Articles de périodiques 

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.

Problem Statement. Professional education in circus has been increasing worldwide, placing the training programmes at the center of circus debate. Purpose. Concerning the physical demands of circus students, this research describes the body composition of Brazilian National Circus School students. Approach. Skinfold analyses was used to estimate body fat (%), fat free mass (kg) and body mass index (kg/m-2 ) in 57 students (n= 30 men, n= 27 women). Results. Men presented higher body weight, height, fat free
mass (men 67.2 ± 7.0 kg and 45.7 ± 4.7 kg and for women), body mass index (men 24.1 ±1.6 kg/m2 and women 21.4 ± 2.0 kg/m2) and lower body fat (%) compared to women (men 7.2 ± 3.7 % and women 16.3 ± 3.7). The reassessment showed no differences in body composition for both sexes, a large heterogeneity of interindividual responses was observed (-3.9 to 4.0 for women; -1.5 to 6,5 men). Conclusions. The body fat and body mass index are similar to high performance athletes. No difference was observed between the assessments. The interindividual response to training showed no effect on body fat. However, the interindividual heterogeneity responses suggest adjustments of physical conditioning protocol in order to optimize the responses individually. The 7 or 3 skinfold protocol did not differ on the outcomes. Body composition ofcircus students’ needs to take into account the circus disciplines, age and biological diversity, and it is a key aspect to monitor training to avoid unsafe situations or unhealthy status.

O objetivo deste estudo consistiu em analisar o estado da arte da produção acadêmica recente no campo das atividades circenses no ambiente escolar, mediante revisão sistemática da literatura, e identificar a potencialidade desta manifestação corporal na Educação Básica. Foram encontradas 12 publicações no período de 2014 a 2019. Na maioria dos estudos levantados, as atividades circenses se constituem enquanto tempo-espaçovivência que possibilitam as criações e recriações, a fantasia, a liberdade expressiva e o alargamento dos significados em relação a esta prática corporal. Com isso, se aproxima da perspectiva da corporeidade, possibilitando uma educação íntegra, criativa e entusiasmada, que valoriza o ser corporal por inteiro.

The COVID-19 pandemic abruptly interrupted operations for many industries, but in particular the live entertainment sector that was effectively forced into a global shutdown. In response, governments swooped in to keep these organisations afloat by introducing policies aimed at compensating for lost revenues and supporting other forms of activity such as creation. While these reactive measures undoubtedly provided timely and vital relief for some, this study suggests that they also induced important distortions over time. Based on interviews with circus arts managers, the results show that these policies unintendedly introduced or contributed to four main ‘asymmetries’ – outlets, customer base, structure, and talent – that now hamper creative organisations as they transition out of the pandemic. This study contributes to the emerging body of work on the unforeseen consequences of COVIDrelated support measures, challenges the dominant contextual approach to managing ambidexterity, and provides valuable insights for government and policy actors.