Circus

Traditional circle.

Traps in the American Circus.

A circus is an artistic show, usually itinerant, that can include acrobats, contortionists, tightrope walkers, escapists, strongmen, cannonballs, magicians, jugglers, mimes, unicyclists, clowns, puppeteers, fire-eaters, sword swallowers, trapeze artists, ventriloquists and stilt walkers. It is presented inside a large tent that has courts and seating galleries for the public.

Currently, circuses with animals are prohibited in the following countries and territories: Austria, Belgium, Bolivia, Bosnia and Herzegovina, Bulgaria, Chile, Cyprus, Colombia, Costa Rica, Croatia, Denmark, Ecuador, El Salvador, Estonia, Slovenia, Finland, Greece, Guatemala, Honduras, Hungary, India, Iran, Ireland, Israel, Italy, Latvia, Lebanon, North Macedonia, Malta, Mexico, Norway, Netherlands, Panama, Paraguay, Peru, Poland, Portugal, United Kingdom (Scotland and England only), Czech Republic, Republic of China (Taiwan), Romania, Serbia, Singapore and Sweden

In Argentina there was a variant of this artistic genre, called «Creole circus», which emerged between 1840 and 1866 in the outskirts of the city of Buenos Aires, and where the gaucho genre spread mainly through dances and songs.

History

Circus clowns.

Chichimecos (crowd) of circus.

The circus represents an important part of human culture, a noble enterprise built over many centuries, practically since man began his culture―. (Eduardo Murillo in Jané et al, 1994: 35).

It is worth mentioning that acrobatics, as well as juggling, contortionism, and other bodily practices that are currently associated with the circus universe, are human expressions (practices) prior to the very concepts of "circus" or "circus arts". » (CNAC, 1998: 40).

Antiquity

The history of the circus goes back to the cultural legacy left by ancient civilizations, from the Far East (China, Mongolia, India, etc.), to the Near West (Greece, Rome, Egypt, etc.). Also the American ones but as usual they are left aside by conventional historiography. In these societies, at least millennia ago, some of the activities that today are related to circus content, such as acrobatics, contortionism or tightrope walking, had a utility highly related to the preparation of warriors, religious rituals and with festive practices.

According to the anthropologists Blanchard and Cheska (1986: 67), the practice of acrobatics goes back to the Mesopotamian culture, with a past of more than 3000 years. At that time, according to these authors, the acrobat competed "with himself, with the forces of nature and with his own fellow tribesmen" (op. Cit.: 87).

At the same time, in China, the "acrobatic art", or simply acrobatics, "has an ancient history", of more than 2,000 years, according to archaeological findings. According to the notes of David Marfil (2004), one of the oldest proofs of the existence of the circus is a graffiti found in Egypt in the tomb of Ben Hassan, with an approximate date of 2040 BC. c.

As De Blas and Mateu (2000) point out, in the ancient East (approximately 3000 years ago), jugglers and acrobats already traveled together in troupes, using all kinds of objects, such as weapons (typical instruments of martial arts), children's toys (diabolo, devil's stick) and domestic utensils (porcelain vases), which they threw and received with different parts of the body, for example.

On the other hand, in Greece, athletes, in their particular quest to demonstrate great strength, juggled large objects (mostly heavy), such as cart wheels, for example. In Greek culture, and in others of the same period, women also 'juggled', as can be seen in some Greek amphoras and vases or in Egyptian tomb engravings. In addition, in other ancient civilizations, such as China and others in Central America and the South Pacific, women also participated in this type of activity, as well illustrated by the famous case of the Tonga islands (in the South Pacific), where women girls (females only) juggled, and still do, juggling large nuts called tui tui, and where the success of their juggling act has important social consequences, regarding marriage, chances of social ascension, etc. (op. cit.). With the first trips to America came news of aboriginal customs, as in the case of the Aztecs, specialized in antipodism (foot juggling), and the Shoshoni of Southern California, where juggling was part of the games of the children, such as in speed races while handling three balls (op. cit.).

However, it was the Romans who, in antiquity, gave the name "circus" to entertainment activities, or rather, to public shows. According to the dictionary of the Royal Spanish Academy (1992: 480), the circus was «the place reserved among the Romans for some shows, especially for chariot and horse races. It was commonly in the shape of a long parallelogram, rounded at one end, with stands around it for spectators. In addition to the races, in the Roman circus the challenges concentrated the duels of life and death between men and animals.

Middle Ages to the present day

Scenes of the circus (1891) by Arturo Michelena

Artists de circus (1934) by Lorenzo Aguirre

After the decline of these ancient civilizations, mainly Western ones, body arts (gestural theater, dance, gymnastics and circus) "eclipsed", losing their interest among the population. Subsequently, in the Europe of the Middle Ages, body arts began to recover their space, gradually returning to the reality of the city. But it was in the Renaissance when circus performers once again took over the towns and streets of many European countries, expanding the social status of that culture. According to Soares (1998: 55), the circus in the Renaissance dislocated the inhabitants of the vilas and cities of the binary rounds of work and rest, consolidating in a practice that broke with the institutional order, diverged of the utilitarian concept and aimed above all at "fun", the uncompromised laughter of the educational function, seeking to charm and entertain the public. It was an art of entertainment.

In this period the "troupes de mountebanks" already included music, dance, popular tales, epic narratives and puppets in their shows, in addition to classical skills such as acrobatics and juggling (De Blas and Mateu, 2000). At this time, a "free" way of exploring bodily possibilities prevailed (Annie Fratellini in Unesco, 1988: 27). In many towns itinerant artists were welcomed, offering them a place to present their shows, as an attraction for important public events. Slowly, but solidly, itineraries could be formalized, paths through which thousands of artists used to pass throughout the year.

In the opinion of Coasne (2004: 41), the contemporary circus is characterized by a mixture of practices, of which music, theater, pantomime, acrobatics, gymnastics, etc. can be highlighted. It is an artistic circus model, in which technique is at the service of art and expression.

The first modern circus was opened by Philip Astley in London, England, on January 9, 1768.

Controversy

Lion doll.

The deformations or special conditions in animals or humans were part of a morbid spectacle that, pejoratively, he referred to as a "freak show" (freak show, in English). A famous case was that of the "Elephant Man" (Joseph Merrick; 1862-1890). Although banned in many parts of the world, in some others these shows continue separately and parallel to some fairs or carnivals.

Regarding animal rights, there are numerous NGOs in defense of animal rights, citizens and groups aware of the issue, such as vegans who not only harshly criticize the treatment given to animals that are used in some circuses, but they disapprove of taking animals from their natural habitat against their will, locking them up and using them as objects to entertain. For this reason, they campaign to ask people not to go to circuses in which animals are used. In Spain, this controversy gained prominence when the state of the animals in the circus of the tamer Ángel Cristo was denounced.

It is also denounced that behaviors that are commonly seen in many circuses, such as caged animals that do not stop spinning or elephants that continuously shake their heads from side to side, are signs of the psychological disorders caused to these animals by life in the circus For this reason, in some countries the use of certain species has been prohibited, such as in India, where in 2009 the use of elephants was prohibited in both circuses and zoos, or in others, such as Canada, Sweden, Denmark, Bolivia and Mexico, in addition to various cities in other states, where the use of any animal in circuses is prohibited.

In Mexico, in recent years a new conception of the place that animals occupy in their relationship with human beings has permeated sectors of urban societies. Pro-animal non-governmental organizations and movements, as well as “eco-philosophers”, have recovered part of the vision of peasant communities about the importance of preserving all species in their natural space. Thus, they try to reverse the position of superiority of the human being in front of all species, which has even led to using them for simple joy and entertainment, leaving aside the needs of the animals themselves.

That is why new laws were recently promulgated and adjustments were made to the existing ones, which prohibit, under heavy penalties, cruelty and mistreatment of animals. One of the reforms with the greatest impact was the General Wildlife Law.

Amendments to the General Wildlife Law

"In December 2014, the Mexican Chamber of Deputies approved the reform of the General Wildlife Law, which prohibits the use of wild animals, such as cats, elephants or primates, in shows throughout the country, particularly in circuses". "The reform modifies some articles of the general laws of Ecological Balance and the Protection of the Environment and Wildlife to expressly establish the prohibition of circuses using wild animals".

The General Wildlife Law contemplates that:

• Article 78 is the prohibition for circuses to use animals in their shows.

• Article 122, paragraph XXIV, considers that it is a violation of acts that contravene the provisions of wildlife conservation outside their natural habitat established by law.

• Article 127 states that a person who commits such an offence shall be liable to a fine of 50 to 50 thousand times the minimum wage, which currently amounts to between 3,364 pesos and up to 3,364 thousand.

On July 8, 2015, said reform came into effect, forcing circus owners to relocate the animals used in shows. This meant an additional problem: the new law did not contemplate the creation of shelters for the animals already present in circuses, nor did it oblige government institutions to protect them. Based on the criticisms raised in the media, the government gave partial and insufficient responses, according to the organizations. The sale price placed on the animals and the large number of exploited specimens exceeded the capacity of sanctuaries and zoos to protect them.

Circus festivals and awards

Chile

• Chilean Circus Festival: Union of circus artists creates the first version of awards to Chilean artists, as well as recognizing the valuartes that the Circus has in Chile. This event aims to take place every year in a great event where it mixes the essence and complements this beautiful art.

Spain

• Albacete International Circus Festival is held annually in the city of Albacete since 2008.
• FIRCO: Ibero-American Circus Festival, is held annually at the Circo Price Theatre in Madrid since 2018.
• Trapezi Circus Fair: International Circus Festival held annually during the month of May since 1997 in Barcelona.

Argentine

In May 2014, the sixth edition of Buenos Aires Polo Circo was held. This event is celebrated through various functions and shows, carried out by national and international circus art companies. Said event is based in Combate de Los Pozos and Av. Juan de Garay, Federal District, Buenos Aires. At the same time, functions are carried out in different squares, cultural centers, theaters, museums and stages set up in the city of Buenos Aires. During this event, workshops, talks and training are also held by various national and international trainers.

Famous circus performers

Circus (‘El circo’, 1913), by August Macke, 47 × 63.5 cm; at the Thyssen Bornemisza Museum.

• Mauricio and Alberto Aguilar: equilibrists.
• Juan Corales (Chile): The Lord Corals.
• Joaquín Gastón Maluenda Quezada (Chile): Tachuela Grande.
• Agustin Maluenda Quezada (Chile): Tachuela Chico.
• Agustín Maluenda Ríos (Chile): Pastelito.
• José Tomas Labarca (Chile): Payaso Estrellita.
• Tony Caluga (1917-1997): Chilean clown.
• Karl Wallenda (1905-1978): German acrobat and equilibrist. Inventor of the Skywalking and the pyramid of seven men. Founder of The Flying Wallendas.
• Moses Gasaui (Bolivia): acrobat and trapecist.
• Faruk Gasaui Miquel (Chile-Bolivia): acrobat and trapecist.
• Charlie Rivel: Spanish Clown and Trapist.
• Alfredo Codona (1893-1937): Mexican trapecist.
• Eduardo Cardenal (1944): Spanish equilibrist.
• Angel Christ (1943-2010): Spanish master.
• Gabi (1920-1995), Fofó (1923-1976) and Miliki (1929-2012): Spanish clowns belonging to the saga of the Aragon Family.
• Harry Houdini (1874-1926): Hungarian-American escapist.
• Brothers Tonetti (José Villa del Río, 1920-2004; and Manuel No. Villa del Rio, 1928-1982): Spanish clowns.
• Circus Rolex (1964): Don Apolo Fuentes, El Papa de los Pollitos.
• Franccesco Calabrese Fuentes (2008) in Circus Rolex: Trapecist and Clown.
• Pinito del Oro (1931-2017): Spanish trapecist.
• Brothers Gasca (1939): (Raúl Gasca, 1980; Juan Cebolla Gasca, 1997; and Martín Gasca, 1997): Mexican.

List of circus arts

Clowns in the American Circus