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This ethnographic research proposes an introduction to the performance art form Mongolian contortion by examining its theories and functions before and after the establishment of the Mongolian State Circus in 1941. Through qualitative research methods it further investigates different repercussions that lead to the transformation and decline of Traditional Mongolian Contortion in Mongolia and the West in recent years. By examining the genesis and history of body flexibility prior to the establishment of the Mongolian State Circus, it explores parallels between Mongolian folk dance and folk acrobatics and the establishment of Mongolian contortion as the international “brand” we know today. It discusses the categorization of different styles within Mongolian contortion, discovers the development of aesthetics and how religious symbolism is incorporated in contortion performances. Lastly, it examines the numerous challenges contortionists with traditional aesthetics and presentations, a style referred to in this paper as Traditional Mongolian Contortion, face and proposes solutions for the safeguarding of this art form.

This research study proposes an introduction to the performance art form contortionism by examining its theories and functions throughout the 20th and 21st
century. It considers themes including the appropriation of contortionism during the golden age of Hollywood and discusses definition issues between contortionism and other disciplines that highlight body flexibility, such as gymnastics and yoga. By examining the genesis of contortionism in ancient China, it aims to explore parallels between the origins of Chinese contortionism and the establishment of Chinese acrobatics. It later dissects the political use of contortionism in socialist China and the development and institutionalization of acrobatic troupes since the founding of the People's Republic of China in 1949. Drawing upon a Foucauldian perspective, it further examines the parallels between the Western training of soldiers during the 17th and 18th century, and methods of traditional Chinese acrobatic training in the 21st century at the Beijing International Art School. This monograph includes data from a wide range of literature, material evidence, oral history, current media reports, and considers recent work in anthropology, archaeology, and political history. It, therefore, offers the interested reader, the scholar, the contortionist and contortion practitioner a substantial treatise about the art-form contortionism.

This research study proposes an introduction to the performance art form contortion by examining its theories and functions throughout the 20th and 21st century. It considers themes such as the appropriation of contortionism during the golden age of Hollywood and discusses definition issues between contortionism and other disciplines with body flexibility, such as gymnastics and yoga. By examining the genesis of contortionism in ancient China, it aims to explore parallels between the origins of Chinese contortionism and the establishment of Chinese acrobatics. It offers points of discussion regarding the political use of contortionism in socialist China and the development and institutionalisation of acrobatic troupes since the founding of the People’s Republic of China in 1949. Lastly, it draws upon a Foucauldian perspective by examining the parallels between the Western training of soldiers during the 17th and 18th century, and methods of traditional Chinese acrobatic training in the 21st century. This research study aims to position the art of contortionism in scholarly literature, to open up this valuable field for future discussion and research, and as contribution to a better understanding of this art form for current and future contortion practitioners.