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Cossin2017-Cricussafer.Pdf
Cossin, Ross and Gosselin 1 Prepared using sagej.cls Journal Title Making single point aerial XX(X):3–27 ©The Author(s) 2016 circus disciplines safer Reprints and permission: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/ToBeAssigned www.sagepub.com/ Marion Cossin1, Annie Ross1 and Fred´ erick´ P. Gosselin1 Abstract The purpose of this study was to measure the dynamic tension force between the apparatus and the hanging equipment of five aerial circus apparatus and to recommend minimal loading requirements in rigging and design. Forces generated by different acrobatic movements were measured and synchronized with video recordings. Sixteen students of the National Circus School of Montreal´ (Canada) participated in the study. Maximal forces were analysed and characterized with respect to the discipline, the type of movement and the schooling level of the student. The maximal force measured was 5.3 kN performed in the discipline of aerial straps, equivalent to 7.9 times the bodyweight of the performer. A minimal breaking strength of 22 kN for the hanging point and all the equipment holding the rig is recommended. A minimal breaking strength of 22 kN for straps, 17 kN for rope, and 12 kN for silk, aerial hoop and dance trapeze is recommended. Keywords Aerial circus discipline, maximal forces, safety, circus rigging, acrobat mass Prepared using sagej.cls [Version: 2015/06/09 v1.01] Cossin, Ross and Gosselin 3 Introduction Aerial acrobats use their own force to lift their body and execute various movements requiring extreme strength and precision similar to gymnastics. Aerial acrobatics encompass all disciplines requiring the rigging of an apparatus at a height. -
Circus Oz Study Guide 1213.Indd
2012-1013 SEASON SchoolTime Study Guide Circus Oz Friday, February 15, 2013 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime On Friday, February 15 at 11:00 a.m., your class will a end a performance by Circus Oz of Austrailia. Get set for the beau ful and the absurd, the breathtakingly brilliant, and thehe downright kooky as Australia’s Circus Oz fi lls the Zellerbach stage with theirr renowned brand of collec ve mayhem. Stunt-jumping acrobats challenge physics, fearless aerial ar sts laugh at gravity, slaps ck knockabouts descendnd into hilarious chaos, and live onstage musicians rock the house! Using This Study Guide This study guide is designed to engage your students with the performancee and enrich their fi eld trip to Zellerbach Hall. Before coming to the performance, we encourage you to: • Copy the student resource sheet on pages 2-3 and hand it out to your students several days before the show. • Discuss the informa on on pages 4-7 about the performance and the ar sts with your students. • Read to your students from About the Art Form on page 8-10 and About Australia on page 12-14. • Assign two or more of the ac vi es on pages 15-17 to your students. • Refl ect with your students by asking them guiding ques ons, which you can fi nd on pages 4,6,8, and 12. • Immerse students further into the art form by using the resource and glossary sec ons on pages 17-18. At the performance: Students can ac vely par cipate during the performance by: • OBSERVING how the performers use their bodies, and how they work together • NOTICING how the music, lights and sound are used to enhance the acts • MARVELING at the skill, technique and prepara on required by the performers • THINKING ABOUT all the ways circus is a theatrical art • REFLECTING on the sounds and sights experienced at the theater. -
Challenging Artists to Create Tomorrow's Circus Circadium Is the Only Higher-Education Program for Circus Artists in the United States
Challenging Artists to Create Tomorrow's Circus Circadium is the only higher-education program for circus artists in the United States. We offer a full-time, three-year course that grants a Diploma of Circus Arts, recognized by the Pennsylvania Board of Education. We are committed to radically changing the future of circus, and performing arts as a whole, by bringing a multidisci- plinary and experiment-driven approach to creation and performance. As a 501(c)3 organization, the school relies on individual contributions and foundation support to cover costs that cannot be offset by student tuition. We keep our tuition rates low to encourage students from different backgrounds to attend, and to ensure that they will not launch their artistic careers bur- dened by student debt. Circus Arts are Thriving Worldwide, contemporary representations of circus are thriving and expanding – from Cirque du Soleil, to Pink’s performance at the Grammys, to the wide array of theatre and dance groups that incorporate elements of acrobatics, aerials, and clowning into their performances. Circus is no longer confined to the Big Top, as artists in every discipline discover its rich potential for physical expression. And yet, until now the United States lacked a dedicated facility for training contemporary circus artists. Students who wanted to train intensively in circus traveled to Canada, Europe, or Australia. They often stayed in those countries and established companies, meaning that now virtually all of the edgy, exciting, vibrant new circus companies are based overseas. There are a growing number of arts presenters in the U.S. who are clamoring for these kinds of shows – and the only way to get them has been to import them. -
Katie Scarlett CV 2017
Katie Scarlett [email protected] http://katie-scarlett.com Height: 166 cm - 5’4” ● Weight: 53 kg - 115 lbs. ● Hair: Red ● Eyes: Brown PERFORMANCE HISTORY SKILLS ReCirquel Company Budapest 2017 Aerial Straps, Dancer Aerial Hoop Solo+Duet Circus Automatic 2012-2017 Aerial Straps Aerial Straps, Aerial Hoop , Contortion, Dancer Trapeze Industrial Light & Magic 2016 Contortion Motion Capture Dance Stage Entertainment Touring Productions 2015 Aerial Harness Aerial Hoop, Dance Aerial Bartender Celebrity Cruises 2014-2015 Fire Dancing + Eating Aerial Straps, Contortion , Standing Hoop/Pole, Mermaid , Living Statue, Cast Captain Mermaid Trapeze World 2007-2017 Living Statue Aerial Hoop/Straps/Harness, Contortion, Dancer, FireDancer/Eater, Aerial Bartend Pole The Crucible 2008-2017 Acting Aerial Hoop, Contortion, Dancer, Fire Dancer/Eater ,Fire Trapeze Singing Supperclub SF/LA /Amsterdam 2006-2016 Rhythmic Hoop + Ribbon Aerial Hoop/Straps, Fire Dancer/Eater, Contortion.Dancer Sensoree Design Lab 2011-2016 Choreography Dancer, Model, Actress, Spokesperson Rehearsal Direction Obscura Digital 2014 Costume Design + Creation Aerial Hoop, Contortion Instruction: Oakland Fox Theater 2013 Ballet,Pilates,Aerial,Movement Aerial Hoop, Dancer, Contortion Krystallpalast Variete Leipzig 2011 Aerial Hoop, Contortion, Dancer Nikki Beach 2010 Aerial Hoop, Dancer, FireDancer/Eater, Aerial Bartender Circus For Arts 2010 TRAINING Aerial Hoop, Dancer Cirque Dreams Productions 2008 Ballet Aerial Hoop, Dancer New Pickles Circus 2008 Valerie Roche A.R.A.D. Aerial Hoop, Dancer Robin Welch Teatro Zinzanni, Cabaret Lunatique 2008 Summer Lee Rhatigan Aerial Hoop Contemporary Dance Kelly Holcombe Alma Esperanza Cunningham MUSIC VIDEO Aerial Magic Man: PARIS 2014 Chloe Marvel Light Axelrod Contortion Dominik Wyss Gavin Hardkiss: MUNDO VIA AFRIKA 2010 Dancer, Choreographer Rhythmic Apparatus Alkaline Trio: BURN 2005 Shannon Gaines Dancer, Fire Dancer Contortion Serchmaa Byamba Mongolian Contortion Center . -
Super Novas 2019 – 2020 Registration Packet
Super Novas 2019 – 2020 Registration Packet Overview of Circus Center’s Pre-Professional Youth Program Circus Center’s Pre-Professional Youth Program is a yearlong training program. Students are asked to commit to the entire year. The program is open to students ages 7–18 (exceptions for skilled younger students may be made). Students build a solid foundation in the basic skills of circus, including strength, flexibility, balance and coordination. Our Pre- Professional Youth Program has three levels: Rising Stars, Super Novas, and the San Francisco Youth Circus. For those students who want it and work for it, Circus Center’s Pre-Professional Youth Program has a long history of preparing young people for elite training and careers in the circus. Even for students who do not pursue a career in the circus, the exposure to high-level training builds discipline, commitment, and confidence that will serve them well in any path they choose. Super Novas (ages 9-16) – Students deepen their circus training when they advance to Super Novas. They continue to develop their strength, flexibility, and coordination while advancing their circus skills. Super Novas focus on two specialties throughout the year which are chosen by the students with coach approval. All Super Novas continue to train tumbling, group acrobatics, and juggling as well. The Super Novas develop their performance skills through weekly dance and acting classes. ● Students are required to complete 80 hours of training over the summer to prepare for the school year ● From September-May, -
The Erosion of Aboriginal Identity in Circus, 1851–1960
Celebrated at first, then implied and finally denied: the erosion of Aboriginal identity in circus, 1851–1960 Mark Valentine St Leon Circus in a modern form was first presented in London in the late 18th century. Philip Astley (1742–1814), a former cavalryman, gave open-air displays of trick riding in 1768 in a ring within a roped-off field at Lambeth on the southern side of the Thames. These displays were eventually enclosed, roofed over and given in a building, which he called Astley’s Amphitheatre.1 The establishment was popularly referred to as ‘the circus’, a word used at the time to describe the open-air circular recreational riding tracks in and around London.2 The ring, the essence of the circus experience, was a primordial device for grouping an audience around a spectacle of human activity.3 On the other side of the world, Australia’s Aboriginal people employed the same device for ceremonies such as a corroboree, the earliest performances by Aborigines to be witnessed by Euro- peans.4 Astley’s remained the international centre of circus well into the 19th century. By the early 1800s, provincial Britain was served by numerous circuses of various sizes and reputations, which travelled by road.5 These companies and others on the Conti- nent, the newish United States and eventually in the new colonies of Australia mimicked Astley’s programs. Also mimicked were the exquisite equestrian panto- mimes devised by Andrew Ducrow (1798–1842), the principal equestrian, lessee and manager of Astley's from 1825 until his death. Despite the popularity of circus entertainments in 19th-century England, circus performers inherited the inferior social standing of itinerant entertainers. -
Acrobatics Acts Continued
Circus Juventas Summer Session Guide 2018 A non-profit, 501(c)3 performing arts circus school for youth dedicated to inspiring artistry and self-confidence through a multi- cultural circus arts www.circusjuventas.org experience Welcome New and Returning Students! Welcome to summer session! Our Staff Table of Contents Ariel Begley Summer is a really busy time of year at Circus Student Finance Mgr CLASS INFORMATION PAGES Juventas: between summer camps, classes, and our Stacey Boucher Acrobatics Classes………………………………………………….. 12-13 annual summer show, the building is hardly ever quiet. Office Assistant Adult Classes………………………………………………………….. 11 Aerial Classes…………………………………………………………. 14-20 Rachel Butler In just three short months, over 20,000 people will be Balance Classes………………………………………………………. 20-23 Assistant Artistic Director/ coming through our doors to experience the magic of Checklist of Classes………………………………………………… 7-8 Artistic Dept. Co-Mgr Steam! Tickets go on sale Monday, June 25th and they Circus Theatre/Dance Classes…………………………………. 24 SELL FAST, so mark your calendars and tell your Sarah Butler Cross Training Classes……………………………………………. 25 Admin. Support Specialist Experience Classes…………………………………………………. 10 friends! Marissa Dorschner Juggling Classes……………………………………………………… 11 Our registration process carefully considers the Curriculum/Program Coord. Kinders Classes………………………………………………………. 9 placement of each student to find the best class for Bethany Gladhill Toddler Classes……………………………………………………… 9 their interests, skills, and schedule. This guide helps Human Resources/Financial GENERAL PROGRAM INFORMATION focus your choices. Start narrowing down by genre Manager Explanation of Class Codes……………………………………… 6 (such as an Experience class, Acrobatics, Aerial, etc). Nancy Hall Frequently Asked Questions…………………………………… 26 Use the table of contents to the right or the Student Data Systems How to Use our Class Pages…………………..………………… 6 Specialist Important Dates ……………………………………………………. -
Circus Report, November 21, 1977, Vol. 6, No. 47
HHjl.tl • " "" 6th Year November 21,1977 Number 47 Sought For Ivory Wildlife conservationists say ivory hunters killed from 100,000 to 400,000 elephants during 1976, in Africa. Their methods range from shooting the animals with rockets to burning them to death in huge gr=»ss fires. As a result the African elephant could become as extinct as the blue whale, Iain Douglas-Hamilton, an international authority on elephants, told the World Wilderness Congress that something has to be done to half the demand for ivory and thus to protect the elephant. He reports that in Chad, on the southern fringe of the Sahara, there were reports the army had used rockets to fire at elephants from helicopters in the race to feed the world ivory According to Douglas-Hamilton the figures market. were developed after he had weighed thousands of tusks in Dar Ks Salaam's weighing rooms. "In Sudan, 1 have received very recent re- ports that some tribes are still burning elephant Elephants, he said, have been seriously over herds by setting the grass around them afire." exploited, particularly since the 10 fold rise in the price of ivory since the late 1 960's. Ivory leaving Africa in 1976 may have come from between 100,000 and 400,000 ele- He reports that Kenya has lost more than 50 phants and there seems to be no let-up in the per cent of its elephant population in the past demand for ivory, he added. seven years. In Uganda, he added, the loss is even greater. -
Cirque Mechanics: Jan
Cirque Mechanics: Jan. 17, 2020 Cirque Cirque Mechanics 42FT – A Menagerie of Mechanical Marvels Friday, Jan. 17, 7:30 p.m. Program Act One Act Two Opening Poster Wall Justin Finds the Circus Revolving Ladder Matinee Finale Rosebud Returns The Suitcase Animal Trainer Circus Parade Knife Throwing Wheel Charivari Sword Swallowing Juggling with Rosebud Slack Wire Duo Trapeze Strong Man Log Zombie Cape Russian Swing Strong Man Bowling Balls Justin Joins the Circus Bravado Brothers Finale Juggle Go Round There will be one 20-minute intermission between acts one and two. CIRQUE MECHANICS IS REPRESENTED BY PLEASE NOTE • Latecomers will be seated at the house manager’s discretion. • Photography and video recordings of any type are strictly prohibited during the performance. • Smoking is not permitted anywhere. CU Boulder is a smoke-free campus! · cupresents.org · 303-492-8008 C-1 energy led him to “run away” with his own circus Program notes company, Cirque Mechanics. About 42ft – A Menagerie of Lashua believes that innovative mechanical Mechanical Marvels apparatus and the relationship between performer and machine sets his company apart and is at the Forty-two feet in diameter has been the measure heart of what makes Cirque Mechanics unique. of the circus ring for 250 years. Englishman Philip Lashua has delivered on this approach in the Astley discovered that horses galloping inside this company’s theatrical productions. His innovative ring provide the ideal platform for acrobatic feats. machines interact with acrobats, dancers, jugglers These equestrian acrobatics, along with clowns and contortionists on a 1920s factory floor in and flyers, are a large part of what we’ve all come Birdhouse Factory, a gold rush-era town in Boom to know as the circus. -
Academic Staff Teachers Circus Trainers
STAFF NICA Teaching Staff List Academic Staff Academic Leader Jenny Game-Lopata Head of Circus Studies James Brown – Acrobatics, Adagio, Handstands, Russian Bar, Roue Cyr, Teeterboard, Foundations VE Coordinator Tegan Carmichael – Foundations, Acrobatics, Dance Trap, Static Trap, Swinging, Single Point Aerial, Hula Hoops, Roller Skating, Group Pitching and Acrobatics Performance Coordinator Zebastian Hunter Movement Studies Coordinator Meredith Kitchen Third Year Coordinator Aaron Walker - Vertical Aerials, Dance Trapeze Second Year Coordinator Vasily Ivanov - Adagio, Contortion, Handstands, Korean Plank, Pitching, Russian Bar, Russian Swing First Year Coordinators Andrea Ousley – Performance, Aerials Emily Hughes – Cloudswing and Swinging Trapeze, Skipping, Static Trapeze, Dance Trapeze, Foundations Certificate IV Coordinator Alex Gullan - Foundations, Group Acrobatics, Trickline, Straps, Korean Plank, Wall Trampoline Certificate III Coordinator, Social Circus Coordinator Andrea Ousley - Performance, Aerials Consultant Jenni Hillman Senior Administrator Catherine Anderson Senior Administrator Jenny Vanderhorst Teachers Debra Batton – Performance Teacher Dr Rosemary Farrell – Circus History John Paul Fischbach – Arts Management Jamie Henson – Technical Aspects of Circus Dr David Munro – Anatomy & Physiology Circus Trainers Stephen Burton – Acrobatics, Comedy Acro, Hoop Diving Gang (Charlie) Cheng – Acrobatics, Chinese Pole, Handstands, Happy Cook, Unicycle, Chair Handstands Adam Davis – Chinese Pole, Acrobatics, Trampoline, Foundations, -
John Bill Ricketts and the Edinburgh Equestrian Circus
5 Kim Baston La Trobe University, Australia Transatlantic Journeys: John Bill Ricketts and the Edinburgh Equestrian Circus John Bill Ricketts is generally credited as the founder of American circus, setting up a circus in Philadelphia in 1793. This paper examines evidence from Ricketts’ early career in England and Scotland and argues that the successful transplant of the early modern circus form initiated by Philip Astley into America rested on Ricketts’ experiences with a small circus in Edinburgh, established by the equestrian performers George Jones and William Parker. Not only did this circus provide a repertoire and a business model which Ricketts replicated in his American circuses but, crucially, provided him with a network of experienced performers whom he subsequently employed. The first circus in America owed much to the first circus in Scotland. Kim Baston is a Senior Lecturer in Theatre and Drama at La Trobe University, Melbourne. Keywords: John Bill Ricketts, circus, equestrian, American circus, Edinburgh circus, James Jones, George Jones he equestrian performer, John Bill Ricketts, is generally credited with T being the founder of circus in the Americas, setting up a circus in Philadelphia in 1793, and going on to establish circus buildings along the eastern seaboard, and in Canada. As an originating figure, his achievements are listed in almost every history of the American circus, whether popular or academic. Many existing histories, however, attach Ricketts in a seamless lineage to either Philip Astley, founder of Astley’s Amphitheatre and the institution of the early modern circus in England, or, more commonly, to an apprenticeship with Astley’s rival, Charles Hughes, founder of the Royal Circus.1 This link was first questioned by James S. -
Dawn Shepherd 1
Dawn Shepherd 1 PUBLIC PRESENTATION HISTORY Contemporary Circus, Stage and TV Performance • BREAKING VALENTINE’S CONTEMPORARY CIRCUS SHOW – Dup Trapeze, Clowning Halifax Music Co-op, HaliFax, NS February 2020 • HAL-CON 2019 – Contemporary Circus Performance and Juggle CheSS Choreography (juggling, dance, clown) Halifax World Trade and Convention Centre, HaliFax, NS October 2019 • ROGUE: CONTEMPORARY CIRCUS SHOW – Aerial Hoop, Dancer, Clown, Vocal PerFromance Halifax Music Co-op, HaliFax, NS August, September,October 2019 • SPINNING WITH THE STARS 2019 – Duo aerial StrapS perFormance with City Councillor, Lindell Smith Spatze Theatre, Halifax, NS May 2019 • BIG TOP ACADEMY TV SERIES (5 Episodes) – Aerial SilkS, Character Actor (Edie Williams) Cirque du Soleil & Apartment 11 Productions, Montreal, QC, October 2018 • DOTA 2 INTERNATIONAL CHAMPIONISHIPS OPENING CEREMONY (audience oF 20,000+) – Aerial Silks Creativiva, Rogers Arena, Vancouver, BC August 2018 • NASCENT CONTEMPORARY CIRCUS SHOW – Aerial Rope, Aerial Hoop, Duo Acro, Dancer, Character Work Halifax Music Co-op, HaliFax, NS September 2017 • ATLANTIC CIRQUE PERFORMANCE TROUPE - Aerial ArtiSt, Duo Acro, Character Work, Dance Savour Food & Wine Festival, Casino a, Delta Fredericton, Exxon Mobil, Canadian Progress Club, Canadian Bar Association, Tangerine (ING), Hoya Vision and others, HaliFax, NS 2014-Present • TU PROCESSED CONTEMPORARY CIRCUS SHOW – Aerial Straps & Aerial Hoop, Dance, Clown, Voice, Halifax Music Co-op, HaliFax, NS, December 2016 • MURMUR – Duo aerial Straps Halifax