Social Circus The Cultural Politics of Embodying “Social Transformation” Jennifer Beth Spiegel

A pyramid begins to form onstage. A clown emerges from the audience, throwing fake hundred dollar bills, and climbs to the top of the pyramid. A second clown emerges from the audience reciting from the book of Matthew. He joins the first clown on the top of the pyramid. All in the pyramid cry “Capitalism” and the pyramid collapses on itself. The show has begun. This opening scene — the fruit of a three-week collective creation process — was devised by Montréal’s Cirque Hors Piste for a Youth for Human Rights event in March 2014. Cirque Hors Piste is supported by private and public institutions working in tandem with social service organizations in Montréal’s downtown area. Cirque Hors Piste offers circus training and cre- ates performances with street-involved youth (youths who live or hang out on the streets), those battling addictions, sex workers, and others who are struggling socially or financially, fulfill- ing its mandate to “offer an alternative and inclusive space for creation to those with marginal- ized life paths” and to promote “individual, social and collective learning via circus arts” (Cactus Montréal 2016).

TDR: The Drama Review 60:4 (T232) Winter 2016. ©2016 by New York University and the Massachusetts Institute of Technology. 50 Published under a Creative Commons Attributions 3.0 Unported (CC-BY) License.

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In the wake of the post-1968 politics of the avantgarde and the spread of youth counter and the spread of of the avantgarde of the post-1968 politics In the wake In the later decades of the 20th century, principles of cultural democracy became prom- principles of cultural the 20th century, In the later decades of with namely programs utilizing circus arts as a means of social intervention Social circus, See Jacinthe Rivard’s analysis of the social circus discourse of the international social circus organization, Cirque Cirque organization, circus social international the of discourse circus social the of analysis Rivard’s Jacinthe See (2007). Monde du 1. Jennifer Beth Spiegel teaches theatre at Concordia University in Montréal, and is a research fellow at at fellow and is a research in Montréal, University at Concordia teaches theatre Beth Spiegel Jennifer is currently She University. Fraser Change (ICASC) at Simon for Social of Art Centre the International on critical theories of art, performance, and social action, within a multi-institution conducting research Research Science and Humanities partnership the Social funded by project arts for social change research on the impacts and project is also the coleader of an international research She of Canada. Council instigated by the initiative placing the national social circus in Ecuador, cultural politics of social circus in a global context. [email protected] government Ecuadorian of social circus for the region, and manages the Cirque du Monde social circus programs, which and manages the Cirque du Monde social circus programs, of social circus for the region, The organizations in over 80 countries worldwide. usually operate in partnership with local social suggest that Cirque du Soleil no longer sets the agenda would “cultural democracy” principles of discourse of social circus has the new inclusive however, Ironically, for the cultural values diffused. “social inclusion” Focusing on promoted from above. since been increasingly adopted and even “cul- while promoting and processes of exclusion, values, can efface broader structural hierarchies, creative processes encourage participation in otherwise, inadvertently or can, tural democracy” entraining dynamics to a higher structural level, in a manner that merely pushes authoritarian cultures, activist and psychoanalyst Félix Guattari developed an “ethico-aesthetic paradigm” paradigm” “ethico-aesthetic an Félix Guattari developed and psychoanalyst activist cultures, Guattari development, and theatre for of both art therapy the popularization Amidst (1995). that would transform and sensibilities instigate new values creative practice could believed that in used by Guattari interventions “ethico-aesthetic” Among the as well as individuals. collectives insisted that transformation Guattari his work, Throughout practice was circus. his own clinical forces and political social, to larger collective, but inherently tied affair, was not only a personal in the 1970s many publicly out, as Jane Plastow (2015) points While, 2008). (Guattari 1995, politically revolutionary move- arts practices emerged as part of supported community-based be supported by a combination sustainability required that programs century, by the 21st ments, ped- The various organizational, and nongovernmental organizations. of governmental funding and reveal the of such projects, choices affect the ethico-aesthetic valence and artistic agogical, Piste. embedded in the Cirque Hors process of social transformation 2005) in the hope that community art (see Goldbard 2006; Graves inent in discourses of and neocolonial programs the social control implicit in colonial this approach could redress elaborating on cul- Arlene Goldbard, community arts practitioner In 2006, (Nicholson 2011). development assists communities to learn from one explained how cultural tural democracy, countering the agendas of elite institutions another and communicate in multiple directions, with the pop- combined This discourse, 2006:129). that dominate the cultural sphere (Goldbard community arts meant that rather than focusing on mandates, “social inclusion” ularization of attempts and strate- peoples into mainstream society, marginalized “integrating” as a means of to creatively participate on their own terms were to gies to allow individuals and communities be encouraged (Spiegel 2014). have been adapting from homeless youth to remote indigenous communities, diverse populations, and actualizing this discourse. Figure 1. (facing page) Cirque Hors Piste participants practicing their skills during the Creation Intensive for for Intensive Creation the during skills their participants Piste practicing Hors Cirque page) (facing 1. Figure Côté, Céline by (Photo Krall. Furgala Dale Justin and Cyr instructors by led Emmanuel show, 2015 May the Piste) Hors courtesyCirque of

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52 Jennifer Beth Spiegel (Creation Intensives) formation, IfollowtheentirecollectivecreativeprocessofthreeIntensivesdeCréation cesses ofculturaldemocratizationappearassomethinga paradox. as ameansofsupportingindividualsandcommunitiesinpursuittheirowngoals, suchpro- ­neoliberal subjectivityintheserviceofself-expressionandself-disclosure. worked withover600individuals. organizations thatoffersupportandsafespacestosexworkers. In2014CirqueHorsPiste town. CirqueHorsPistealsoworkswithacenterthatprovidesfreemealstoyouthand aged 18to30inMontréal’sPlateau, aneighborhoodadjacenttothesouthernpartofdown- 18 yearsoldneedingasafeplace;andwithPleinMilieu, whichprovidesoutreachtodrugusers to drugusersinthedowntownarea;withEnMarge, whichprovidesservicestoyouthunder Cirque HorsPistepartnerswithCactus, anorganizationthatprovidesharm-reductionservices Social InclusionandtheProductionofSubjectivity The RecruitmentProcess munity outreachworkers, eachrepresentingoneofthepartnering socialorganizations, who of communitydoesaprojectcreate? tural significanceofsociallyengagedcommunityartsprojects. Therealquestionis:whatkind tion ofwhatcommunityisservedoftenthewrongquestion forunderstandingthesociocul- move on, tocreatetheirownprojectsorpursuetrainingelsewhere. maiden, intermediary, andtemporarysupport, thougheventuallyparticipantsareexpectedto historically beenconceivedaredwindling. The organization, withinthiscontext, actsashand- imperative toforgeone’sownpath, sincejobsandsocioeconomicsupportsystemsastheyhave process aimedtoattaingoalsandbuildingskillsforsurvivingneoliberalsystemcollapse, andthe through sharedphysicalactsofperformance. Itisamovementthatnavigatesthetensionsof in polyphony, accordingtowhichmultiplevoices, bodies, andsingulartrajectoriescombine ies and shares a particular kinesthetic sociality, enacting a mode of creating collectivity anchored vate” tothecollectivecreationofsharedexpressionthroughcircusperformancebothembod- to beguidingit? The movementfromexpressingsingularchallengesandobjectivesin “pri- by boththeparticipantsandsocialcircusstaffguidingthem. working andlivingconditions, thestrugglestheyface, andtheartisticsocialgoalsidentified sociocultural impacts, Itakeintoconsiderationthesocialrealitiesofparticipantsincludingtheir sion towhichtheygaverise. To contextualizetheseinteractionsandreflectontheirpotential Intensives toanalyzethetheatricalinteractionsthattookplaceandkindsofculturalexpres- the production. Idrawheavilyonparticipants’reflectionsandmyownparticipationinthe mance, andfinallytothecollectiveeffortdeconstructprocessthatcomesoneweekafter the identificationofgoalsbyparticipants, tothecreativeprocessitself, throughtoperfor 4. 3. 2. In ordertoanalyzethetensionsandculturalpoliticsofthiscreativeprocesssocialtrans- Cirque HorsPisterecruitsparticipantsforitssocialcircusworkshops withthehelpofcom- 285 people came to drop-in sessions. In attended workshops, 2014, 319 83 participants of whom attended more than one of the 12 offered that year; Création” (Creation Intensives). Creation) although at the time the fieldwork was being conducted they were referred to as “Intensives de (Collective coordinatorThe new refers to these multiweek show preparation workshops as “Créations Collectif” Bordeleau Tyranny? (2001).For a discussion of processes of self-disclosure as emblematic of neoliberal subjectivity, see Erik For management models, see Bill Cooke and Uma a critique of participatory Kothari’s What kindofsocialtransformationcancircusbesaidtoenact? And whocanbesaid Foucault anonymat 3 offeredbyCirqueHorsPistefrom2013to2015, fromrecruitmentand (2012). 4 As artist-scholarSusanSchuppli(2013)pointsout, the ques- 2 When contextualized contextualized When Participation: The New - Social Circus 53 - - or —

6 And how I got there is because I have I got there is because And how 5 As one young man noted: “What touched me most in the intensive pro- As one young man noted: 7 of “mainstream” society, with a high percentage of high school and college with a high percentage of high school society, “mainstream” of —

Fire spinning refers to a category of street art associated with circus, which includes dancing with fire-staffs, poi, poi, categorya to fire-staffs, with dancing includes which art refers spinning circus, with associated street of Fire hoops. fire and are translations French; in interviews dozen two than were 2015 to 2014 more the all Almost from conducted ano- guard to provided are identifiers No verbatim. cited are English in conducted Those author. the by provided interviews.these from are quotes unattributed All nymity. fieldwork. of years two over my from conversations observations on These based are an affinity for fire and wanted to meet other people that also spin. And the reason why spin. and wanted to meet other people that also an affinity for fire needed to find balance because spiritually speaking I felt like I I started spinning was to heal bet- to avoid pain, know, You masterful of my body. within myself and become And I’ll I’ll become stagnate. I don’t move, know because if I’m not active and if You ter... for There’s a lot of pain of Oz. Wizard know like the tin man from The You become rusty. it’s therapeutic. for me, me...the way I see circus The Creation Intensives are highly structured and require participants to be committed to The Creation Intensives are highly structured and community workers I interviewed said instructors, The vast majority of participants, For the Intensives, participants are admitted by interview. Once accepted they are given a participants are admitted by interview. For the Intensives, So it’s like a domino effect. I was referred here from my friend whom I met at a fire jam my friend whom I referred here from I was a domino effect. So it’s like in Montréal. spinners community with the fire 5. 6. 7. cess was the intimacy that was created with other participants.” The Creation Intensive model cess was the intimacy that was created with other participants.” domi- departs from the Cirque du Monde model from which it was born and which remains weekly In the traditional Cirque du Monde model, nant in the rest of the province of Quebec. The target population is mixed, but loosely comprises individuals who have dropped out but loosely comprises individuals is mixed, The target population been pushed out These offer a outdoor circus workshops open to all. cus sessions for youth under 30 and free where par and a low pressure creative play space point of first contact for many participants, community workers seek to reach target In all cases, ticipants can come and go as they choose. in areas and service points where vulnerable youth populations through referral and recruiting During periods in which drop-in work- but anyone is welcome to attend. are likely to hang out, are reminded that social circus aims to provide social participants shops are reaching capacity, Interviews for the that they self-select accordingly. support during difficult periods and ask who appear most in need of support. prioritizing those go a step further, however, Intensives, participants sign a contract and are Once accepted to the program, the process and its goals. level of pay The with penalties for tardiness and absences. told to treat the process as a job, and so that it is low enough that those who is limited both because of budgetary restrictions 29 individ- In 2014, get their assistance level reduced. receive social assistance payments do not one of the 10 of whom participated in more than uals participated in these Creation Intensives, occurred that year; 66 percent of the participants were four Creation Intensive productions that 34 percent female. male, a concentrated learning and transformation the collective work of the Intensives generated The Intensives were preferred over more occasional activities that fail to provide experience. long-term continuity. dropouts, as well as many who have been in trouble with the law, or have been in and out of law, who have been in trouble with the as well as many dropouts, mental health wards. 7 to 10 sessions over a 3-week period to produce a small stipend in exchange for working in as well and clowning aerial acrobatics, ground acrobatics, theatrical circus show using juggling, drop-in cir Cirque Hors Piste also provides free open as some acting and improvisation skills.

distribute flyers and inform those with whom they may be working, as well as through the as well as through the may be working, with whom they flyers and inform those distribute 20s woman in her early A young and ongoing participants. efforts of previous word-of-mouth she was recruited: life explained how throughout her victimized by violence who had been Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25September 2021

54 Jennifer Beth Spiegel various walksoflifewillworktogethertocreateacommonshow. In fact, theentranceinterviewisgatewaytoacollectiveprocessinwhichparticipantsfrom participants uneasy: profiles, andmotivationsforparticipating, theinterviewandselectionprocesshavemadesome izing ofgoalsanddesires. Despitebeinganimportantpartofunderstandingparticipants’goals, (1988),Foucault callsa aninitiatoryactofself-reflectionand averbal- “technology oftheself” always beenthisdualitysincethebeginning.” who cometolearncircustechniquespecifically, andlesssoforthesocialaspect. Therehas human sidecomesfirst.” Nevertheless, asthecoordinatorexplained: “Therearemanyyouth ular circus[...]and[inthoseprograms]thehumansidecomesafter. Here, weswitchthisasthe participant remarked: “If myobjectiveis[tolearn]acircustechnique, Icouldfindthatinreg- to instillinparticipantsanunderstandingthatsocial ­participant-centered process. Fromthebeginning, instructorsandcommunityworkersattempt community workerstolearnaboutthesocialandartisticgoalsofparticipants, facilitatinga tive” learningprocessareidentified. Theinterviewalsoisanopportunityforinstructorsand are wherethosewhomostable, willing, and/ordesiringofan “individual, socialandcollec- view, would-beparticipantsareaskedtoidentifytheirsocialandartisticgoals. The interviews of thecommunityworkersandoneintensive’sinstructors. Duringtheentranceinter for Living, oneofCanada’smostnationallyrecognizedcommunitytheatreorganizations. has amorepositiveoutcome. This modelprovedtobeeffectiveinDavidDiamond’s Theatre Hors Pistetreatscommunitymembersasrespectedartistsandthewholeperformanceproject sions tooirregulartodevelopashow. BypayingparticipantsoftheCreationIntensives, Cirque the streetcommunitiesthatvoluntaryprogramattractsmakeattendanceatweeklyses- this freeandvoluntarymodel. ButMontréal’surbanenvironmentandthenomadicnatureof ­sessions arevoluntary. The weeklydrop-inworkshopsofCirqueHorsPistecontinuetofollow work, creativeconfidence, etc. Forinstance, ina “flocking” game, onepersonseparatesfromthe instructors andcommunityworkerstoexploreaparticularsocial lesson, suchastrust, team- maturgy isderivedfromtheatregameschosenandinsomecases createdormodifiedbythe cess sharesmuchwith Augusto Boal’s Theatre oftheOppressed (seeBoal1985). The dra- participant-centered withthegoaloffosteringgroupsolidarity tocreateanensemble. The pro- While admissioninterviewsbeginwiththeindividual, theCreation Intensiveprocessis and EmbodiedCritique Collective Creation, Distributed Agency, ethic fittedtothedominanteconomic system. social investment. The formerdependsonintrinsicmotivation, whilethelatterentrainsawork the voluntaryapproachandpaidCreationIntensivesrecognizeparticipantsasworthyof 9. 8. had tohavedreadlocksandabunchofpiercingsorIwouldn’tbeeligible, okay. something whichmademefeellikeIhadtobesomecokeheador So Ishowupandthewomanissortoftalkinglikeasifwasn’teligibleforcircusor In additiontothesetwoformalpurposes, theacceptanceinterviewalsoactsaswhatMichel The actualintensiveprocessbeginswithanadmissionsinterview, typicallyconductedbyone One and the Many (2011). For a discussion of how funding structures influence the production ofsubjectivity, see Grant H. Kester’s line with pay rates of unionized actors in Canada. members of the community affected by the show’s are theme, and all the performers typically paid equity rates in organizations built largely on Augusto Boal’s Theatre of the Oppressed model. Shows are typically created with Theatre for Living, formerly called Headlines Theatre, is one of Canada’s running community theatre longest 9

goals areprimaryinsocialcircus. As one

8 The The Both - Social Circus 55 - - Figure 2. Instructor Cyril Assanthiany demonstrates an exercise to participantsto of exercise an Assanthiany demonstrates Cyril Instructor 2. Figure Montréal. in Sablon Père at Intensive Creation Piste Hors Cirque 2014 May the Spiegel) B. Jennifer by (Photo - - number in 10

A poi is a circus prop consisting of a chord and a ball held and spun in each hand, typically creating various various creating typically hand, each in spun and held ball a and chord a of consisting prop circus a is poi A artistthe while ball the with forms dances. also While themes and messages are sometimes explicitly social, the system of valuation is the system of valuation explicitly social, While themes and messages are sometimes The first Creation Intensive that took place after I began conducting research with Cirque The first Creation Intensive that took place after I began conducting research with 10. - follow the others, group and of someone in ing the impulse moves “flock,” the the front of a separated person in toward the and then car manner, particular ries out an action. For instance, For instance, action. ries out an process in the Creation Intensive exercise gave this of May 2014, rise to a group poi which a group, all following the all which a group, confronts same choreography, offer other characters onstage, (an aspect “power play” ing a from of the scene developed partici- another game in which off of bouncing pants improvise, The each others’ movements). choreographed group moved to offering each in face individuals, one of the In the rehearsal process for this particular scene, turn a unique learning experience. and was entrusted with seeking a career in this discipline, participants was a skilled poi spinner, helping them to master it. teaching the others the choreography and Whereas in many socially engaged process itself. embedded more concretely in the creation issues with individuals flesh out shows on collectively decided social community arts initiatives, issues of the in the Creation Intensives the material drawn from participants’ own experiences, arrive at even if the group does indirectly departure, community are rarely the initial point of toward a col- Social circus dramaturgy begins with the personal and moves such an exploration. gypsies) pirates, , or exotic (Alice lective expression with themes that are fantastical in Wonderland Theatre of the Oppressed, Much like the issues. at least as often as it explicitly explores social its own particular social valence by the ways in which participants the show is given however, process both builds on and transmutes the embodied The creation bring their themes to life. their reasons Participants’ histories are diverse and so are rhythms and histories of participants. and even the kind of dramatur as are the themes they want to explore, for joining social circus, gical process they would ideally like to learn and deploy. In keeping with observations of oth- and deploy. gical process they would ideally like to learn how and even a view toward social transformation, ers hosting community theatre projects with a social cri- much less whether or not to enact debate, whether to explore a theme is a matter of “preferred enacting many with migrants in China, As Shen Liang observed in his work tique. Individual participants also (2014:17–18). the reality” the community’s dreams over criticizing For group. sometimes link their own personal desires or trajectories to the stories told by the corporeal relationship experienced rather than the nar it is the physicalities and the most part, The creation process offers a mech- ratives illustrated that become the locus of transformation. if not but also for expressing, anism not only for conceptualizing problems and their causes, secret (or in some the characters emerge from As an instructor mused, frustrations. sublimating, and critiques. impulses, not so secret) desires, cases, for Human Rights event I described Youth Hors Piste was aimed at producing a show for the the group explored the prejudices experienced by those living on the For this creation, above. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25September 2021

56 Jennifer Beth Spiegel transformation of identitiesrevealedbythematerial generatedintheworkshops. While some created “stories.”tively The nextpersonaddstothesame page. Bytheendofexercisetherearemultiplecollec - theme ofchildhooddreams. Eachparticipantwritesathoughtandpassesittothenext person. creation processtappedintocorporealfantasies, desires, and thetransformationofidentities. childhood dreams. The onlywordsspokenwere: Qu’oncoupelatête!(Offwithherhead!). The ing freeexplorationperiods. Italsoincludedagroupcreative writingexerciseonthethemeof explorations ofcircusskillsalreadyknownorquicklyattained, andimprovspiecedtogetherdur out discussingorconveyinganyparticularsocialmessage. Itwasdevisedusingtheatregames, Piste CreationIntensive,in Wonderland participantsbuilttheshowon thethemeofAlice with- tive socialcommentary. The messages, however, arenotalwaysexplicit. InthenextCirqueHors These critiquesexemplifythedesiretocometogetherexpress collectivegoalsandcollec- put it: tion intothesystemsuchasitis, butanabilitytoimpacttransformation. As oneparticipant Nevertheless, thedesireforinclusioninsocietydoesnotnecessarilymeanaintegra- their communities. paper and clipboard. the bureaucraticlist-makingofadministrators. Waldo eventuallyinfrustrationthrewdownhis ter famousforbeingforeverlostinthecrowd pyramid schemes. Soonafter, ayoungman, dressedas “Waldo” in onitselfwhileperformersyelled “capitalism” wasaliteralcritiqueofcapitalism’sexploitative and policiesthataffectedtheparticipantsindividuallycollectively. The pyramidcollapsing the languageofcircusbecameavehicleforhumorouscritiquedominantsocialstructures dynamic onitshead, leavingthepoliceofficerflatonherback. Throughouttheproduction, partner acrobatics, hulahooping, andachasethroughtheaudience, thepairturnedpower confronted byacopfordrinkinginthestreets. Through anintricatecombinationofjuggling, the show. ences ofhisfriendsmotivatedhimandothersinvolvedintheprocesstomakethisatheme door terraceofabar. Another explainedhowhisexperienceswiththepoliceandexperi- out theironyofherfriendsgettingticketsfordrinkinginpublicacrossstreetfrom- been harassedbypoliceforbeinginthestreets, drinkinginpublic, etc. Oneparticipantpointed streets. While participantscamefromdiversemilieus, withdiverselifeexperiences, manyhad Instructors, doublingasdirectors, discussamongthemselvesthethemeofidentityand Much ofthematerialwasgenerated byacollectivestreamofconsciousnessexerciseonthe lies myapproachinthisproject. that wedon’tidentifywith?Forme, thisisanelementthat ultraimportantandunder people” behappyinthiscontext?Renounceourvaluesordertointegrateintoasystem we oppose?SoIaskmyself:Howcanbehappyinthiscontext? “marginalized At theendofday, whatisthedegreetowhichwewantintegrateintoasystemthat open tounderstandingthiskindofthing. Soweareabletogetthemessageacross. more howweexperiencetheseprejudices. Through thecircusshow, peoplearemore to feeljudged, bestaredat, becauseIamdifferent? They [theaudience]understandabit into perspectivesothatpeopleseeitasifwerethemandask, forexample, wouldIlike robot, togetyoufollowlikeasheep. [...]Ithinkthatsometimes, youmustputthings you fromthesystem. They wanttoincludeusbuty’know[...]getyoubecomea metro, onthestreet, anywhere. “You know, you’reabitweird, sowe’regoingtoexclude This iswhathappensinourlives. We liveprejudiceseveryday, allthetime Many oftheperformersvoicedadesiretoawakenaudiencesprejudicesagainst This showfeaturedaplayful, carnivalesquechasesceneinwhichtwooftheperformerswere — was featuredholdingaclipboard, suggesting

— the picturebookcharac- — in the - - Social Circus 57 the annual meeting of social circus the annual meeting of — combined elements of both. After concept discussions, creative explo- creative After concept discussions, both. combined elements of —

show drew the Alice critique, for Human Rights show was based on social Whereas the Youth Figure 3. Participants in concept development for the 2015 show, led by Cirque Hors Piste instructors Piste Hors Cirque by led show, 2015 the for development concept in Participants 3. Figure Piste) Hors courtesyCôté, Céline Cirque of by (Photo Krall. Furgala Dale Justin and Cyr Emmanuel , the creation a year after Alice, approximately In May 2015, fantastical. more heavily on the prepared for the rassemblement intensive show that was scenes created by participants repeated traditional gender roles, others destabilized these. A destabilized these. others roles, traditional gender by participants repeated scenes created to young man trying cat met by a shy debut as a sexy Cheshire aerialist made her newly trained from one performer Alice wig was passed the Meanwhile, duet ensued. An acrobalance woo her. Alice, shrinking of a growing and for the impression allowing regardless of gender, to the next doing a began as a young woman Alice identity. and a fluid sense of Alice, a gender-morphing then a comedic juggler. man on stilts, soon passed to a young but the wig was solo, hula-hoop the everyday through inten- pushed beyond corporeal transmutations, Meaning emerged from in shared stories based on the and shaped by reanchoring the enactments sive collective creation from any authoritative version. unhinged Alice trope, programs in Quebec a psych ward populated by a range the collective selected development, and character rations, responses the show to carry, When asked what message they wanted of creatures as the scene. “letting ourselves go crazy.” or “lâcher notre fou,” to simply diversity” “unity in ranged from “Why but cited Alice as an exception. one participant complained, always have a message,” “We ‘having fun’”? the implicit expectation that those living in pre- can’t the message just be Indeed, should put on shows about precarity is something carious and marginalized social conditions people “at risk” highlighting the problematic assumption that that has been heavily critiqued, (Santiago 2011). should perform their vulnerability as spectacle Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25September 2021

58 Jennifer Beth Spiegel tal scrubs. Similarlydressedinscrubs, Ifollowedclosebehindtakingnotes been herdelusion. Shewasthecrazyone. Shewasescortedoffstagebytwoinstructorsinhospi- and leftthestage. Alone andconfused, theaggressivenurserevealedthatentireshowhad dance choreographedfromimprovisations. Intheshow’sfinalmoment, thecharactersscattered ance flyers, shouting: “Take yourinjection!” Theshowcrescendoedwithasynchronizedgroup formed, theaggressivenursereturnedandstuckaneedleinbehindofoneacrobal- was primarilysolos, duos, andtrios, Psych to makesurenoonewouldgethurtinassemblingordisassemblingthem. UnlikeAlice, which actual dramaturgyoftheproduction. The showwasrepletewithpyramidscarefullynegotiated aid thosewhowerestrugglingmostintheprocess. This groupsolidaritywasevidencedinthe tation gameinwhicheveryoneembodiedandexploredeachcharacterhadbeenselectedto out tohelpparticipantssupporteachotherindevelopingtheircharacters. Forinstance, animi- mise-en-scène. As withtheotherCreationIntensiveprocesses, exerciseswerechosenthrough- Exceptionally, eventheinstructors, andmyselfasvisitingresearcher, wereintegratedintothe smoothest groupcreationprocesswiththestrongestchemistrytheyhadexperienced. in severalcreationintensiveswiththeorganizationagreedthatpsychwardshowhad the productionwas, liketheprevioustwo, highlycarnivalesque. Participantswhohadengaged production ofcollectivedesireinthesingleandbodiesperformers-creators, notes) Ihad “rehearsed” throughouttheintensive. of theparticipantsfoundhilariousbecauseitreflexivelyreferenceddominantactivity(taking 11. of the Alice production: sonal growth, socialinclusion, andsocialengagement (Spiegel etal. 2014). Oneinstructornoted her bookdedicatedtotheconcept. Touch Specifically, itembodiesa “politicsoftouch” asarticulated byculturaltheoristErinManningin entertainment braid(1977), socialcircusgeneratesculturalmodes ofrelationalityandsociality. Situating socialcircuswithinwhatRichardSchechnerseminallydescribedastheefficacy- Tension inthePolitics ofInclusion Social Transformation (Lafortune andBouchard2010), in theCirqueduSoleilcommunityworkerhandbookWhenCircusLessonsBecomeLife Quebec showsomesuccessinequippingparticipantswith “life skills” ofthesortdelineated within epidemicconditionsofprecarity?Surveyresultssuggest thatsocialcircusprogramsin erate “life lessons,” andhowdosuchlife lessons redistributeindividualandcollectiveagency a “democracy-to-come,” forgingwhatManning callsa “future anterior” (2007:115–16). androgynous figuredancingadiabolosolo. motion aseriesofsceneswiththeentirecollectiveonstage:pyramidcompany;an and aggressive, criedmaniacally, “It’s timetotakeyourpills!It’sforinjections!” This setin entered. One, depictedashavingakinddisposition, dancedthroughthecrowd;other, stern characters andcreatures, somehumanlikebutseeminglyofanotherworld. Two nurses “strange creatures” and/orpsychwards. The Psych showbeganwithanassortmentofstrange ment, asocialpurposedidsurface. The participantswereinvitedtodevelopcharactersbasedon But despitenotsettlingonamessage, intheprocessofcreatingashowfor2015rassemble- With itsreversalofauthority, its denigration ofmeaningastheorderingprinciple, andthe So whatkindoffutureanteriorisenacted? What doesthesocial circusprocessdotogen- In fact, thevastmajorityofcircusshowsinMontréaldonothaveastrongsocialmessage. string attached to two hand sticks. Diabolo is a juggling prop consisting of an axle and two cups. This object is spun, thrown and caught, using a skills suchasteamworkandriskmanagement, fostering per included all10participantsonstagetheentiretime. — 11 When anacrobalancetrioofstrangecreaturesper visceral, emotionalandintellectual — a touchthatsome — is theseedof - - Social Circus 59 - values ego, rage, anger, revenge, yada, yada. [...T]he people that yada. yada, revenge, anger, rage, ego, —

We were a heteroclite group, everyone was very different. And we’re going to work going to And we’re was very different. everyone group, were a heteroclite We super even if we have Because, are as a group. who we will see together, And we together. we are a group. but group, well then we are a heteroclite amongst us, different elements of cohesion. for this type of mix, a type of glue made there is glue [...,] And it works, with urban youth a strong connection inspiration has as a source of creative Social circus While some partici- preparedness for the workforce is never stressed. in session, However, In the case of social circus, this world-ing is necessarily corporeal as well as imaginative, this world-ing is necessarily corporeal as well as imaginative, In the case of social circus, know my dad, You to do with my parents. A lot of it has I really have trust issues [...]. And my mom kind of flipped out of the closet. when I was like 10 or 11 years old he came they broke up, because my dad was cheating on her with guys and stuff, And, her shit. - And mentally and emotion and then everything just went down the drain. divorced, escalating ongoing, in self-destructive, ally to my parents it was like they just engaged war towards each other [...] I loved the most in the world were causing me the most pain through physical violence I’m a very affectionate or emotional violence or through just complete indifference [...]. And then I just created this emotional depen- person [...] so immediately I went to boys. [...] I finally caught myself in that negative pat- [...] I was raped you know. dency on boys. know like when I had that exercise at You that. So the circus in a way is healing tern [...]. and you close your eyes and people are like where we’re like dancing, the last practice, know just the action of letting go of all of my muscles because You pushing you around. exercise will allow me to just let go of every- right? [...] So that I’m a very tense person, So it felt like that physical there to support me. Somebody was thing and not hurt myself. an action of letting go and having someone else support you was kind of like enforcing cool. inner change of that spectrum, living under precarious conditions. Work is both hard to come by and alienating. Previous Previous by and alienating. is both hard to come Work conditions. living under precarious that the activity is effective in social circus community has suggested research with Montréal’s with marginality and nomad- into the workforce because of its links integrating urban youth (2007) noted in her study of Cirque As Jacinthe Rivard and Bellot 2003). Roy, ism (Hurtubise, labor insofar as it allows for creative can be distinguished from alienated circus work du Monde, the social circus participant put it, As one Arendt (1958). by Hannah as delineated “world-ing” due to an inabil- feeling useless, than the call center jobs that left her “more stimulating” was she really could stick to a sched- Social circus offered her a sense that ity to remain motivated. work to which she felt better laying the groundwork for pursuing reason, ule if she had a good teaching circus and performing began picking up small contracts many others, like She, suited. in community events. in the face of prolonged underem- citing CV-building pants treat the program as a work model, “go to to many participants as well as instructors expressed disdain for the imperative ployment, particularly at a time where going as a measure of the program’s worth, “get a job” and school” What is stressed is personal and collective learning to school is no guarantor of getting a job. of ­ allows for the creation of one’s own system “World-ing” and a pursuit of one’s goals. and the forging of systems of signs and meanings that orient the individual toward an alter and the forging of systems of signs and meanings Sociologist Maurizio Lazzarato has and collectivity. dreams, drawing on play, native future, and the ability to self-manage and become entre- argued that in the new economy creativity of neolib- and even a hallmark becoming an imperative, is to create one’s own work, preneurs, It potential for nonhierarchical world-ing (1996). even as it also creates the eral subjectivity, may be seen to be preparing vulnerable individuals is into such a workforce that social circus for “integration.” development of new relational patterns at the physical grounded in sensorial experience and the as well as the One participant in the drop-in workshops as well as emotional and social levels. Alice Creation Intensive noted: Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25September 2021

60 Jennifer Beth Spiegel their appreciationfortheopportunities thattheprogramaffordedthemtocreateandlearn in the onlyconsistentcritiquefrom participantswho, throughoutmyresearch, repeatedly declared ticipant inAlicecritiquedthecollectivecreationprocessatgreatlength: associate suchgameswithchildishplay, thusfeelingthattheywerebeinginfantalized. Onepar director-led model(ratherthanfacilitator-led collectivecreation). These individualstendedto less experienceinsocialcircusandwhoassociatedseriousrehearsalswiththemoretraditional with participantstofollowupontheirreflections. which goalsidentifiedhadbeenreachedorapproached. IninterviewsIwasabletogodeeper what wasachieved, whatonelikedanddidnotlikeabouttheprocess, aswelltheextentto however, thebroadersocialimplicationsaremoredifficulttoassess. whether forworkorpleasure. Personaldevelopmentstoriesarerepeatedoverandagain, by lifeonthestreets, livinginsurvivalmodeandwithmostoftheirinteractionssexuallybased, cus activities. Heexplainedthatthemalesexworkerswithwhomheworksoftenarehardened sive touchthroughthecreativeactofplay, areconsistentfeaturesthroughoutallthesocialcir The creativeaspectofcircuswasmentionedfrequently: Still another: Another stated: “Infantalization” wasacriticism repeatedoftenbyparticipantsinterviewed. Indeed, thiswas tion thattheshowisthreedays away.” I mean, doesthatsoundlogicaltoyou? last week, “Well, youknow what?I’mgoingtostartteachingyouthesteps, not to men- wings onandflaplikeabirdbecauseit’llbefunto a bird. [...] Andthenonthe two weeks. And beforeweteachyouhowtodance, werunaroundandwe’regoingtoput do aprogramandyou’regoingtobedancingsambawe’re goingtohaveashowin had toputupashow, thatwasn’tnecessary. [...] You knowwhenyou’regettingpaidto effects. [...]Iunderstandthatitispartofdoingtheatre. Unfortunately, withthetimewe acting likemonstersandrunningaroundplayingtagmaking alltheseweirdsound fessional level. That shouldbediscussedonthefirstday. [...]Notjumpingaroundand ing day, youtalkabouttheteam?[...]It’sreallyoutrageous. I’veneverseenthisonapro- doing gettingashowontheroad, hiringpeopletoput upashowandonthethirdfuck- were startingtotalkabouttheteamandshoweverything. What thefuckareyou pletely. Imean, firstofall, outoftheseven days, itwasprobablyondaythreethatthey That’s justridiculous. That’s unconstitutional, unprofessional. It’sdisorganizedcom- Playing tag. They hadawholebunchofpeople In reality, Ifeltlikewasalittlebitatdaycarecenter[...]. That’s howIfeel, honestly. The processofcreatingbasedongamesandimprovisationswasunfamiliartosomewith Each oftheCirqueHorsPisteIntensivesendswithapostmortemthatincludesreviewing According toonesocialworker, thisprimacyofcollectiveplayandnonsexual, nonaggres- being judged. blossoming inagroupthroughart;whenyoucanlearnatyourownrhythm, without What attractsmetocircusisthecreativeside. ItwasasideofmeIhadnevertouched, I wasfeelingcomfortable. ItchangedmynetworkandIlikedit. challenge tointegratewithinagroup. Duringtheyearitwasalwayssamepeopleand I sufferfromsocialanxiety, Iamafraidofnewgroupsandpeople. Butcircusgavemethe what willhappen. to gocircus. Iwasshy, butIendedupsayingtomyself:wantdothisandlet’ssee I endeduponthestreet, whereIhadnothing[nervous laugh]. After that, Ireallydecided I wenttoodeepwithdrugs. Itwastoomuch. Ihadtocalmdown. Then shithappened. So — 20 yearolds — up playingtag. [...] - - Social Circus 61 needs that community workers may have been able to help her address. This high- address. workers may have been able to help her needs that community —

the cultural “democratic” process gone awry in favor of rule by the loudest voices who process gone awry “democratic” the cultural —

I don’t like using the term “youth”; youth, who are youth? We are adults. Me, I am 24 Me, are adults. We who are youth? “youth”; youth, term I don’t like using the [call us youth] have bad I don’t think that people who do this adult. I am an years old, manner that people are treated, it’s the But really, that it isn’t right. it is just intentions, were a child or something like that. sometimes it is as if you Many who stop attending. don’t appreciate the program are the ones Presumably those who new to the process that there were too many despite the critique by someone Ironically, the surface effects of broader societal tensions These micropolitical dynamics are typically con- One critique of collective participatory processes is their tendency toward generating come only to a few drop-ins. Interviewees indeed reported that some friends stopped com- Interviewees indeed reported that come only to a few drop-ins. Nevertheless, discussions. “life-lesson” perceived as an over emphasis on ing due to what was One participant had needs. to lack of general support for basic survival some leave in part due to me by a friend of hers was several absences; the explanation offered left mid-process after where she was going to sleep with basic survival issues such as that she had been struggling each night need for assistance with basic survival requirements lighted the ongoing tension between the may be essential which when it may be difficult to ask, from community workers often at a time the auton- and the imperative to respect program, for keeping participants in the social circus issues as they wish. omy of each participant to resolve their own those participants who had previously participated in Cirque games in the creation of Alice, Alice as being among the best quality shows they Hors Piste Creation Intensive described In this but one with the weakest sense of group cohesion. had created with the organization, was in part This the group literally could not work together to create a pyramid. Intensive, will of combined with acquiescence by some to the a question of micropolitical dissensus, ­others sites for rene- they provide Rancière points out, As Jacques that traverse macro-micro divides. - In Alice this was due to a conflu ([2004] 2006). gotiating conditions of inclusion and exclusion themselves. Participants organized extra rehearsals and planning sessions among ence of factors. trouble integrating into the group for a variety of Those with other commitments or who had to mental health challenges were left out of these reasons ranging from personality conflicts those in Intensives, as is generally the trend in Creation Moreover, self-organized meetings. What happened or drug use left the process early. the most dire circumstances of homelessness that persist more broadly threatened accessibility and was that the same pressures of exclusion timespan of Mitigating this vicious repetition was the short group cohesion on the micro level. and the emotional support offered by social and com- the remuneration, the Intensive process, these are far from panaceas. However, munity organizations. can at the same time while it is to a certain extent necessary for moving forward, which, sensus, The refusal to force a singular interpretation within the group opens a proce- efface dissent. of approach- dural space for dissensus; it leaves open multiple meanings and even the possibility wherein physical prowess and abstract creative ing the practice as a non-signifying endeavor, The methodology tends toward embracing a mul- expression are valued for their own sake. work- tiplicity of expressions reminiscent of contemporary movements toward communities Negri ing together based on discrete mutually constituting singularities of what Hardt and rather than the homogenizing group identity of (Hardt and Negri 2004), “multitudes” name as previously however, singularized lessons, The turn toward articulating “the community.” a supportive environment. Some of these concerns were pedagogically mitigated by instructors by instructors were pedagogically mitigated of these concerns Some environment. a supportive artis- Intensives the in subsequent Creation were sure to signal heard this feedback, having who, - This explana process. part of the creation being a fundamental play and games as tic utility of were no and there , Psych which produced the May 2015 intensive, at the outset of tion was given concern: revealed a more systemic some of the concerns Nevertheless, similar critiques. to speak for the majority. often erroneously, claim, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25September 2021

62 Jennifer Beth Spiegel may emergeas well asthepossibleintendedoutcomes. and marginalityasconditionsfor participation, andpredeterminesthekindofcommunities that which thesingularandcollective aresituatedwithinalargersocialcontextpositionsyouth of thistensionliesintheidentification ofthechallengesandgoalsthemselves. The very waysin one’s goalsandaddressed problems. Iftherearetensionsinthepoliticsofinclusion, much within acollectiveprocesswhere, attheend, oneassessestheextenttowhichhas achieved be extendedtotherehearsalof shortcomingstobeaddressed, discussed, andworked through mobilize theresourcesandsupporttotransformsituation. Onthepersonallevel, thiscould problem, andshowsthatacommunityhasbeendamagedby this problem, thiswillhelpto ticipants are “damaged.” The “damage-centered” theoryofchangeholds thatifonenamesa are criticalofdamage-basednotionschange, categorically rejectingthesuppositionthatpar many oftheinstructorsandcommunityworkers, inmanycases formerparticipantsthemselves, whether ornotthisapproachisactuallydeployedbythoseinvolved intheorganization. Indeed, whether researchers, supportorganizations, oractivists. Italso creepsintohauntparticipants, first steptowardchangingit. Thisthinkingisdominant amongcontemporary “progressives,” that thetargetgroupissomehowdamagedandidentifying thecauseofthisdamageis named the “damage-centered” theoryofchange micro- andmacro-levels. the potentiality broader socialpolitics, orthepoliticsoftouchembodiedbycollectivecreation, makepalpable to beincluded. The relationshipbetweenparticipants’personalandinterpersonalgoalsthe to remainopen. The perceivedmessageisthatoneneedstodemonstrateadesiretransform gaining accesstothecreationprocess, regardlessoftheintentionsadmissioninterviewers to fosteranevendeeperassimilation, wheretheperceived “wrong” answercouldkeeponefrom ticipants inshapingtheirexperience, suchparticipatoryschemashavebeencriticizedasseeking many participants. While theself-identificationofgoalsisdesignedtoofferagencypar the endofCreationIntensive. are repersonalized, validatingthepathsofparticipantsasindividualstheyleavegroupat process itselfratherthanduringthepostmortem. Duringthepostmortem, thecollectivelessons discussed withaudiences, andonlyinthesoftestoftermswithparticipants, typicallyduringthe connections betweentheCirqueHorsPisteshowsandsocialvaluestheyembodyarerarely and theveryprocessesinwhichtheyareentangled?Unlikemanycommunity-orientedshows, if any, connectiondoesthestoryhavetopersonalandsocialgoalsparticipantsidentified, ple Alices? What doesitmeanforthestorytohaveallbeeninheadofnurse? And what, more deeplyareevenmetoccasionallywithresistance. What doesitmeanfortheretobemulti- tion ofwhatparticipantsultimatelycreatedtogetherisleftincomplete, andattemptstoinquire to drawlinksbetweenthethemesofshowsandcurrentlocalsocialissues, thedeconstruc- future collectiveinitiatives. Despiteoccasionaleffortsbyinstructorsandcommunityworkers and groupworkareapproachedprimarilyastoolsforpersonaldevelopment, eveniftheyseed sarily unpackedwithparticipantsthesameprecisionasindividualgoals;socialcritique process andembodiedvaluesormessagesoftheshowsareoftenvisible, theyarenotneces- goals. While inCirqueHorsPiste’ssocialcircusintensives, connectionsbetweenthecreative transformation drawingonpersonalreflectionandrelationship-buildingastoolsforcollective methodology of Theatre oftheOppressedthatisaimedprimarilyatcommunityandsocietal the debriefingsoccurcollectively, sometimesindividually. Assuch, socialcircusinvertsthe takes place, thekeystounderstandingapparentcontradictioncomeintofocus. Sometimes created, andconsiderthiswithinthebroadersocioculturalcontextwhichprogram articulate anylessonsatall. ­mentioned, wasalsooftenresistedbyparticipantswhowerenotcomfortablewithhavingto What someparticipantsappeartoberesistingisthetendency forwhatEve Tuck (2010)has The prompttoidentifyandlaterreportonsuchpersonalgoalsisonethatsitsuneasilywith If wereturntothedialecticalquestionofwhatcommunityisservedand — and tensions — of theprocessfortransformation, whichseekstoworkacross — attempts toreformbasedontheassumption - - Social Circus 63 - but what is learned, but what is learned, — or not — how it is put together rather than — the final product being the transformation in the final product being the transformation —

- the desires themselves have a way of becom are not only transformative; however, Desires, Youth culture is increasingly characterized by pressure for individuals and collectives to culture is increasingly characterized Youth We were all encourag- [...] “I can do this.” I just kept affirming myself and saying like, the energy [...] I really felt like I was part of the ing ourselves as a group and bringing up my presence and were really happy that I was team and my teammates really appreciated there and that really made me feel important. and the production of collective subjectivity What is the purpose of this self-representation as it is with A sociality is anchored to the social circus movement practices themselves, Future of Collective Desire Future of Social Circus Do? What Does to do cir “I always wanted participant told me. one to be a clown” I always wanted know, “You - sell cos in a caravan, do circus and travel with my life was to What I wanted to do cus arts. this dream.” Hors Piste allowed me to get started with Cirque etc. tumes, particularly when group process, through actual engagement with a evolving ing more vivid, and tap into creative expression, work closely with others, one’s goals, one is asked to articulate Many participants I public. and a viewing family, this in front of friends, embody the fruits of process with dreams of spending as shy and hesitant to perform left the encountered who began many specified performing arts, While a few sought careers in the circus. a life touring with a though supporting oneself would desire was not a drive to professionalize, that their newfound The and share that with others. of simply being able to live a creative life but rather be nice, the although many of was deferred, however, a life of this nature, question of how to sustain of desires perhaps exemplifies The transformation this precise path. instructors had followed the impact of emphasizing process over product Shows may critique a social system collective subjectivity itself. Social Engagement and the the and Social Engagement finally, is a way of relating, creating, and adapting to structures of production itself. Here the act and adapting to structures of production itself. creating, is a way of relating, finally, that which is said of expression is what matters rather than just as who is recruited and how that is done influences the kind of Yet, what is put together. futures: what is said and how it is said is part of the production of collective community created, assemblage do? what does this most of all, and, who is listening, by whom, what can be said, 2005). to perform their public image (Fleetwood to perform their individuality, self-represent, of performing rather than of being seen that is placed it is the act however, social circus, With propels even as the pressure and promise of being eventually seen by an audience center-stage, the process. social arts programs such as Cirque Hors Piste are As many have pointed out, that goes with it? and the fulfillment of civic responsibility on the part often branded as a combination of charity themselves are while participants “at-risk,” offering tools for self-realization to those of funders, that shape the programs (Fleetwood 2005). rarely privy to the discourses and grant applications from While the fear of infantalization is evidence of the doubts surrounding what emerges this is due to for some, Although, attract participants. the process continues to these structures, the particular form of sociality is intrinsic to a desire to learn circus skills and earn a little cash, the continued and even repeated involvement of many. Some of these dynamics of sociality have already breakdance and hip hop (see Martin 2012). the engagement in and management of risk- been described: the requirement of collective trust, for the based practices (trading the risks involved in excessive consumption prior to rehearsal one’s shoul- risk management of being there to support one’s partner who may be standing on but is Social circus did not invent circus culture for Montréal urban youth, juggling). ders, harness- (1987), “capture device” part of what Gilles Deleuze and Félix Guattari would call a Many participants were already hula hooping ing the power of circus for fundable social goals. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25September 2021

64 Jennifer Beth Spiegel create theirownemergentmicrosocietiesindialoguewithandtransformingbroadersocieties. companies, themostenduringbeingLesÉrotisseries(Spiegel2016). These circuscommunities Carmagnole alsoproducescabaretsthroughouttheyearandhasinstigatedseveralsmallcircus attended andanimatedbybothcommunityprofessionalartistsvolunteeringtheirtime. NGO calledCarmagnole, bestknownfortheirmultidayannualcommunitycircuscarnival, ter orworse. In2001agroupofformersocialcircusparticipantslaunchednowfullyfledged shows andreturnlaterasinstructors;stillothersmoveontootherthingscompletely, forbet- years, forsomenever. Somebegincollegeandreturntovisitsocialcircus;otherscreatecircus ation wherethesupportsofsocialcircusarenolongerneeded. Forsomeitismonths, forothers cus arts, towhatkindoffuturemodesrelationalityhasthisled? The goalistoarriveatasitu- the abilitytoexpressindividualandcollectivegoalsidentitiesthroughengagementwithcir performer dividecharacteristicofthesocialartsembodiesanambivalentpolitic. thus rewardedashavingaplaceinsociety. Within thiscontext, theblurringofspectator- the calltoexpressoneselfisaconditionnotonlyofself-imagebutbeingrecognizedand suggests, “Youth’s functionwithindominantvisualcultureisasfetishizedspectacle” (2005:92), the generationofamodeinteractionforindividualsinvolved. If, asNicoleFleetwood frequently performer/instructors), thevastmajorityperformforoneanother fessionalize, andasmallnumberareabletomaintainfulltimecareersasperformers(ormore would gainandcirculateitsowncurrency” (2012:76). While someinsocialcircusgoontopro- plicates thespectator-performer divide, generatingtimesandspaces “in whichcollectivityitself ing asocialitybecomesthequasi-utopianpromiseofcollectivelygeneratedthatcom- artistic services. collaborators andasupportsystem, whetherskillforbuildingorfindingfurthersocialand or ­ in question. the hierarchiesthatcontinueto characterizesystemsofsupport(andsocietyasawhole)remains that canbemeaningfullyseeded andbroughttofruitionwithoutacompletetransformation of social transformation(Barry-Shaw andJay2012;Plastow2015). Indeed, theextentofchange tain aprogram’sfundingundercutsitsabilitytobringaboutlong-standing andfar-reaching trial complex” (INCITE!2007;Barry-ShawandJay2012)where theneedforanNGOtosus- Hors Piste. There havebeennumerouscriticsofwhat manyhavecalledthe “NGO indus- larger desiredsocialtransformationremainsundevelopedamong theparticipantsofCirque create somethinggreater. Still, whatIfoundwasthattherealizationandarticulationof so. As oneparticipantstated: “I wanttobeanartistand tousemystrengthsimprovesociety.” future socialandculturaldevelopment. And indeedIfound thattherewasastrongdesiretodo with habitsofthoughtandinteraction, toopenupnew individualandcollectivehorizonsfor What isembodiedinsocialcircusachallengetohabitualmodes ofrelating, onethatbreaks ing utopianequalityasaconditionofsuccess. Transformation isaprocess, notadestination. (1995). Itisimportanttorecognizethatprocess-basedtheoriesofchangedonotrequireattain- and politicaltransformationscouldshapesubjectivityatboththeindividualcollectivelevel of relating, Guattariargues, couldleadtobroadersocialtransformation;andconversely, social Personal andinterpersonaltransformations, particularlyatthelevelofsensibilitiesandmodes Institutionalized “Theory ofChange” the EmbodiedPotential and Tensions inan The Ethico-AestheticsofSocialCircusand juggling ontheirownbeforetheyfoundtheprogram, buthavesincegainedacommunityof If akeyelementofthesocialcircusmodelrestsonfortifyingandculturalagencyvia As RandyMartinpointsoutaboutbreakdanceandhiphop, theuniquephysicalityembody- The theoryofchangedescribedinthisarticlebeginswithindividuals comingtogetherto — the valuebeing - Social Circus 65 - - New York: Zed Books. York: New Translated by Charles A. McBride and Maria-Odilia Leal McBride and Maria-Odilia Leal A. by Charles Translated of the Oppressed. Theatre

. Halifax, New Brunswick: Fernwood Publishing. Halifax, Idealism to Imperialism. Group. Theatre Communications York: New McBride. Community workers try their best to encourage civic engagement and reflection on current on current engagement and reflection to encourage civic workers try their best Community If social circus is indeed an ethico-aesthetic practice, that is to say a practice that embeds and that is to an ethico-aesthetic practice, If social circus is indeed in an attempt to ensure a smooth learning expe- The threat of repeating existing hierarchies issues relevant to themes identified by participants. But the explorations scratch only the sur But the explorations by participants. to themes identified issues relevant face of concerns, remaining aesthetically sanitized. For the extra step toward not only collective toward not only collective For the extra step sanitized. remaining aesthetically face of concerns, may require not only the process itself social transformation, but also collective “expression” but also shared goals, relation to personal expression and its unpacking of collective the shared is remains to be seen what acts as a bridge, If social circus of pathways forward. development What kind of new of circus. the connections built through the language what can be done with community workers, spectators, community among community artists, relations are yet to come would happen to structures of What to the arts of corporeal creation? and instructors as guides as placed between these roles, that guide transformation if the fluidity support and processes become “circus lessons” happen if What would are acted upon? form, center stage in theatrical within the broader community for community creators but also for those not only “life lessons” or see youth perform? support, who ignore, that it invites partic- and relating through the rituals of embodiment diffuses a way of seeing practices: (1) by including those we can now say several things about these ipants to rehearse, not only transform audience- they outside of formal cultural production, who are generally left but they also bring certain bodies, inviting active creative participation, spectator relations, as well as audiences that and street arts to the stage that would not otherwise be there, voices, bodies and voices are being invited in as part of “new” would not normally be present; (2) these self-revelation that itself is as much a form of culti- a broader drive toward self-expression and promotes self-realization and self-revelation as a con- vating social subjectivity in a culture that but also (3) the actual collective modes of dition for active social and economic participation; emerging have yet to be fully unpacked in order to relating and especially the desires that are This latter observation is less visions for the future. draw out and develop social and collective particular people involved as it is a reflection of the a critique of the practices or intentions of and structural technologies deployed. social, limitations of current aesthetic, the controlled and par Moreover, ever present. rience for the majority of participants remains change while emphasizing the personal suggests a tial nature of expressing the desires for social for mitigating the risky elements of youth culture and dis- “capture device” socially ambivalent inclusive artistic creation and cultural production, as a site of socially Nevertheless, content. circus collectives as well as the seeding of social circus has engendered community-engaged as such The emphasis on the polyphonic expression of participants practices of trust and play. cultural and ethico-aesthetic the as well as dramaturgy the shaping in element a pivotal becomes at its best, as the embodiment of a social kinesthetic that, This manifests dynamic that emerges. for breaking with habits of alienation and instead models a technique and community structure the col- As a horizon of futurity, may initiate. seeding futures that the joy of collective creation that we still have little idea if nothing else, remind us, lective dreams embodied by social circus what we are collectively capable of accomplishing together. Boal, Augusto. 1985. 1985. Augusto. Boal, Montréal: Le Quatenier. anonymat. Foucault 2012. Érik. Bordeleau, http://cactusmontreal.org/en/actions/partenariats/. Accessed 5 July 2016. “Actions.” 2016. Cactus Montréal. The New Tyranny? Participation: 2001. eds. and Uma Kothari, Bill, Cooke, References The Human Condition. Chicago: University of Chicago Press. 1958. Hannah. Arendt, NGOs from with Good Intentions: Canada’s Development Paved 2012. and Dru Oja Jay. Nikolas, Barry-Shaw, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00595 by guest on 25September 2021

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