Joy Che Jio Jrjft Juggting knives, rejigging lives acing an expectant audience of two, a slim Sfuenerolly, youths young man stands, poised and balanced, ot holdins juggling clubs in his hands. Showtimel risk hove low self- As the clubs arc and loop through the air in intricate esteem ond tend patterns, kept aloft by a bewildering blur of moving to be ocademic hands, they watch in fantasticated silence, as does a wide-eyed boy who happens to walk by and stops underochievers. When to gawk. It is a display of bewitching artistry and I come in to offer a effortless grace. circus workshop, it's on But what went unseen in this seemingly carefree olternotive for themF$ per{ormance are the countless hours of intensive juggling practice, and that intangible quality subtle and ratherunexpected one, between mastery - the wholehearted commitment and fevered concentration needed to master the skill. In this of circus acts and cultivation of character. Jay - and lies the crucial element of social circus'effectiveness explains how these strange bedfellows interact and its role in intervention for troubled youths, says integrate in making a difference to youth at risk: youths self-esteem and social worker-turned-social circus trainer Mr Jay "Generally, at risk have low underachievers. When I come Che JiaJun. tend to be academic in to offer a circus workshop, it's an alternative for juggle, Circus skills and social work seem, at flrst glance, them. Learning to and then being able to perform, a most unlikely pairing. But a link exists, albeit a actually boosts their self-esteem." ffi--=-1- CHANffi ', speak English, felt inferior to others and had a flery gfiny temper. Then he picked up circus and really fell students reolise in love with the diabolo. I remembered once we performed at Sheraton Towers, in front of a crowd thot if they wqnt to of about 1,400 people. Before his performance, he get thot very difficult stepped up to face the audience, introduced the diabolo and talked quite a bit about its history or cool triclq they in English." - hove to leorn to The happy turn of events did not end there. Jay persevereF? adds, with justiflable pride: "He went on to become so good with the diabolo that I can say he's one of the top three diabolo players in Singapore. I-ater, Picking up circus skills cultivates another important he got a place in Melbourne's circus school which trait,lay asserts. "Some of the very cool juggling he attended for three months. This school dropout tricks or circus tricks need a lot practice and of - who struggled to string a sentence in English - perseverance. My students realise that if they want is now self-assured enough to try to pull off a deal to get that very dfficult or cool trick, they have to teach diabolo in local schools." to learn to persevere. By letting them perform on stage, they gain self-confldence from knowing they are able to do something we11." Jay acknowledges that learning circus skills is "not a miracle pill" and does not guarantee that a wayward youth will be steered back onto the path of the straight and narrow. But he is just as ready to assert that "it really works for some". The cases he shares, of youths whose lives took a turn for the better, are compelling ones. He recounts: "I had a circus workshop participant who dropped out of school at 14. He could barely ez Creotive Arts Jay, a youthful 30 himself, focuses on working with light. She even made me a prefect and a sfudent at-risk youth, whom he defl nes as those "notfulfl lling councillor, despite the rebellious guy I was." their potential, whether in school or other areas". His empathy for them, and willingness to believe in Such affirmation, unsurprisingly, nipped his their inherent ability to make good, stem from disciplinary woes in the bud. It also led him to his own tumultuous experiences during his early realise that he had something of worth to offer his teenage years. school and fellow students. This particular vote of confldence in him has rippled on through his life, A recalcitrant student, his lower secondary days indirectly inspiring him to read social work at the were fraught with behavourial issues. The turning National University of Singapore and, later on, point came when his school discipline mistress, influencing his choice of vocation. Ms Lee, took a personal interest in him. Jay speaks of her with much respect and gratifude: "She did Jay flrst encountered social circus during his not condemn me but chose to see me in a positive undergraduate days when he was assigned to * eh{d\NGF- Tampines Family Service Centre CIFSC) for his sfudents went on to audition as buskers endorsed social work course attachment. There, he was by the National Arts Council, and even hope to tasked to help with workshops run by Cirque du stage their own contemporary circus show in time. Monde, a social action initiative of Quebec-based Another batch, who went with Jay to Indonesia to circus group Cirque du Soleil, for youths at risk. take part in an outreach project, has chosen to use circus arts as a community involvement tool. In 2003, armed with a newly minted degree, Jay signed on with TFSC as a full-fime social worker. Jay's social work training and work experience He remained there for three years, during which have proved a boon to his blossoming career 3070 of his job involved outreach activities using in circus intervention. He explains: "First and circus workshops. He also took the initiative to foremost, because I am a social circus trainer, I am work on his circus skills. It was not easy going, he supposed to help people, at least through my circus recalls. "I had to juggle my work and practise on workshops. When clients know that I am a trained my own. It takes a lot to pick up a prop and practise, social worker, it gives me a lot of credibility." especially after atiring day at work." An overseas stint also helped; Cirque du Monde S(.. becouse I om o sponsoredJay to attend circus school in Melbourne. His skills developed to the pointthatjugglingknives sociol circus troiner, I while balancing on a board supported by cylinders om supposed to help - known as the rolla bolla routine - became an eye-catching crowd favourite. peopfe, of leost through my circus workshops. Jay then struck out on his own, and has been a fuIl-time social circus trainer and performer for When clients know thot two years. To date, he has worked with about 600 youths from primary and secondary schools, youth ! om o troined sociol organisations and the prisons, and as far afield as worker, it gives me o lot Thailand, Cambodia and Indonesia. of credibilityrt Mainstream youths who participated in Jay's programmes have benefited too. A group of a+ Creotive Aris He is also less judgmental and takes a holistic view engaging youth in positive ways, instead of being of the issues plaguing so-called problem youth. "My denigrated as "clowning around". social work background has also trained me not to plans to look at them as the problem per se. We have to look This enthusiastic social entrepreneur also and encourage youths at their environment as well - bigger issues like design a show for schools, famlfu problems, mental issues and so on. Maybe to pursue their ideals, because, as he says, "in our she didn't come for the workshop because she's conformist society, our youths have to learn how facing certain problems at home. Or if he is always to dream". violent during the workshops, it could be due to his family history. Such information is useful when you workwith them." Jay has high hopes for social circus. He wishes to on work and workshops, visit see it gain more acceptance as a form of intervention For more information Jay's in its own right, and recognised for its value in wwwjugjay.net. *CHANG{\ \.