Contemporary circus, a genre devoid of traditional tents and performing animals, has found a vibrant niche in the heart of New York’s cultural landscape. While Cirque du Soleil continues to enchant audiences, Broadway’s “Pippin” integrates awe-inspiring tumblers with zero body fat, and the City Parks Foundation’s SummerStage recently concluded its inaugural International Contemporary Circus Festival, showcasing free performances in public spaces across the city.
Despite my initial skepticism, I’ve come to realize that contemporary circus is not merely a passing trend; it’s a dynamic art form that has evolved, intertwining seamlessly with the performing arts. This revelation unfolded at a recent seminar organized by Circus Now, a six-month-old advocacy group operated by dedicated volunteers, aiming to shed light on the evolving landscape of contemporary circus.
Attending the event, my expectations were a bit cynical, anticipating circus enthusiasts fervently preaching the artistic virtues of juggling or acrobatics. However, to my surprise, Circus Now presented a refined and informative series of short talks led by well-groomed individuals, followed by engaging question-and-answer sessions. Duncan Wall, a Fulbright recipient and the national director of Circus Now, lent his expertise. His book, “The Ordinary Acrobat: A Journey Into the Wondrous World of the Circus, Past and Present,” underscores the profound connections between the contemporary circus and its historical roots.
The seminar illuminated the evolution of circus technique, emphasizing its increasingly intricate ties to the performing arts. Far from being a fleeting fad, contemporary circus emerges as a dynamic and sophisticated form of artistic expression, challenging preconceived notions and enriching New York’s cultural tapestry with its innovative performances. As the circus finds its place in the city’s diverse artistic scene, it becomes evident that this captivating genre has transcended mere entertainment to become a compelling and evolving art form.