Articles de périodiques 

Growing evidence suggests that participatory arts programs (PAPs) may represent acceptable and promising avenues to help limit the impacts of mental disorders on the psychosocial functioning and developmental trajectories of young people. In this naturalistic evaluation study, we measured the subjective well-being, global self-esteem, and perceived social functioning of 171 adolescents and young adults before and after their participation in a PAP especially developed to foster their psychosocial adjustment and well-being. We assessed the pre-post-program evolution of these three dimensions and investigated its variation as a function of participants’ demographic and clinical characteristics. Globally, all three psychosocial adjustment dimensions improved significantly from pre- to post-program (p ≤ 0.001). Their evolution did not vary according to the age, gender, or migration status of participants, but did as a function of their geographical setting and severity of functional impairments due to mental health problems. Improvements in self-esteem and social functioning were observed in participants living in rural or semi-rural regions (p < 0.001), but not in the metropolitan area. Youths reporting severe impairments had the greatest improvements in all three dimensions of psychosocial functioning (p < 0.001), followed by those reporting moderate impairments (p < 0.001), and no changes were observed in the low severity sub-group. Results suggest that participatory arts programs can foster the well-being and psychosocial functioning of transition-aged youths with varied mental health issues, while emphasizing the importance to consider participants’ characteristics in evaluation research.

Cet article porte sur un groupe d’artistes méconnus des sciences sociales, les « clowns à l’hôpital ». Il montre que leur socialisation se caractérise par la création d’une identité spécifique et individuelle de clown qui est ensuite plus ou moins mise à l’épreuve dans le travail à l’hôpital. En effet, la création de son clown est une condition incontournable pour devenir membre du groupe. Elle donne lieu à une grande diversité de personnages qui ne sont pas interchangeables et que l’on peut ensuite « amener » avec soi n’importe où, y compris à l’hôpital. En quoi consiste concrètement le travail de construction de son identité personnelle de clown ? Comment le groupe professionnel régule-t‑il cette diversité ? Et une fois entrés à l’hôpital, dans quelle mesure les clowns parviennent-ils à préserver leur identité d’artiste ? À partir d’une ethnographie menée en France avec l’association Le Rire Médecin, l’article analyse comment les clowns à l’hôpital construisent une identité professionnelle « pas comme les autres », dans un processus à la croisée du monde des arts et de celui des soins. Celle-ci s’appuie sur des acquis de leur socialisation professionnelle et sur des pratiques de régulation individuelles et collectives de leur identité d’artiste.

Der Beitrag handelt von einer spielerischen Haltung gegenüber dem Scheitern, die wir mit Jonglage üben können. Anhand konkreter Übungen für die Praxis wird gezeigt, wie das Werfen, Loslassen, Fallen, Annehmen, Wiederholen und Variieren dabei helfen kann, sich zu entwickeln und Blockaden zu lösen. Dabei geht es nicht um Ziel- und Leistungsorientierung, sondern darum, das Ziel aus dem Weg zu räumen, um Raum für spielerische Bewegung, Veränderung und Freude am Lernen zu schaffen.

BACKGROUND: Developmental dysplasia of the hip (DDH) is common in performing artists and other young active individuals and involves abnormalities in bony morphology of the acetabulum and proximal femur that can negatively impact walking biomechanics, muscular strength, quality of life, and sleep. Rehabilitation for hip-related conditions should target known modifiable impairments such as hip muscle strength, though a reliable method of assessment in this population remains unclear. OBJECTIVE: To determine the inter- and intra-rater reliability of hip muscle strength assessments using handheld dynamometry (HHD) in young active circus artists with DDH. METHODS: Reliability of hip strength in all planes was assessed using HHD in 21 adult performing circus arts students (mean age 21.3 yrs [3.2]; 13 M, 5 F, 3 NB) with symptomatic radiologically and clinically diagnosed hip dysplasia. The reliability of average peak force and absolute peak force were expressed for each position tested. Reliability was assessed using intraclass correlation coefficients (ICC) with standard error of measurement (SEM) and minimal detectable change (MDC) values calculated to improve clinical interpretability. RESULTS: Good to excellent inter-rater reliability resulted for all hip muscle strength testing positions, ICC=0.88 (95%CI 0.70 to 0.95) to ICC=0.97 (0.92 to 0.99), except average peak hip flexion strength, ICC=0.71 (0.28 to 0.88). Absolute peak hip abduction, ICC=0.77 (0.16 to 0.94), and adduction strength, ICC=0.72 (–0.55 to 0.92), demonstrated the lowest intra-rater reliability. Transverse plane strength measures (rotation) produced the lowest SEM and MDC values followed by the frontal plane (abduction/adduction) and sagittal plane (flexion/extension). CONCLUSION: HHD is an appropriate and reliable method to assess hip muscle strength in circus artists with DDH.

A growing number of individuals live with medical conditions and injuries that render them minimally communicative. Assessing their level of consciousness and awareness is a major challenge that has profound implications for care decisions and their relationships. Resonance: a novel brain-computer interface assemblage, is designed to detect and augment expressions of consciousness in minimally communicative individuals. Resonance consists of (1) high-density EEG features that vary with states of consciousness; (2) sound; and (3) therapeutic clowns. Seven EEG features of consciousness are calculated in real time and mapped to sonic output. Therapeutic clowns use multisensory improvisational play to interact with these sonified brain features to create interpersonal connections with minimally communicative individuals. Resonance has the potential to reveal real-time variations in an individual’s level of consciousness, which may create an entirely new form of interpersonal interaction with minimally communicative persons.

As revisões sistemáticas visam a mapear, discutir e sintetizar as produções acadêmicas, consideram campos específicos e contribuem para a difusão e o avanço do conhecimento. O presente artigo discute a produção acadêmica sobre o Circo social no âmbito dos programas de pós-graduação stricto sensu no Brasil. A busca por dissertações de mestrado e teses de doutorado foi realizada considerando os principais diretórios e bases de dados acadêmicos nacionais, empregando distintos uni-termos (circo social; circo; educação popular; arte-educação). Foram localizados oito trabalhos, dois de doutorado e seis de mestrado, defendidos em áreas distintas do conhecimento. As análises indicaram a capilaridade da prática do Circo social em todas as regiões do território nacional, ressaltando a contribuição socioeducativa dos projetos sob uma busca intencional da transformação social. Notamos, por fim, a construção de uma pedagogia em diálogo com saberes e tradições da cultura popular, considerando as particularidades das comunidades onde cada ação é desenvolvida, com destacada ênfase em processos de arte-educação para crianças, adolescentes e jovens.

The nature of physical theater can facilitate understanding of the complex characteristics of embodied movement . Given also the scarcity of empirical studies in the area , the purpose of this qualitative, phenomenological, and temporal study was to thoroughly examine the embodied nature of physical theater (e.g. unity of body and mind) within different aspects of movement, such as performativity, communication with others, and emotional expression. Seven undergraduate students (Mage = 20.43 ± 1.28 years old) enrolled in a semester-long physical theater class at a major Southeastern US university. Based on the qualitative, phenomenological analysis, three physical theater themes emerged regarding improved embodied sensations over the class period: a) embodied artistic expression (e.g. body-mind unison; sense of flow; physical theater as a form of exercise), b) embodied emotions (e.g. body and mind in emotion, expressing emotions freely), and c) embodied interactions (e.g. body, mind, and emotion in communication; more attentive to body language; communicating with the audience). In the field of Performing Arts, viewing movement holistically as an end in itself can bring about senses of fulfillment, body awareness, improved consciousness, and increased value of physical culture (value of creative movement), and well-being.

As a target-group, dislocated children are pointed out as a particularly vulnerable in society. Over the past few years, Social Circus has developed as a supportive practice for children on the move. The emerging body of research report on social, and health benefits of circus interventions (see f. ex.Bessone, 2017; Bolton, 2004; Löf, 2021; Spiegel, 2019). However, there is still a need to explore Social Circus from a pedagogical perspective. Drawing upon a 1,5 year-long ethnographic fieldwork with a Swedish Social Circus program in asylum accommodations, this paper aims to explore ‘commons’ (Pechtelidis and Kioupkiolis, 2020) in circus pedagogy for children on the move. The analysis revolves around an understanding of teachers and participants as ‘commoners’, engaged in circus as a ‘commoning practice’. In the results ‘chaos’ stands out as a ‘common good’ in circus pedagogy, viewed upon as a catalyst for freedom and creativity.

People participate in many different types of physical activity, both daily and across their life span, but research on human movement is often siloed by type (sport, exercise, active transportation, etc.). Models developed for understanding participation in specific types of physical activity remain useful in those contexts, but are insufficient for describing, explaining, or enhancing movement at the individual or societal level. Physical literacy has the potential to serve this purpose, but its current application does not fulfill its potential for holistic and inclusive promotion of movement. This paper therefore introduces a new framework for physical literacy, Four Domains for Development for All (4D4D4All). This framework highlights the interrelations among the physical, psychological, social, and creative aspects of movement, and emphasizes how development across all four domains can be supported through the interrelations of individuals and their contexts. In this paper, we introduce the 4D4D4All framework and present ideas for its application in research and practice. Specifically, this individualized, holistic, and inclusive approach to physical literacy is an alternative to models that emphasize the production of podium-driven athletes or focus on meeting physical activity guidelines, and is therefore better suited to facilitate the
development of flourishing active people. Lay summary: Current models of sport and physical activity participation do not adequately describe the developmental experiences of individuals moving in a variety of contexts. Our new physical literacy framework, Four Domains for Development for All (4D4D4All), enables all movement contexts to better support well-being through a focus on holistic individual development.

Cet article présente l’expérience d’un camp d’été éducatif pour élèves allophones récemment immigré·e·s mis en oeuvre par l’organisme communautaire le Centre Lasallien St-Michel à Montréal durant l’été 2021. Partant du constat que ces élèves perdaient certains acquis linguistiques durant la période estivale, le camp avait pour objectif de les soutenir durant l’été afin qu’ils et elles soient mieux préparé·e·s pour les apprentissages au retour en classe et que leur intégration scolaire et sociale soit facilitée. L’équipe de recherche a accompagné le Centre Lasallien durant le projet et a cherché à mettre en lumière les pratiques et les activités linguistiques et socioculturelles les plus efficientes pour les élèves.

El fenómeno de la okupación urbana comprende experiencias sociales de apropiación y utilización de inmuebles abandonados. A su vez, los Centros Culturales Okupa (CCO) constituyen formas de okupación urbana articuladas en torno a prácticas culturales y artísticas. A partir del análisis de las dimensiones materiales y socio-simbólicas de los CCO, el presente artículo procura interrogar la especificidad de esa modalidad de okupación urbana con respecto a la producción del hábitat. Para ello, estudia dos casos ubicados en ciudades argentinas: el Centro Kultural Independiente (CKI) (Rosario, 1997-1998) y el Centro Kultural Trivenchi (CKT) (Buenos Aires, 2001-actualidad). La investigación emplea un enfoque metodológico cualitativo, que triangula entrevistas en profundidad, materiales audiovisuales y documentos escritos. La arquitectura del texto analiza los casos del CKI y el CKT a través de cuatro nudos comparativos: los contextos de las
okupaciones, los procesos de adecuación material de los espacios, las prácticas y significaciones de sus participantes y los conflictos con los gobiernos
urbanos. Se concluye que los CCO producen hábitat mediante una apropiación espacial diferencial que, vehiculizada por dimensiones culturales y artísticas, posibilita la apertura y la puesta en circulación social de espacios clausurados por la reestructuración capitalista de las ciudades.

Background : established norms for fitness and performance measures are lacking in circus arts. These would assist healthcare professionals and coaches to screen for readiness to participate in training or performance, determine post-injury return to performance, and develop targeted conditioning programs.
Purpose : the purpose of this research was to establish norms for trunk and extremity physical exam and performance measures in circus artists by professional status, assigned sex at birth (ASAB), and age.
Study Design : descriptive laboratory study
Methods : Circus artists (n=201; ages 13-69y; 172 females ASAB, 29 males ASAB) from 10 cities across the United States underwent a baseline physical examination including shoulder, hip and trunk measures of passive (PROM) and active (AROM) range of motion, measures of flexibility (shoulder and hip), strength (manual muscle tests, grip strength), cardiovascular fitness (3 minute-step test), balance (single limb and handstand), and performance, (pull-ups, and the closed kinetic chain upper extremity stability test [CKCUEST]). ANOVAs were used to determine between group differences by age and T-tests to discern differences by ASAB or professional status.
Results : differences existed by professional status for shoulder external rotation PROM, hip PROM, hip flexibility, shoulder and abdominal strength, and cardiovascular fitness. Sex differences were seen in active scapular upward rotation, hip and shoulder PROM and flexibility, hip and grip strength, and for functional performance measures (pull-ups, CKCUEST). Differences by age were limited to active scapular upward rotation, shoulder PROM, flexibility and strength, cardiovascular fitness, and balance. Overall, professionals outperformed pre-professionals for lower abdominal strength, pull-ups, handstand
balance, cardiovascular fitness, hamstring, and straddle flexibility. Generally, males ASAB demonstrated greater shoulder flexibility and upper body functional strength while females ASAB had greater hip and lumbar flexibility and hip strength. No measures showed consistent declines with increasing age, though some showed differences between adolescents and adults.
Conclusion : these normative values for physical characteristics and functional performance in pre-professional and professional circus artists may be used to guide screening for readiness to participate in advanced training or performance, return to performance after injury, and the development of targeted strength and conditioning programs.

Since the publication of Alasdair MacIntyre’s After Virtue in 1981, tensions inherent to the relationship between morally educative practices and the institutions that house them have been widely noted. We propose a taxonomy of the ways in which the pursuit of external goods by institutions undermines the pursuit of the internal goods of practices. These comprise substitution, where the institution replaces the pursuit of one type of good by another; frustration, where opportunities for practitioners to discover goods or develop new standards of excellence are frustrated by institutional priorities and resource allocation; and injustice, which undermines the integrity of relationships within the organization and/or with partners. These threats, though analytically distinct, are often mutually reinforcing. This conceptual contribution is illustrated both by the extant literature and by a novel context, the three-ring circus.

As revisões sistemáticas visama mapear, discutire sintetizaras produções acadêmicas, consideramcampos específicos e contribuempara a difusão e o avanço do conhecimento. O presente artigo discute a produção acadêmica sobre o Circo social no âmbito dos programas de pós-graduação stricto sensu no Brasil. Abusca pordissertações de mestrado e teses de doutoradofoi realizadaconsiderandoos principais diretóriose bases de dadosacadêmicosnacionais, empregando distintos uni-termos (circo social ; circo ; educação popular ; arte-educação). Foram localizados oito trabalhos, dois de doutorado e seisde mestrado, defendidos em áreas distintas do conhecimento. As análisesindicaram acapilaridade da prática do Circo socialem todas asregiões do território nacional, ressaltando a contribuição socioeducativa dos projetos sob uma buscaintencionalda transformação social. Notamos, por fim, a construção de uma pedagogia em diálogo com saberes e tradições da cultura popular, considerando as particularidades das comunidades onde cada ação é desenvolvida, com destacadaênfase em processos de arte-educação paracrianças, adolescentese jovens.

O presente trabalho reúne discussões de um coletivo de professores que realiza práticas circenses em projetos de extensão em diferentes universidades brasileiras. Seus objetivos são: problematizar e avaliar as ações extensionistas de circo desenvolvidas, fomentar o debate acadêmico sobre circo e extensão, compartilhar experiências em contextos e realidades diversas e contribuir com outros educadores interessados no circo, quer seja atuando no contexto da extensão universitária ou em outro qualquer. O trabalho contém um conjunto de relatos de experiência, em diálogo com a literatura acadêmica sobre a temática. Por meio desta escrita coletiva, fi cou evidente que alguns projetos já têm uma trajetória consolidada na instituição de vínculo, enquanto outros estão dando seus primeiros passos, a fi m de conquistar
legitimidade e reconhecimento. Do mesmo modo, buscamos evidenciar algumas questões que indicam os objetivos, pressupostos, atividades desenvolvidas e públicos atendidos nas ações extensionistas. Compartilhar essas experiências é uma tentativa de legitimarmos este coletivo que tem contribuído para uma constante reavaliação de nossas práticas e um repensar de nossas metas. Esperamos assim contribuir para o fortalecimento de uma visão humanística e crítica dos futuros profi ssionais acerca das questões que envolvem o Circo como patrimônio da humanidade.

This article examines the first tour of Buffalo Bill's Wild West in Italy and the so-called ‘sfida dei butteri’ (the challenge of the Italian cowboys of the Pontine marshes), which took place in Rome in March 1890. Analysing nineteenth-century Italian newspapers and photographs, I demonstrate that populist, anti-capitalist, and anti-American sentiments marked the Italian media's responses to the American show. In the historical context of Italy's socioeconomic crisis and of the first phase of colonial expansion in Africa (1870–1922), the mixed reception of Buffalo Bill's Wild West, amplified by the media event of the sfida, shaped the fate of the western genre in Italy.

In this article I share three case studies of how three feminist artists told women’s stories in Celje, Slovenia using a storytelling performance, feminist tours, and an acrobatic performance. Through the lens of feminist adult education and gender justice I explored how stories told about women said as much about them as the artists themselves because individual women’s histories, personal circumstances and interests are very much collective experiences and consciousness. Through semi-structured interviews the artists shared how their work aimed to challenge perceptions and dynamics of gender, disrupt stereotypes and
broaden knowledge of the historical expectations and limitations women have faced for decades. By illustrating the educational potential of these activities, I offer insights into how the background of the creator influences the creative process.

The present research aims to explore the concept of circus within the context of theatrical entertainment from its origin to evolution in Pakistan and West. The cardinal focus of this article is to observe and evaluate the contribution of Lucky Irani Circus being the most famous big top in Pakistan in the field of performing arts. Secondly, it also takes into account how Lucky Irani Circus in Pakistan is different from West in terms of various continuous and modified performances and human skills both in traditional and modern perspectives. A variety of the most significant and celebrated acts as human skills performed around the world
and investigated in this research include riding a unicycle, human pyramid, iron jaw act, flying trapeze performance, rola bola act, tight wire walking, knife throwing, and majestic aerial dance. The article concludes Lucky Irani Circus is the best demonstration of performing arts through human skills both in traditional as well as modern types of circus. In the traditional forms of entertainment, Lucky Irani Circus is one of the few ones.

El circo social es en esencia un proceso pedagógico y artístico gestado en la acción política. Desde hace casi medio siglo se tienen registros en todo el mundo de algunas organizaciones populares que han sistematizado de manera rigurosa los aprendizajes obtenidos de la implementación de sus actividades a través de las artes circenses. Con este trasfondo, este texto indaga por el método científico social, considerado como un elemento que refuerza las artes circenses en su implementación en la acción profesional de diferentes áreas del conocimiento, motivo por el cual se menciona la indisciplina como perspectiva crítica de análisis que no encierra el conocimiento en ninguna área de estudio específico.