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Philip Astley first pegged out his circular 'ride' on the banks of the Thames in 1768 and so laid down the foundations of the modern circus. Performing feats of trick riding with his wife Patty Jones, little did he realise that before long women would become a dominant force in the circus. Sawdust Sisterhood explores how the circus empowered women and gave them the opportunity to compete and succeed as performers in their own right in an otherwise masculine world. Drawing upon historical news reports and contemporary interviews, the book explores the lives of female circus performers and focuses upon several of the more well-known artistes from across two centuries of circus, including; Madame Saqui, the renowned French wire-walker of the early nineteenth century; Nellie Chapman, the Victorian 'Lion Queen' of Wombwells's Menagerie and Circus; and Katie Brumbach, otherwise known as Sandwina, perhaps the most famous Strongwoman of the twentieth century. Sawdust Sisterhood acknowledges the role of the female circus performer across the centuries.

As paragons in heir field, these women became rich, famous and powerful despirte the prevailing sexist attitudes of their time. They often had to overcome undue criticism of their work and censure from those who felt their acts were at best inappropritate and at worst immoral. In performing remarkable, often death-defying physical feats, these women subverted the classic ideals of femininity and undoubtedly contributed to the later sexual revolution.

Sawdust sisterhood explores the journeys of these women and their contributions to the advancement of women's rights. Steve Ward, an expert on the circus, draws together various primary sources. newspaper articles, and feministe scholarship to give a full picture of the pivotal role of women in this medium. He also includes interviews with contemporary female performers and over thirty exquisite images. This is a detailed, personal, and deeply moving account of an often overloocked aspect of the struggle for female emancipation. [Editor's summary]

This intriguing work chronicles the history of the American circus from its roots in England through its importation to America to the end of the nineteenth century. It introduces the early pioneers of the circus, addresses business concerns such as management and training, and discusses the development of the show itself, including the incorporation of menageries, the need for animal training and care, the addition of circus music, the use of the tent, and the unique attractions of side shows and "freaks." Personal stories of those who made their lives under the "big top" are woven throughout the narrative, adding an intimate perspective to one of America’s most enduring entertainments. [editor summary]

This is a monumental history of that universally trancing, international phenomenon-the circus. It is the most complete chronicle of circuses and circus lore ever written in the english language. No reader can fail to be impressed by the scope of its coverage and the vividness of its descriptions. No lover of circus wonders can remain unmoved while reading of the people and performances that illuminated circus life.

The author reveals the origins of circus acts among Greek and Roman acrobats and medieval minstrels, tracing their development through eighteenth-century
fairs where they were combined with displays of horse riding in a circular ring to form a new style of presentation. He then follows the evolution of circuses during the nineteenth century, showing how novel acts and exhibitions of animal training were introduced to produce the circus we know today.

Mr. Speaight demonstrates the special way in which the circus grew in the United States, where three-ring circuses were transported over vast distances by railroad; and he describes the Golden Age of the circus in Europe, when circus riders ranked with ballet stars in popular esteem. Finally, he provides an up-to-the-minute account of circuses in the world today.

The author's account is based on many years of research in unpublished manuscripts and museum collections, and he reverses some long.held errors of previous writers on the subject. His book contains exhaustive notes and an appendix, listing circus buildings in London, New york and paris, which brings together information never before printed, giving the book great value as a permanent work of reference. [editor summary]

Extract : Marius Kwint “lines . . . addressed to Mr. Astley by a Lady, on seeing his performances” (1785) You at command make brutes obey, Walk, work, or dance, with movement gay. Your horses far excel report, Whose minuet might grace a Court; Their hornpipe quick to music true, They seem as if each step they knew, But all the art and skill’s with you. The monkey, though of race despis’d Unequall’d must by all be priz’d His excellence excites surprise; For e’en with man for fame he vies. The dancing dogs, where Lady Flaunt In chariot plac’d to take a jaunt With flirting airs so perfect seen, She seems to move a fairy queen. The hunting, where the taylors chace, A fox with mirth o’er spreads each face. The modern circus has a rather different form and content from the chariot races of its ancient Roman namesake because it is...