Annual Report 2014

Rotemannavägen 10, 145 57 PHONE: 08-531 998 30, FaX 08-714 90 57 e-mail: [email protected] www.cirkor.se ANNUAL REPORT 2014

IMAGE LIST Henrik Agger: p. 11:1 Einar Odencrants: p. 15, 20, 21 Linnea Arbab: p. 14, 16 Christina Simpson: p. 8 Mats Bäcker: p. 4, 5, 6, 7, 23:1-2 Johan Stomberg: p. 19 Mattias Edwall: cover Emma Therkelsson: p. 11:2 Cirkör Is an Idea Alex Hinchcliffe: p. 3, 12-13, 17 In 1995, Cirkus Cirkör is founded as a non-profit organisation. Among the founders is the person who will take charge of Cirkus Cirkör and who is still our artistic director; Tilde Björfors. At the time of writing, 20 years have passed and it is time for a summary.

Cirkus Cirkör Ideell förening is created in 1995. Its Cirkör grew from the ground up and gradually met goals are to artistically and educationally establish with forward-looking civil servants and politicians, contemporary circus as an art form in ; as well as artists and people from other profes- to develop and to deepen the possibilities of the sions. The pioneer spirit was strong: They went culture of contemporary circus; to put Sweden where no one, or only a few people, had gone on the world map of contemporary circus, and to before. Cirkus Cirkör met with resistance, because inspire and be inspired by young people and the there will always be sceptics, and resources were street. Cirkör’s vision is to change the world with locked in a system that just plodded along. In contemporary circus. time, it managed to make the rest of the world see that it held potential for creation and development 20 years later, two million people have seen Cirkus for individuals and art, as well as societal issues in Cirkör live and 400,000 children, young people a wider sense. Some advantages of contemporary and adults have participated in training with them. circus were that it was young and undefined. The There’s a higher education program, artistic young enthusiasts who had discovered contem- research and a surprisingly large number of circus porary circus were free to define what its soul and companies who even have their own professional possibilities were in the times they were living in, association – Manegen. One of the Nordic countries’ in a way that is not possible with other art forms, most widely touring performing arts phenomena is where traditions and preferences of definition have a contemporary circus – Cirkus Cirkör. Who could long been in place. have imagined this 20 years ago? The people who were drawn to Cirkör realised that Contemporary Circus contemporary circus was interdisciplinary, inter- = A New Area in the Arts national, nomadic and that it was concerned with systems of how practices arise through the meeting The history of contemporary circus in Sweden of different skills and characteristics. It was also an is closely linked with the development of Cirkus entrepreneurial art form which was, and is, provoca- Cirkör. But the art form is much more than just tive for parts of the existing arts establishment. Cirkör. There is a professional organisation An Idea (Manegen); circus training for various age groups Time for Mapping and a Plan of Action is available all over Sweden; there are university Cirkör did not lend itself to definition within any and new, international development processes. level courses and programs as well as academic old models. Cirkör was not just a theatre or dance 20 years have passed. Contemporary circus still We are well on our way to becoming an inter- national development centre for contemporary research on the subject; different venues show- group, or a performing arts company, or a course, only obtains a very small slice of the funding that circus! Read about the local, regional, national case contemporary circus; there are about 40 or a school, or an events’ agency, or a research is available to various performing arts, when com- and international proliferation of circus; about our companies and artist constellations, and around institute, or a regional culture institution… Cirkör pared to theatre, dance and opera. From a culture courses, our secondary school and other educa- a thousand people make a living from the art form. was all of the above, all at once. policy point of view, the art form of contemporary tional programmes; our competence development Contemporary circus has even begun to be circus is ready to have its present state mapped. Financial contributors initially advised Cirkör to for artists and educators; our EU-collaborations; accepted as a separate art form, with its own A national plan of action for the development of choose a path, but came, in time, to see the po- Cirkör LAB and one of this year’s proudest pro- unique conditions and possibilities. the art form is also needed. tential in not doing so, and that the will to not be jects: The development of Cirkus Äldre de Luxe. defined was a key element to success. They sensed What Made This Development Possible? You are holding the annual report for 2014. This that Cirkör was primarily an idea; a burgeoning has been our biggest year ever with regard to Enjoy your read! As always, it came down to people, to a few dedi- experiment with the all possibilities that can arise financial revenue and many successful artistic cated individuals or groups of individuals. Cirkus when art is a starting point and a driving force. projects, in the shape of performances, events Anders Frennberg, CEO of Cirkus Cirkör ARTISTIC OPERATIONS

Premiering during 2014

Underart – ode to a Crash Landing ”Wonderful to watch … celebrated by the Underart, Cirkus Cirkör’s new international pro- audience like a ninth wonder of the world.” DN duction, directed by Olle Strandberg, premiered ”The result is beautiful contemporary circus poetry at Stora Teatern in on the 12th of at its best: Melancholy and funny at the same time. September 2014. Underart is based on Olle’s own A full body-experience that reaches deep into the story about a crash – a moving, cataclysmic heart ...” SvD bang, which could have been the end. Instead, it became a new beginning and a way forward. ”… without a doubt world-class… contemporary circus can pull off anything …” Expressen Director Olle Strandberg has a background as an acrobat and juggler at Cirkus Cirkör. In December ”… an all-embracing work of art” GT 2005, he broke his neck whilst performing a triple somersault and was paralysed from the neck down. ”With humour and poetry, they tell us about the things we all contemplate – love, loneliness, happiness and sorrow.” Kulturnyheterna SVT

”Wonderfully different … a philosophical stage essay about the beauty, lightness and frailty that is life” Kleine Zeitung, Graz

”… the result is an aesthetical experience of the highest order.” Die Presse, Graz

Underart continued from Gothenburg to a run of performances at Dansens Hus in , and then played in Botkyrka, Västerås, Falun, Växjö, Halmstad and Örebro in Sweden and concluded the year at the circus festival Cirque Noël in Graz in Austria.

Underart has been performed a total of 57 times during 2014, to a combined audience of 25 554 ”The story about my crash is not completely people. In Botkyrka municipality, Underart was unique, but it is my most important story. It has performed for pupils in year 9. shaped me, and it has been like tinnitus to me when I have attempted to create anything else. Ensemble: Methinee Wongtrakoon, Alexander To build a show around it is like throwing oneself Dam, Iris Pelz and Christopher Schlunk, Matias straight into a cliché of self-disclosure, at a time Salmenaho, in addition to Anna Ahnlund and where there are so many important things to talk Andreas Tengblad, who collectively make up the about. Then again, it is not about personal fulfil- music duo Ripple & Murmur. ment but rather the open sharing of that which is not perfect and the exposure of a part of me that Creative team: Direction and idea – Olle Strandberg, has needed help.” Composers – Andreas Tengland and Anna Ahnlund (Ripple & Murmur), Set design and Underart received good reviews at its premiere costume – Katarina Wiklund and Susanna and throughout its entire tour: Wiklund, Lighting design – Jenny André ARTISTIC OPERATIONS ARTISTIC OPERATIONS

Knitting Peace (premiered in 2013) Ensemble: Knitting Peace, directed by Tilde Björfors, started Aino Ihanainen, Ilona Jäntti/Nathalie Bertholio, the year with a highly successful run at Dansens Mikael Kristiansen, Matleena Laine/Tiziana Prota, Hus in Stockholm. Throughout 2014, the piece Alexander Weibel Weibel, and Samuel ”Looptok” toured venues both in Sweden and abroad, Andersson/Olof Göthlin. visiting places such as Skövde, , Norrköping, Gothenburg and Malmö in Sweden; Creative team: Fredrikstad, Askim and Lilleström in ; Direction and idea – Tilde Björfors Chateau Arnaux, Sainte Maxime and Velaux in Composer and sound design – Samuel ”Looptok” France; Copenhagen in ; Düsseldorf in Andersson ; Girona in Spain, and The Hague and Set design – Fanny Senocq, Tilde Björfors, Stefan s’-Hertogenbosch in the Netherlands. The tour ”Drake” Karlström, Joel Jedström and members concluded at Artipelag in Värmdö in Sweden. of the ensemble Knitted set design and costume – Aino Ihanainen Knitting Peace has been performed a total of 116 Costume design – Anna Bonnevier times during 2014, to a combined audience of Mask design – Helena Andersson 57 733 people. Lighting design – Ulf Englund Choreography consultant and artist’s coach ”The Swedish artists from Cirkus Cirkör create – Cilla Roos a dreamlike performance … Knitting Peace – the curious power of stitches” La Provence Can You Knit Peace? ”Break-neck poetry in a home-spun world” DN In connection with the show, we have started a call for knitting, which encourages people from all ”In Knitting Peace, Cirkus Cirkör plays at peace in over the world to knit and send us their knittings, a disarmingly beautiful way” SvD along with replies to three questions: Why do ”an aesthetical whole, a well-composed picture you knit, what do you strive for and can you knit poem, performed with theatrical, contemplative peace? calm” Expressen This has resulted in thousands of knittings flood- ”This is contemporary circus based on poetry ing in. Some of them have been used in the rather than fiction. Wonderfully enjoyable – and set design, but the majority are included in our with breathless moments cause by the abilities of exhibition Knitting Peace, which follows the tour the body … Knitting Peace is a strong and hopeful and has also been displayed at Dansens Hus and experience.” GP Artipelag. The knitting appeal has been utilised by organisers during the tour, who have engaged local knitting enthusiasts, those interested in arts and crafts and knitting artists. Knitting exhibitions have been built in foyers, and knitting cafés and philosophy evenings have been arranged. The knitting appeal has also garnered a lot of interest from the press and in social media. On the whole, there are over a thousand knittings in Cirkör’s col- lection, and we will create a larger Knitting Peace- exhibition, to be held at the Army Museum during 2015-2016. ARTISTIC OPERATIONS ARTISTIC OPERATIONS

The inherent impulsion for Cirkör and circus as well as circus technique and construction. Our our artistic endeavours and make space for this Productions at large to seek cross-pollination, affirm differ- assessment is that it is in fact the long research work in our financially punishing realities, but also premiering in 2015 ences and strongly believe in an approach that processes that lay behind the success of our how to work in ways that gives rise to innovation, transcends boundaries has been essential to our recent shows. where creativity can flow and we can avoid repeat- Borders success and development. The Borders project ing old truths in old patterns. CARE is made up of During 2014 we have, in addition to rehearsals and Cirkus Cirkör’s next big production Borders began shows our desire to further develop and highlight companies from six European countries and seven this. It will also be the over-riding theme as we laboratory explorations of our own shows, offered partners: Cirk La Putyka from the Czech Republic, its artistic process during 2014. fourteen residencies for external artists, performers celebrate Cirkus Cirkör’s 20 year anniversary Circo Aereo from , Cahin-Caha and Un and companies, who work within the spirit of “When I was a child and took the boat between during 2015. Loup pour l’homme from France, Nordic House contemporary circus. In total, there have been Limhamn and Dragör, I used to try to feel where the from , Cirkus Xanti from Norway and Cirkus fourteen residency presentations performed for a border between Sweden and Denmark lay. I could Cirkör from Sweden. Artistic Development combined audience of around 900 people. not understand how there could be a border in 21 different activities are organised by CARE during something which is as continually moving and flow- and Cirkör LAB Residencies at Cirkör LAB ing as water”, says circus director Tilde Björfors. 2013-2015, where directors, artists and creators An important part of Cirkus Cirkör’s operations Sofie & Tuk (DK) meet and collaborate in interdisciplinary labs, art- In the Western world, we are very busy challeng- is the work we do to strengthen circus as an art Johan Wellton (SE) ists’ talks and meetings, seminars and residencies. ing one another to step outside of our comfort form. We achieve this by the creation of platforms Circus Next *– Zero Gravity (FI) During 2014, five activities were held as part of the zones. At the same time, we guard our European and collaborations for artistic processes, research Åsa Johannisson (SE) project: LAB Linking Genres in Prague, the Czech borders more strictly than ever. In the background and development, in addition to opening up for Circ Vost (FR) Republic, Artistic Meeting in Prague, the Czech noise of our everyday lives, there are reports of exchanges between various participants. Klara Mossberg (SE) Republic, LAB Circus & Choreography at Cirkus refugees in boats, filled to more than their capacity, Katarina Rosén (SE) Cirkör in Sweden (a presentation to 50 people), La chasing after freedom and security. One of the most essential platforms for this work Augustine Rebitez (BE) Putyka’s residency at Cirkus Cirkör in Sweden, and is Cirkör LAB (Laboratory for Artistic Brilliance). Nathalie Wahlberg & Manda Rydman (SE) the Network Meeting at Circo Aereo in Finland. The creation and establishment of Cirkus Cirkör It is a place of residency for circus companies Tysta tankar; Isak Arvidsson & Petter Wadsten (SE) has been a celebration of the transcendence of from all over the world, as well as interdiscipli- Alexander Weibel Weibel (SE) CARE is supported by the Creative boundaries by the circus performer, in the shape nary research projects, educational development, Sara Runsten (SE) Programme of the . Several of the of risk, pain and the limitations of the body, but film and think tanks about creative leadership. In Tanter (DK, SE, NO) partners have also received national funding from also in playful explorations of new possibilities. Cirkör LAB, international networks are deepened Svalbard (SE, ES, GB, GE) their respective countries – in Cirkus Cirkör’s case, Contemporary circus is an art form that moves, and new ideas are taken further. It is also the it was funding from the Swedish without borders, between different nationalities. It place where we share our own and others’ artistic *= Circus Next is a European support programme Arts Council and the city of also transcends boundaries – without conventions processes, both within the industry and with our for innovative artistic circus projects and is run col- Stockholm. – between varying genres, art forms and modes audience. laboratively by 23 European organisations. Cirkus of expression. Circus is entertainment, but it can Cirkör/Cirkör LAB is an associate partner, and Olle also carry incredibly painful stories. It is difficult to Strandberg is part of the jury’s panel of experts. Cirkör Event transcend boundaries without moments of chaos During 2014, Cirkör Event has met a combined Cirkör LAB has also collaborated with Kulturkraft and disorder … and yet, something compels us to audience of around 47 000 people and held close and organised: do it. to 150 events. In 2014, we have seen an increase Circus & Street workshop in demand and interest as regards creating events Juggling workshop Kulturkraft The show Borders 1 is created in collaboration with that are more closely linked to values and themes Masterclass Rope Kulturkraft (arranged by Managen) Malmö Stadsteater and is performed during 2015. that are conveyed through Cirkör’s performances. Masterclass Pole Kulturkraft (arranged by Managen) These themes have sometimes been directly con- Borders 2 is the working title of Cirkus Cirkör’s Cirkus in School Subjects Kulturkraft next, large-scale internationally touring produc- nected to the client’s core values or core message tion, which will open during 2016. It is also the During 2014, Cirkör LAB also held: through workshops, lectures and performances. A lecture at the Royal College of Music about the name of the theme that the entirety of Cirkus During the year, we held around fifteen events with creative process of Knitting Peace, in addition to a Cirkör will work with, both internally and exter- Seeds to our own shows are born and grown themes taken from either Knitting Peace or Wear it CARE-presentation at the international circus fair, nally, for the coming three years. The theme of in and around Cirkör LAB, too, for example our like a crown. This type of event ensures a unique, Subcase, at Subtopia. borders will be explored both educationally and upcoming shows Borders 1 and 2. For a show to artistic product and is something that separates artistically. We will create meeting spaces that be successful, it requires long artistic processes The EU-project CARE Cirkör from other event producers. include our operations for children and young where the creative team and the performers are people, our professional performance operations involved. Theatre’s process, with eight to ten weeks CARE stands for Circus Art and Research Ex- We have also started using Cirkör House in Alby and our audience, in addition to internally, where of rehearsals, does not work for a circus perfor- change. Cirkus Cirkör shares many issues and as a venue and have held several events of varying our different departments will take part in trans- mance, as the circus performers’ participation is challenges with circus companies from different scope there, everything from a seated dinner for boundary work. necessary for the creation of artistic themes parts of the world, for instance, how to deepen 260 guests to a kick-off for twelve participants. INTERNATIoNAL OPERATIONS INTERNATIoNAL OPERATIONS

One example of a successful event in Cirkör House was an event held for Cirkör’s recurring INTERNATIONAL client Seco Tools. In this case, the guests were OPERATIONS meant to get the feeling that they came ”home to Cirkus Cirkör”. Pupils from the circus secondary Contemporary circus is an international phenom- school were training in the hall, and the guests enon, and we collaborate internationally within all got to try their hand at circus skills, before sitting our operations, with regard to production, sales down to a good meal where the dinner entertain- and in the development of our educational work. ment consisted of circus acts. It was a highly suc- The exchanges we take part in through Cirkör LAB cessful evening and a completely unique experi- and the EU-project CARE are also examples of ence for the guests. this.

Other exciting and fun assignments during the year: Our shows meet an international audience, and during 2014, Knitting Peace and Underart have • The opening of Swedbank’s new premises in been performed 43 times to a combined audience Sundbyberg. Cirkör custom-made qualitative of 22 675 people outside of Sweden. Our inter- entertainment as a framework for the opening national tours are made possible through intense event and a staff party. networking and sales work.

• Linnaeus University, where the themes from During 2014, the overarching ambition for in- Knitting Peace were used in operations ternational sales has been to continue to build regarding collaborations between different and strengthen relations with Cirkus Cirkör’s schools. network of organisers. This consists of Swedish and international organisers, who regularly book • The Church of Sweden, Skara diocese, where our shows, because of their long-term business Cirkör performed a show in conjunction with the relationship with us, and who are also willing to celebration of the diocese’s 1 000 year jubilee. book shows before they have even opened. As Our co-operation with continued during 2014. • Minnesota Communications who, on behalf of interest for Cirkus Cirkör is very wide-spread, our Microsoft, bought a workshop for 500 partici- network of organisers is continually growing. This pants which was concluded with synchronised provides an essential foundation for the securing mass juggling. of proceeds for our operations. Our goal for the future is to expand the network to include all parts Another exciting collaboration is the one with Tom of the world, and to have longer runs at individual Tits Experiment in Södertälje. It resulted in mini- theatres abroad. shows during the summer, as well as workshops and performances throughout the autumn on, in In 2014, we have targeted our operations towards total, around 90 occasions. new markets. Our aim to further develop our net- work of organisers in secured us Cirkus Cirkör has also had a Christmas buffet funding from the Swedish Institute for a business collaboration at Stockholm Olympic Stadium. We trip to Argentina, Chile, Uruguay and Brazil, with performed 29 shows there, where Cirkus Cirkör a view to creating conditions that would make it provided entertainment in the shape of five circus possible to tour Knitting Peace there during 2015. performers and one singer. We visited Buenos Aires and Rosario in Argen- In addition to the above, Cirkus Cirkör held just tina, Santiago in Chile, Montevideo in Uruguay over 60 events during the year, with generally very and São Paulo in Brazil. During the trip, meetings successful results. with potential organisers and theatres were mixed with business visits to our partner SCANIA and We had recurring collaborations with several big their operations in Buenos Aires, Rosario and São events’ agencies, which was something we focussed Paulo, to try to deepen our collaboration on the on during the year, and we held several events in South American continent. Norway for Scan One, where Wear it like a crown was a recurring theme. Knitting Peace at Østre Gasvaerk in Copenhagen

INTERNATIoNAL OPERATIONS INTERNATIoNAL OPERATIONS

Caravan Cirkus Cirkör is a member of the European cir- cus organisation Caravan. Caravan’s aims are to promote circus training and education for young people all over Europe, and to support their development through tangible measures, such as youth exchanges and teacher training.

The project ”Circus Trans Formation” has been running from 2012 to 2014 and is funded by the EU:s ”Lifelong Learning Programme”. The pro- ject is run in collaboration between non-profit circus schools from eight different countries and Université Catholique de Louvain in Belgium.

In July 2014, the project was concluded with a European seminar in Brussels. Here, the art of circus was presented as a tool for social inte- gration for all people, in and outside of Europe. Caravan also published the first European guide to training people who want to work with circus as an educational tool in socially vulnerable environments. During two days, profession- als and amateurs from circuses met with local, - lay the foundations for a long term European national and European political representatives educational programme that meets the needs and researchers from universities. Amongst and the possibilities available on the European topics discussed was how the circus industry employment market. can be further developed to better meet the As a step in market development, the most long was chosen because of our unique educational needs of young people with limited possibili- The results will be presented during a European distance trips since the international sales office work, which combines physical training with sci- ties. Operators from more than fifteen countries seminar in the summer of 2016 in Brussels. was instated were undertaken, with a focus on ence subjects – Plugga matte med Cirkör (“Circus were represented, among them France, Fin- CIRKUS + is funded by the EU:s educational South and , as well as and maths”). land, Romania, the Czech Republic, Cambodia, support programme Erasmus +. Australia. We participated at more performing arts The workshop participants were Korean perform- , Madagascar, Ethiopia, Canada and Circus Secondary School conferences than ever before, including APAP in Sweden. New York, APAM in Brisbane and IETM in Melbourne; ers, performer-educators and teachers. During a The pupils of the contemporary circus second- Montreal Complètement Cirque, Tanzmesse in one-week, intense workshop, 70 participants tried Cirkus + ary school quickly come into contact with their their hand at circus skills, examined their own Düsseldorf, PAMS in Seoul, Circa AUCH in France; ”Research on Youth and Social Circus Peda- international future employment market. Second roles as educators, developed new exercises in CINARS in Montreal and Contemporary Circus gogy” is Caravan’s next, big educational effort. year pupils made a study and inspiration tour of a group setting and deepened their knowledge Exposure in Israel in Tel Aviv and Jerusalem. We From 2014 to 2016, six of Caravan’s members Paris in January. They trained at the Rosny sous of various approaches to learning, in addition also participated at the local international confer- will, in association with two universities and Bois circus school and Academie de Cirque to participating in a circus and maths relay and ences Subcase in Alby and Swedstage in one college, analyse the need for a course in Fratellini. They also saw two performances at exercises linked to Plugga matte med Cirkör. It Stockholm. circus pedagogy in socially vulnerable environ- Festival Mondial du Cirque du Demain, as well was a highly appreciated workshop, and several of ments. The goal of the project is to give circus as Tetrakai at Parc de la Villette, which is the final the participants are still in touch with Cirkus Cirkör International Educational organisations with great social commitment and production from the students at the bachelor of with the aim of developing collaborations around Collaboration strong ties to operations for children and young arts programme at Centre National du Cirque contemporary circus in Korea. (CNAC). Between the 24th and the 31st of October, Cirkus people tools for the long term development of Cirkör went to Seoul, on invitation from Seoul Mia Crusoe (manager of courses and training educators. The leader of the secondary school, Walter 2006-2014) also gave a lecture on the theme of Foundation for Arts and Culture to carry out ”The During the project period, we will: Ferrero, is on the board of FEDEC as a repre- Seoul Aesthetic Engagement Workshop” (SAEW). “Everything is Possible: A Qualitative Madness” at sentative for the contemporary circus programme. The invitation had been preceded by a selection the international symposium Seoul International - analyse the existing courses on offer for young Walter has also been invited to hold lectures process, involving around a hundred organisations Symposium for Arts and Creativity. people and educators who are socially commit- about Swedish contemporary circus training at from several European countries. Cirkus Cirkör ted and want to utilise circus as a method Cinars in Montreal. educational operations educational operations

Pedagogy and Training most important thing in the world?” The children’s Through its educational operations, Cirkus Cirkör ideas have inspired the story, and their recorded encountered over 20 000 children, young people voices are heard in the circus performance entitled and older people, with or without disabilities, in 30 Jag bara måste. different Swedish municipalities, as well as inter- Ensemble: Fredrik Deijfen, Anna Lagerkvist and nationally in four separate countries during 2014. Douglas Magnusson. Activities have included circus workshops, lec- Director/project manager: Jesper Nikolajeff tures, shows, performances and courses. Educational leader: Louise Turner

In 2014, our department for Pedagogy and Train- Jag bara måste was performed for over 9 000 ing has put their efforts into three major projects. children at 44 different schools within the county The largest of these was directed towards care for of Stockholm. the elderly and care homes for people with senile Cirkus Äldre de Luxe dementia. Called Cirkus Äldre de Luxe, it has been realized with funding from PostkodLotteriet. In Cirkus Äldre de Luxe is an educational experience conjunction with Botkyrka municipality’s children’s programme created for and modified to suit circus culture residency, we revised the school show Jag within the care for the elderly. bara måste (“I Just Have To”). The third project The goal of Cirkus Äldre de Luxe is to offer care has been to establish courses in circus pedagogy homes, assisted living spaces and hospital set- for educators and other occupational groups. Our tings a fun, physical and mentally challenging focus when it comes to courses has been to edu- circus activity as part of their daily operations. cate internal and external educators to use circus as an educational method in socially vulnerable The project is built on Cirkör’s educational steps: environments. Inspire, Educate, Activate. The visit begins with Jag bara måste – a Children’s an inspiring and specifically adapted circus show, Culture Residency in Botkyrka and then the performer-educators from Cirkus Cirkör perform a sit-down circus show together The show Jag bara måste (“I Just Have To”) is the with the old people and the staff at the care home. result of collaboration with Botkyrka municipal- In order to leave a lasting impression, as well as ity within the framework of its children’s culture continued training at care homes, a course, also residency, where the aim was to let children be called a workshop, was developed, with guidance During 2014, the project has reached 2 800 people elderly have seen the show, the sit-down circus or involved in a creative process. Together with for the staff at the home. at 89 care homes for the elderly from in received information about the project in conjunc- children from ages seven to twelve at Hammer- the south to Storuman in the north. Approximately tion with conferences in various places in Sweden. staskolan in Norsborg, Cirkus Cirkör has spoken, The show, the sit-down circus and the workshop 600 members of staff and cultural representatives explored and played with the theme “What is the for the care homes have been constructed from from care homes have taken a course in sit-down Cirkus Äldre de Luxe’s show, sit-down circus and a well-thought-out idea where costumes, props, circus. This is nineteen more care homes and 300 workshop has scored very highly in evaluations movements, music and objects have a specific more members of staff than the project aimed from care homes, and Cirkus Cirkör are now work- meaning and different purposes. It was important for. In total, eight artist-pedagogues have been ing on continuing the journey to more care homes, to meet the participants with respect and that the involved in the development of the project. even though the period with funding from Post- focus lay on the time shared with them, not what Kodlotteriet has come to an end. they could or could not do. We had been given the Cirkus Cirkör also held a week long course in In collaboration with the Swedish Dementia Centre honour of coming to their home! One example is sit-down circus as competence development for and the Alzheimer Fund, Cirkör is organising a the colour pink, which is present in both the show people who work within care for the elderly, for seminar on the 18th March 2015 for people who and the sit-down circus, as an uplifting and cheer- circus instructors (not from Cirkör), as well as for work within care for the elderly and the circus ful colour. Another example is the choice of music Cirkör’s own educators and one wheelchair-bound industry: Culture as a force for change in care for and rhythms from different genres, such as bossa dancer. The people responsible for the project and the elderly. nova and disco, which mainly evoke joy. The vari- the performer-educators have also participated ous objects used in the sit-down circus promote in six separate conferences and performed on Cirkus Cirkör will also document and summarise different physical and mental abilities such as fine two venues outside care homes. In total, approxi- the entire project in a book which will be published motor skills, balance and coordination. mately 3 000 people who work with care for the during the spring of 2015. educational operations

Circus Shows and Workshops eight occasions every year. It is a free taster-ses- With the help of some 70 freelance circus peda- sion of circus training for the whole family, and 779 gogues and artists, Cirkus Cirkör’s educational people have participated in it this year. operations have reached more than 20 000 chil- During the summer and autumn school holidays, dren. This has been achieved by visits to schools, a total of 89 children and young people up to the associations and organisations, where we have age of seventeen had the opportunity to train held shows, performances, circus workshops, circus and conclude a week-long circus camp with term long courses, circus maths and/or courses. a show. The autumn holiday camp held in collabo- An example of an activity that can be taken to a ration with Subtopia was extra fun. There, partici- school is a visit by three Cirkör performers, who pants could explore the theme of fears via circus, perform a 30-minute Cirkus de Luxe-show for all dance, theatre and theatrical make up. the pupils in the gymnasium. The following week, During the summer holidays, Cirkör’s pedagogues all classes get to meet the same performers in visited twelve towns, in collaboration with The a circus workshop. Pupils can then try tightrope National Federation of People’s Parks and Com- walking, pair acrobatics, juggling and swinging munity Centres. 500 children and young people from a trapeze. To ensure that the visit from us from Malmö to Luleå have participated in summer will live on, staff from the school take a course in holiday courses in circus and parkour, where every how to use the tools of circus pedagogy in edu- week concluded with a show for friends and fam- cation. Several of our workshops have themes ily. We also had the pleasure of, via The National that are also a part of circus training. An example Federation of People’s Parks and Community of this which we have utilised a lot during 2014 Centres, giving 800 children and young people is circus maths. 300 pupils in year 5 in Botkyrka the opportunity to try circus at Malmö Festival and have, through Botkyrka’s cultural everyman’s right, Gothenburg Kulturkalas. were given the opportunity to have two lessons in circus maths, where the pupils learn mathematics Cirkör in the Hoods through circus training. Cirkör in the Hoods consists of a group of young Circus courses in Alby, Stockholm people from the neighbourhood Botkyrka who train circus twice a week at Cirkör House. The and Gothenburg group came about through extensive collabora- Cirkus Cirkör hold term-long courses in Alby, tion with youth centres in in 2011. Norsborg and at Vasa Real in Stockholm and since During 2014, the group has deepened their knowl- autumn 2014, we also hold scheduled courses in edge of circus disciplines and also been educators Gothenburg. The courses are directed at everyone at circus taster-session held during Albydagen, from children from the age of five to adults, with or Hjärta Botkyrka, Assyriska footballcamp and the without disabilities, who want to train circus. They festival “This is Alby”. The group has travelled to learn everything from basic circus techniques to Malmö to watch the show Drallion by Cirque du specialisation within specific circus disciplines. Soleil and have also been given the opportunity to During the year, a total of 1 265 people have par- attend circus shows at Hangaren. ticipated in one of the 37 circus courses (fourteen in Stockholm, seventeen in Alby and six in Goth- Ung Cirkör enburg) that Cirkus Cirkör have held. During 2014, Cirkör’s youth ensemble, Ung Cirkör, In addition to this, Cirkör has offered drop-in focussed on developing their technical and artistic classes in contemporary circus and parkour at skills. They concentrated on creating two separate Cirkör House for amateurs on 60 separate occa- shows during the year. In the spring, a street show sions, where 1 250 children and young people was devised and performed on four occasions in have participated, 820 of those were unique visitors. May and June for a combined audience of around 3 000 people in Botkyrka and Gustavsberg. In the Chilla med Cirkör (“Chill Out with Cirkör”) at Cirkör autumn, Ung Cirkör devised Hide and Seek, which House is an example of when we open up our was performed on four occasions in December at premises and the art of circus to everyone, on the Cirkör House. educational operations educational operations

The Circus Secondary world’s best contemporary circus schools and are, • One pupil’s graduation project consisted of or have been, professional performers. being the assistant director of Marie Andrée School The curriculum for the secondary school is split Robitailles research project at DOCH and par- ticipating in the coordination of the Woman in Yet again, the circus programme has shown that into two pedagogical phases: Circus Consortium. it is a course of excellence, both for those who Phase 1 is comprised of the three first terms. Here, would like to spend their time at secondary school the focus is on developing circus basics: Floor The pupils’ individual final circus acts were pre- on developing as contemporary circus artists and acrobatics, trampolining, strength and stretch- sented at Riksteatern in Hallunda at the end of for those who are considering different future pro- ing. Pupils are given a thorough introduction to all term. fessions but who want to make sure their second- circus disciplines, such as dance, improvisation, Autumn Term 2014: ary school days are creative and fruitful as well as theatre, clowning and artistic creation. The pupils soundly theoretical. The autumn began with a creative project where also take part in a project, where all the basics are all pupils in all years worked in their classes with a The theoretical education takes place at S:t integrated into some form of presentation. collective theme, in this case Borders. Every class Botvids secondary school in Hallunda, and the Phase 2 is comprised of the three final terms. It is was given a week to explore the theme, and then circus training is held at Cirkör House in Botkyrka. then time for the pupils to specialise and choose a create and present a fifteen minute show for all of Here, the pupils train side by side with profession- primary discipline and a secondary one. This is in Cirkör. al circus artists from Cirkus Cirkör, Manegen and addition to the curriculum from Phase 1, so train- What Has Happened during 2014? Internal Collaborations artists in residence at Cirkör LAB. ing in all basic disciplines is continued. Phase 2 Spring term 2014: The pupils have participated in several events held The teachers come from all over the world. The is concluded with an exam project, and the pupils Pupils from year 1 began the year with two project also create their own circus acts. by Cirkör and have been invited to watch all pres- majority of them have been educated at the weeks where they worked on their own circus acts entations held by residency companies in Cirkör for the first time. They received support, coaching LAB. and feedback from the teachers and then present- ed their act to the rest of the school. Three pupils were selected to participate in a Christmas show with Cirque Isis outside of Paris, For year 2 pupils, the spring term marked the time under the direction of Quentin Bancel. to choose a primary discipline and a secondary one. The pupils have also had the opportunity to see many of the contemporary circus performances They also completed their performance project put on in the Stockholm area in 2014: Cirkus with an external director. This year, the pupils were Cirkör’s Knitting Peace and Underart, Race Horse directed by former pupil and DOCH-student André Company’s Super Sunday, Ruby Rose Produc- Farstad, who has also worked as a performer with tions Eat it! and Henrik & Louise’s Extreme Sym- Cirkus Cirkör, 7 Fingers and Cirque du Soleil. The biosis. show was performed at Riksteatern in Hallunda. Follow Up of Former Pupils Year 3 presented their graduation projects, which is a major exercise in creating, performing and Many of the pupils who graduated from the con- administrating a project: temporary circus programme during the spring of 2014 continued directly on to higher education Project examples: courses in circus or other subjects in Sweden and abroad. • Two pupils went to vulnerable areas in South with their own social circus projects. We have also received reports that former second- Upon their return, the projects were presented ary school pupils have graduated from university as a photo and video installation piece. and college programmes in subjects as diverse as law and naprapathy, as well as circus. Seven • Four pupils conducted a similar project in former pupils from the contemporary circus pro- South Korea. gramme graduated from DOCH during 2014 and • Two groups consisting of four and two pupils one from Montreal Circus University (ENC). All of respectively created a circus show with perfor- them are employed, and some have started their mances held at Riksteatern in Hallunda. own businesses. ECONOMY AND ORGANISATION ECONOMY AND ORGANISATION

important part of being a good work place and a SUSTAINABILITY WORK good organisation for the world at large. As Cirkus AT CIRKUS CIRKÖR Cirkör’s operations are built on touring shows all over the world, we took the decision to prioritise During 2007, a couple of co-workers with an inter- climate compensation in 2013. We chose to follow est in sustainability founded Cirkör’s first environ- the Swedish Society for Nature Conservation’s mental group. The work began with the decision (SSNC) recommendations to lock emission rights to start purchasing organic coffee, eco-labelled to contribute to the decrease in EU-permitted copier paper, hiring an environmentally certified carbon emissions. To make it practically manage- delivery company, installing remote controlled able within the organisation, we created templates switches to conserve energy, recycling garbage based on the average distance between different and buying used office furniture. In the years destinations around the world and the CO2 emmis- since, we have gradually increased our compe- sions they cause.The data was calculated the aid tence about sustainability and in 2011, Cirkör’s of www.atmosfair.de. The templates is used for all first environmental policy and environmental guide of the organisations air travels regardless of reason. was completed. Since 2014, the environmental group has consisted of five people who have During 2014, we paid 43 400 SEK in climate six annual meetings, in addition to a number of compensation to SSNC, and switched to more smaller meetings with the goal of writing reports. energy efficient appliances and 100 % eco-labelled electricity. We increased our purchases of organic In the past few years, we have become increas- food, improved our handling of recycled waste and ingly aware of our impact on the environment. worked to a greater extent with recycling and re- AUDIENCE NUMBERS 2014 The way we see it, environmental work is an use of office materials and set designs. Performance operations Productions Number of performances Audience numbers ECONOMY AND ORGANISATION Underart 57 25 554 Economy functions such as the board of managers, economy, Knitting Peace 116 53 733 Jag bara måste 43 9 096 During 2014, Cirkus Cirkör had a total turnover research, development, communication, PR and IT. På flygande fot (Äldre de Luxe) 57 2 059 of 45 520 842 SEK, where 28 285 747 SEK was Board of directors 2014: Varieté Vad Ni Vill (Äldre de Luxe) 11 282 made up of sales and 17 235 095 SEK was made Cirkus de Luxe 21 4 248 up of external investments: Bengt Westerberg (chairman) Tilde Björfors, Mats Björkman, Malin Dahlberg, Charlotte Olofsson, An- Cirkör LAB presentations 14 900 AMS: 60 104 SEK nika Levin, Olle Strandberg, Gunilla Thorgren and Botkyrka municipality: 3 278 800 SEK Birgitta Winnberg Rydh. The board of directors is Secondary School Dutch postcode lottery: 65 000 SEK unremunerated. Reflektioner 5 350 Kulturbryggan: 100 000 SEK Management group 2014: Nicole Nadine (individual project) 2 150 Postkodlotteriets Kulturstiftelse: 2 498 152 SEK Yr 3 Delux (individual project) 4 250 Swedish Sports Confederation: 89 504 SEK Artistic director: Tilde Björfors Yr 3 Final presentations 3 180 Council: 2 315 000 SEK CEO: Anders Frennberg Swedish Arts Council: 7 588 500 SEK Head of Finance: Anna Olsson In total 333 96 802 Stockholm City Office for Cultural Affairs: 1 180 Deputy CEO, Head of Production: Anna Ljungqvist 035 SEK Director of International relations: Lars Wassrin Also The Swedish Institute: 60 000 SEK Head of Communications: Susanne Reuszner Cirkör Event, in total 182 47 500 Staff and Organisation Manager Cirkör Event: Cajsa Lindegren Corporate event 63 Manager Education and Training: Mia Crusoe Mini-shows at Tom Tit 90 Cirkus Cirkör is a business group and the parent Artistic Programme Director - Secondary Christmas buffet entertainment 29 company is Cirkus Cirkör Ideell förening (“Cirkus School: Walter Ferrero Stockholm Olympic Stadium Cirkör non-profit organisation”). The parent compa- ny conducts courses, training and education. Cirkör During 2014, Cirkus Cirkör has had 28 long- Educational operations 444 15 793 non-profit organisation owns Cirkus Cirkör AB term employees and 219 short-term employees, (performances not included) (“Cirkus Cirkör Inc.”), which produces performances distributed among 56 full-time positions. In total, and events. As well as working closely together, the 247 people have received a salary from Cirkus In total 959 160 095 companies have joint administrative and support Cirkör during the year. WHERE HAVE WE BEEN IN 2014?

Cirkör’s map of 2014

IN SWEDEN InternationAL Dalarnas County Uppsala County Denmark South Korea Falun Heby Copenhagen Seoul Mora Uppsala Orsa Enköping France Germany Chateau-Arnoux Düsseldorf Gävleborgs County Västerbottens County Sainte-Maxime Gävle Storuman Velaux Austria Ockelbo Umeå Graz Hudiksvall Skellefteå The Netherlands The Hague Hallands County Västernorrlands County s’-Hertogenbosch Halmstad Sundsvall Norway Jönköpings County Västmanlands County Aure Nässjö Västerås Askim Huskvarna Fredrikstad Västra Götalands County Lilleström Kronobergs County Borås Sande Växjö Färgelanda Ålesund Gothenburg Norrbottens County Lerum Spain Luleå Lidköping Girona Skara Skåne County Skövde Helsingborg Klippan Örebro County Örebro Lomma Malmö Östergötlands County Staffanstorp Linköping Norrköping County Ydre Botkyrka Danderyd Haninge Huddinge Lidingö Märsta South Korea Norrtälje Nynäshamn Salem Sollentuna Stockholm Södertälje Tyresö Värmdö

MADE in BOTKYRKA