la recherche-création (Schwab et al.,2018, p. 127), peut favoriser « l’extension de notre perception, afin de mieux nous reconnecter à notre environnement. » (Kisseleva, 2021, p.51).

Pour l’écologiste et biologiste Pierre Dansereau, les arts éclairent les découvertes en mettant les processus scientifiques en lumière. (1973, p.58) En ce sens, écH2osystème est un projet qui ne cherche pas à expliquer, mais à évoquer la dynamique du Saint-Laurent, omniprésente dans nos vies comme dans nos sociétés. Cette approche intersectorielle se trouve cœur de la démarche d’écH2osystème qui cherche à explorer l’écosystème du Saint-Laurent dans toute sa complexité, à saisir les potentiels stratégiques de la recherche-création comme mode de connaissance collaboratif et à nous interpeller sur un écosystème « dans lequel nous vivons, non pas au titre de spectateurs, mais au titre de participants. » (Berleant, cité dans Afeissa, 2015, p. 104).

The researcher aims to exploring Moral Value in The Greatest Showman movie. The objective of the research to find the Moral Value in “ The Greatest Showman Movie ”. The writer used descriptive qualitative method in this research. The instrument of this research was the “ The Greatest Showman Movie ”. The formulation of research was all the dialogue among the characters. Date collection technique uses in this research are choosing movie, watching movie, downloading the movie script, matching the movie script and the dialog of the movie, identificing the values to find the related classifying and selecting the relevant data. After conducting the research, the researcher found moral values in “ The Greatest Showman ” movie, such as : Honesty, Bravery, Peace Ability, Self Reliance ( Confidence ) , Cooperative, Loyalty and Dependability (Trustworthy ), Love and Affection, Responsibility, Unselfiness & Sensitivity ( Share ), Humanity, and Carefulness.

La barre russe est une discipline de cirque pratiquée par trois artistes. Deux porteurs propulsent un voltigeur en manipulant une barre flexible posée sur leur épaule. Les forces asymétriques auxquelles ils sont exposés peuvent, à terme, entrainer des douleurs lombaires chroniques. L’objectif de ce mémoire est d’étudier les charges intervertébrales auxquelles sont soumis les porteurs à l’aide d’une modélisation biomécanique. Un trio d’artistes de barre russe a été recruté pour participer à une collecte de données incluant de la capture de mouvement et des mesures électromyographiques. Un modèle musculosquelettique développé sur le logiciel OpenSim a ensuite été adapté aux conditions de chargement imposées par la barre russe (force et vitesse élevée). Les forces externes appliquées à l’épaule ont été estimées indirectement par l’intermédiaire d’un test expérimental qui a mis en lumière un comportement de déformation linéaire de la barre. Une méthode numérique a été utilisée pour estimer la force de réaction au sol. Les résultats montrent qu’il n’y a pas de différences significatives entre les charges lombaires engendrées par les sauts droits et les saltos mais une différence significative entre les différentes phases de sauts, à savoir, la propulsion et la réception. La phase de propulsion est celle qui développe le plus de forces sur les vertèbres des participants avec une force maximale moyenne de 12571.7±1714.5 N en compression. De plus, malgré les forces extrêmes subies par les artistes, les efforts en cisaillement sont faibles (<1000N) possiblement en raison de leur technique. Les artistes et les entraineurs doivent avoir conscience de la sévérité des forces en jeu et adapter les entrainements aux compétences des artistes et leur forme physique.

This transparadigmatic study is driven by the guiding curiosity what could a listening based pedagogy entail? in addition to other research questions derived from it. The universe in which this project lives proposes a recognition of more-than-human voices and agency, wondering with(in) phenomena from which data may emerge and glow, and where epistemology emerges concurrently with ontology (knowing, doing, and being are inseparable).

The listening approaches selected for this research attend to relationality, silence, holism, culturally responsive practices, critical consciousness, future-oriented perspectives, vulnerability, collaboration, and playfulness. That way, listening becomes crucial in teaching and researching practices that work against single stories and other consequences of Western-oriented education. Also, how we listen to and engage with stories in educational environments are also dependent on power dynamics (and related to our endeavor to recognize these unbalanced structures and connections). Thus, this study advocates for the fluidity of knowledge as well as for the impact that varied forms of listening might have on accountable, reciprocal, and equitable relationships, which can support schools to become places where not only space but also power is shared.

The Critical + Indigenous + Clown (CIC) theoretical framework of this study comprises three main listening approaches: Dunker and Thebas’ (2019) active + playful listening—which encourages cooperation over competition; Davis’ (1996) hermeneutic listening—which is fractal-shaped and attempts to defy the taken–for-granted future; and Tupi’s seven types of listening (Werá, 2016)—which resonates with Archibald’s (2008) holistic education.

I designed the methodology of this research supported by the CIC theories. My goals were to create a respectful gathering for welcoming more-than-human affordances, to co-construct relational and reciprocal knowledge, and to promote self- and other-awareness through vulnerabilities and openness. The uniqueness of this research is this: if the content might not be unprecedented, the approach stands out as completely different from all of the previous ones. By braiding Critical, Indigenous, and Clown perspectives, I created guidelines, protocols, witnessing opportunities, as well as data analysis approaches that might support a new understanding of listening in academia and schools.

Regarding methods of assembling data, I designed three theory-informed listening encounters to listen to five secondary school teachers from Edmonton, AB. These conversations, alongside a constant ethical and reciprocal engagement, helped me create space for (self- and other-) contemplation and respectful dialogues about beliefs, hurdles, and previous experiences in relation to an education for reconciliation and for a culturally responsive future.

As a final discussion, I argue that due to its fluidity and adaptability, listening approaches both shape and are shaped by relationships and context. As such, they cannot be inadvertently relocated or replicated. It is not a practice to be scaled-up (scaling-across would be more relatable). Listening-based educational practices are certainly something to be shared and learned from one another, but they remain open to be molded to/by each group, context, audience, relationship and purpose.

In conclusion, I believe that listening-based pedagogies can promote a nurturing learning environment, where teachers can create opportunities for students’ voices to be heard and respected, where everyone has the sense of community, and where students’ culture is welcomed and valued as a key part of their learning. Furthermore, this study contributes to the assemblage of a story-listening way of researching, teaching, and learning.

This thesis explores potential intersections of drama therapy and an embodied clowning exercise known as leading centers. The aim is to further establish relations and a common lexicon between therapeutic circus arts and drama therapy. To guide this coupling, drama therapy’s newly revised core processes per Frydman et al. (2022) were utilized as a framework when coding the leading center exercise. Three out of seven drama therapy core processes were
investigated: embodiment, dramatic projection, and distancing. These were determined to be most salient for the purposes of this thesis as they were recently the most emergent core processes coded in Elowe et al.’s (2022) meta-analytic literature review comparing therapeutic circus arts to drama therapy. The clowning exercise was conducted in an outpatient agency that served court-mandated, substance-use, and dually diagnosed individuals. The results showed a high compliance rate in completing the exercise and embodiment was featured as the most emergent core process. The author believes that this is due to the fact that physical gesture is objectively more observable than the characteristics of distancing and dramatic projection. Limitations included sample size, confirmation bias (given the author’s identity and relationship to circus), and client compliance could have been skewed because the clients were mostly court-mandated and sought positive feedback for their progress notes. Future research is needed to confirm the validity of any results; however, the study might suggest strong parallels between clowning and drama therapy.

This dissertation follows the buskers in Montreal to garner from them an understanding of the city’s economy, culture and urban space, and their entanglements. It is a historical and geographical study that examines the position of the itinerant entertainer or musician in the political economy of the city. Both history and place are explored from the vantage point of this itinerant figure; and spaces frequented by buskers in the present or in the past are foregrounded in tracing urban transformations effecting the city since the 1960s.

An oral history project, it engages with memories of busking and formal and informal archives to address the lived experiences of buskers in the contemporary city; transformations in spaces of busking and their position with relation to the city’s economy; contestations over urban public space; and the neoliberal entanglements of Montreal’s economy. The busker’s life histories are privileged in exploring concepts such as flexible, immaterial and precarious labour. The thesis, therefore, decenters the creative class in examining the entrepreneurial and self regulated worker and the nature of labour intermediaries within the neoliberal economy. It shines a light on the role of surveillance and politics of access that are deepening social divides in this new economy. It also compares the historical representation of street musicians and performers to their own perceptions of busking. In doing so, it not only challenges the distinctions between work and leisure, but also between economic and cultural or social domains.

The thesis foregrounds a temporal and spatial claim on the city by buskers. It is an argument for their place and practice in urban space and economy. Implicit is also a critique of urban planning and policies that are producing a sense of displacement among the economically and socially marginalised. Experiences of surveillance and power, institutionalisation of culture, and professionalization of public art within the cultural economy make visible the exclusionary landscapes of the postindustrial city. Finally, in centering informality and informal spaces of work and sociality through buskers, the thesis unsettles dominant narratives of Montreal to challenge a dichotomous framing of the world.

El presente trabajo aborda el fenómeno educativo circense chileno específicamente en el llamado “Nuevo Circo”, valorando su aporte como proceso educativo no formal a las demandas educativas global y nacionales por mejorar las experiencias de aprendizaje desplegadas en los espacios educativos formales. El circo es considerado como un espectáculo milenario en constante transformación y un espacio social de encuentro, que en estas últimas décadas ha ido posicionando a nivel internacional (Francia y Brasil) como un medio educativo, que cuida y promueve aprendizajes integrales, y que se ha ido vinculando a la Educación Física Escolar, aportando a las aulas tradicionales, superando la oralidad o activismo excesivo instaurado en el sistema educativo formal, situación que ha llegado a Chile y que el Ministerio de Educación está evaluando incorporar en la asignatura de Educación Física y Salud. A nivel nacional se observan trabajos en el ámbito artístico y de sistematización metodológica en disciplinas como la tela aérea y los malabares. Si bien, estos aportes son significativos, son escasos en relación al creciente fenómeno educativo que vive el circo en los contextos educativos no formales. En este sentido, se destaca el tránsito que ha tenido desde el contexto técnicoartístico al educativo, con énfasis en la introducción y construcción de recursos didácticos (8,9). Mostrando el potencial pedagógico y su vínculo con las experiencias lúdicas a la hora de generar aprendizajes que dan señales de una forma de compartir un saber (didáctica) particular. El estudio tiene como objetivo, comprender las percepciones epistémicas de educadores circenses chilenos en relación a sus encuentros educativos en espaciotiempos no formales y las potencialidades didácticas con el sector de Educación Física y Salud. El método emplead fue mixto, considerando dos fases, en la primera con énfasis cuantitativo/descriptivo, se aplicó un cuestionario autoadministrado con 58 preguntas cerradas y 3 abiertas. El cálculo muestral consideró un 95% de confiabilidad y 5% de error, logrando una n= 320 (211 hombres 66% y 109 mujeres 44%). La segunda fase fue cualitativa con enfoque fenomenológico-hermenéutico, se aplicaron 11 entrevistas semiestructuradas y 1 grupo focal como técnicas de recolección de datos. Los instrumentos fueron el diario de campo, grabadoras y guion de preguntas, los que tuvieron la validación por juicio de experto. En relación a la muestra, participaron 8 de 217 educadores circenses reconocidos por su trayectoria y calidad educativa. La reducción y análisis, cumplió con los siguientes pasos; transcripción, codificación y posterior categorización (primarias y emergentes), destacando la frecuencia de palabras y citar relevantes. Para mayor dinamismo del proceso se utilizó el software de análisis cualitativo Nvivo Pro en su versión 11. Los principales resultados de la fase 1 evidencian una población joven entre los 21 a 29 años y una centralización del fenómeno circense en las regiones de la
zona central del país. Y las características develadas, destacan el buen humor, la organización y planificación sumado a la experiencia y trayectoria pedagógicocircense. En relación a la fase 2, las características de los docentes circenses, resaltan el valor de lo pedagógico-didáctico, las cualidades personales e ideológicoprofesionales, enfatizando en los elementos organizacionales del despliegue didáctico, el valor de las relaciones interpersonales, las habilidades comunicacionales y el dominio disciplinar. Aportes que se complementan con una visión integral del proceso formativo desde un sentido de comunidad de aprendizaje. En relación a las diferencias o particularidades del circo, se destaca el buen humor en la relación educativa, la posibilidad de vivir una experiencia educativa desde una visión interdisciplinar y la posibilidad de presentar lo aprendido, tanto en el día a día como en la construcción de una muestra final. Se concluye que se requiere descentralizar y promover una didáctica integral en la formación de quienes decidan orientar proceso educativos circenses. Reconociendo que las actividades circenses se presenta como una posibilidad para acercarnos a proceso educativos más integrales, desde el juego y la creatividad como medios metodológicos claves, destacando las múltiples disciplinas como posibilidades de desarrollo, que por medio de una sistematización amigable y pertinente a los 9 contextos donde se realizan afianza las relaciones del proceso de aprendizaje, en un marco de respeto ganado y no impuesto, todo esto desde espacio de cuidado íntegro y validación emociones próximas al buen humor, como posibilitadoras de aprendizajes significativos.

This doctoral thesis has emerged from my practice as a scenographer and engages with embodied experience of scenography both as a maker and as a participant in
artworks. Taking a fluid view that is stirred by the feminist philosphy of Luce Irigaray and a tide of environmental and material thinkers who have followed in her wake, I address touch experiences inherent in the production and reception of the scenographic. Drawing from my professional practice designing participatory environments, I explore processes of touch through the development of two installation artworks, challenging where touch experience can be understood to begin and end, exploring the furthest reaches and the murkiest depths from where touch continues to be stirred, from the proximal and intimate to the distant, longing for touch. The research findings that form this thesis have emerged through a series of practice-based encounters; immersion in fluids and environments, social and material exchanges, sculptural undertakings. The knowledge formations and their documentation exist in words and images, but also in sensations in the gut, in physical recollections and visceral
affirmations. Much like the materials of my practice and the thinking that emerges from it, everything flows, nothing is stable. Fittingly, for a field that works with processes and with evolving forms, there is a fluidity to the formation of ideas and materials that, as the research progresses, becomes not only reflective but instructive, in ways of
undertaking practice, but also as a way of rethinking bodies, human and non-human, and their worldly interpenetrations. These findings have important contributions to make to practitioners, visitors and thinkers who are active in this field of scenographic experience.

This research aims to report about, reflect on and develpo pedagogical possibilities for teaching hula hoop through a contemporary circus perspective. The work comprises three distinct, but interdependent parts. The first one, of a theoretical nature, enables the indentification of aesthetic and poetic elements of the so-called contemporary circus, analyzing its social and historical context of estabilishment, and the focus on the range of creative possibilities generated from the subjective and bodily individualities of the artists found in it. The second part consists of personal reports of hula hoop lessons taught by me, reflecting on the pedagogical tools used, and what results and reflections arose through these. The last part consists of a personal report as a student of three hula hoop teachers and a subsequente interview with them, in order to experience their specific didatics and understand their diferente view about circus and specifically about hula hoop practice.

In my thesis I will debate on pain as a physical and biological phenomenon when training and teaching circus arts. Pain is almost an everyday matter when training circus, the equipment is uncomfortable and the positions that tricks require are painful. Training circus is physically demanding and the risk of getting hurt is always possible. I debate in my thesis how you can know when pain is an indication of a serious injury and when is it a matter of the body not being used to the trick? In training circus the terms “good” and “bad” pain are commonly used. In my thesis I ponder what they mean and are they proper terms?
My key sources of data are my own experiences and observations as an aerial acrobat and aerial acrobatics teacher. In addition I have sought information from
literature, online sources and research articles in the field. My end result is that discomfort is a part of training circus. Discomfort can feel like pain and for safe training it is important to be able to separate discomfort from pain caused by an injury. Separating those two promotes safer training and prevents injuries to both circus professionals and circus hobbyists.

This thesis has been made by using qualitative research methods to investigate the demand of people in need of special support for circus activities and aspects
affecting hobbies. The subject is examined from the point of view of the social circus. The thesis has included running circus workshops for people in need of special
support. The workshops included collecting responses to the survey from the participants. Also, another survey was prepared for their guardians. A theoretical
knowledge base for the research has been literature, websites, scientific articles and one expert interview. A survey of workshop participants was used to obtain information on the demand for circus activities for people in need of special support. The guardians’ survey inquired about their fears about circus hobby and their views on the accessibility of circus hobby. According to the study, people in need of special support would be in demand for both circus activities and individual circus workshops. The concerns expressed by the guardians in the study relate, for example, to circus teachers’ skills in applying teaching, the challenging nature of the circus and group size. The guardians’ views on improving the accessibility of circus hobbies included bringing the hobby close to the participants, clear information, and personal guidance. The research can benefit circus professionals who design and develop the activities of the social circus. The results of the study will enable people in need of special support to be better considered in the planning of activities.

This bachelor thesis deals with circus pedagogy and the use possibilities in special pedagogy of socially disadvantaged pupils. Thesis defines students with social disadvantages. It describes their characteristics, possible causes and consequences of a wide range of disadvantages on life and education. It seeks out the opportunities of leisure education for this group and risks of inappropriately spent free time to young people and their surroundings. The observation and interview showed what skills the involvement of the circus and around it in these leisure time brings to these children. It presents circus pedagogy as a possible tool to fulfill pedagogical goals, dissolve social barriers, cultivate personality traits and improve school skills by using circus art. Thesis seeks conditions under which circus pedagogy and its branches originated in the world and how they are currently used in the Czech Republic. Qualitative research on the practical use of circus pedagogy with youth at risk was carried out by intensive long-term cooperation with a selected group of children with social disadvantages. The research focused on three areas of children's lives: personal, academical and social. Using long-term observation and interviews, the research demonstrated which skills pupils developed by involvement in circus in their leisure time.

Dear Reader, this is a thesis - supposedly. It could also be a performance if you want. As an object it is detachable in that you can pick it up. Or download it. This thesis has edges. It has protrusions, indentations, connections and holes. Lots and lots of holes. That is because this is a thesis about and consisting of affordances. That is to say something that offers interaction. We’ll get into that in a bit. Suffice to say, my hope is that you feel free to read it or play with it in any way you see fit. Turn it into a paper airplane to see if it flies or set it on fire to warm your hands. Rearrange the pages if you want. This might affect the red thread that ties the pages all together, but that’s all the thread was there for. To tie things up and as something to hold onto. With that said, somewhere amongst all the following words, I’d like to think that there is
something at least nominally related to Circus. That is because this is supposed to be a thesis about Contemporary Circus Practices. Well….about my own contemporary circus practice in any case. It feels kind of empowering to call my circus practice contemporary though, I must say. Com –Latin. Meaning with or together, and Tempus-Latin. Meaning time. With the times then!Though in all honesty it is probably a very anachronistic, sin temporary circus practise at best. Hmmm…remind me to look into the affordances of time. With that said, and if you’ll allow, I’ll step aside here and let the pages and words do their thing…

El documental Rizoma es un audiovisual que busca indagar sobre el circo social desde una forma empírica, experiencial y comunitaria pasando por 6 procesos
ubicados en la ciudad de Bogotá en los cuales el investigador ha hecho presencia. Basado en la metodología de la investigación-creación este proyecto se realiza como un aporte para el campo de las artes circenses y visuales, de manera que se evidencien los procesos circenses populares y comunitarios en la ciudad, es una búsqueda por contar el circo social con la voz de sus propios protagonistas, y construir narrativas que expliquen algunas formas en las que este se manifiesta en escenarios políticos y formativos, para ello se crearon un total de 4 capítulos en los cuales se cuenta la historia de Antuan y como el ha registrado los mencionados procesos artísticos en los cuales ha sido aprendiz y docente, desde una perspectiva personal busca contar su paso por disciplinas como el parkour, el slackline y el circo, recopilando a su vez testimonios de artistas colegas y maestros que hacen parte de las diversas agrupaciones participantes y que ha modo de co-creación le dieron vida a este filme.

This thesis studies the use of social media as a part of teaching aerial acrobatics. It is studied from the viewpoint of aerial acrobatics teachers. The thesis aims to answer the following questions: In what way is social media being used in teaching aerial acrobatics? Which social media platforms are being used? What should be noted when social media is being used as a part of teaching aerial acrobatics? The main source of information is an online inquiry. The inquiry was made for Finnish aerial acrobatics teachers, and it was used to research teachers’ experiences and opinions about social media use in teaching aerial acrobatics. Based on the answers from the inquiry, we can say that social media has its benefits as a teacher’s tool. One should consider carefully the usage of social media during lessons and consider for example the age and the skill level of the class. Mostly used platforms were Instagram and YouTube. Social media can diversify lessons and work as a good source for inspiration and as a visual aid. It’s use also has some risks. Social media can cause additional pressure and wrongly learned moves can for example lead to an injury.

The purpose of this thesis was to find out harmful effects of fear in pair acrobatics practice from perspective of physiology and cognitive. In the beginning of this thesis, pair acrobatics as a circus discipline has been presented and fear and skill training as a phenomenon has been explicated. Then I have applied the knowledge to perspective of pair acrobatics. My goal was to understand fear and its effects on performance and learning in skill training so I can develop my work as flyer, circus artist and teacher. Fear decelerate or even stops learning when it impact to cognitive function that learning requires or performance. Learner experiences fear more likely in early phase of learning process when learner only tries to create an image of the totality of the skill. However, fears can be experienced in any phase of learning process. With practice, learner gains knowledge and confidence in learner’s own and partner’s skills. In the training of pair acrobatics, learner should aim for
safety so the process of learning won’t decelerate and risks of injury won’t increase.