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Entertaining elephants : animal agency and the business of the American circus
How the lives and labors of nineteenth-century circus elephants shaped the entertainment industry.
Consider the career of an enduring if controversial icon of American entertainment: the genial circus elephant. In Entertaining Elephants Susan Nance examines elephant behavior—drawing on the scientific literature of animal cognition, learning, and communications—to offer a study of elephants as actors (rather than objects) in American circus entertainment between 1800 and 1940. By developing a deeper understanding of animal behavior, Nance asserts, we can more fully explain the common history of all species.
Entertaining Elephants is the first account that uses research on animal welfare, health, and cognition to interpret the historical record, examining how both circus people and elephants struggled behind the scenes to meet the profit necessities of the entertainment business. The book does not claim that elephants understood, endorsed, or resisted the world of show business as a human cultural or business practice, but it does speak of elephants rejecting the conditions of their experience. They lived in a kind of parallel reality in the circus, one that was defined by their interactions with people, other elephants, horses, bull hooks, hay, and the weather.
Nance's study informs and complicates contemporary debates over human interactions with animals in entertainment and beyond, questioning the idea of human control over animals and people's claims to speak for them. As sentient beings, these elephants exercised agency, but they had no way of understanding the human cultures that created their captivity, and they obviously had no claim on (human) social and political power. They often lived lives of apparent desperation.
eBook
Circus World
From the 1870s to the 1960s, circuses crisscrossed the nation providing entertainment. A unique workforce of human and animal laborers from around the world put on the show. They also formed the backbone of a tented entertainment industry that raised new questions about what constituted work and who counted as a worker.
Andrea Ringer examines the industry-wide circus world--the collection of shows that traveled by rail, wagon, steamboat, and car--and the traditional and nontraditional laborers who created it. Performers and their onstage labor played an integral part in the popularity of the circus. But behind the scenes, other laborers performed the endless menial tasks that kept the show on the road. Circus operators regulated employee behavior both inside and outside the tent even as the employees themselves blurred the line between leisure and labor until, in all parts of the show, the workers could not escape their work.
Illuminating and vivid, Circus World delves into the gender, class, and even species concerns within an extinct way of life.
eBook
The show must go on!
Two mice and a crow, who travel with a circus, cleaning up the spilled popcorn after every performance, come to the rescue when a greedy con artist takes over the management of the circus.
Book
The Invisibility of Street Know-How in the Training of Circus Artists in Brazil
ABSTRACT The Invisibility of Street Know-How in the Training of Circus Artists in Brazil – The relationship between circus schools in Brazil and the training of artists who perform in street and open spaces was the goal of this study. Five schools were analyzed through a review of pedagogical programs, interviews with teachers and coordinators, and a questionnaire completed by former students. Despite the recognition of the street as a relevant space for performing and its high demand, there is no systematic approach aimed at developing specific skills for street circus performance, suggesting the institutionalized absence of this know-how in the training provided by the schools studied. RESUMO A Invisibilidade dos Saberes da Rua na Formação do Artista Circense no Brasil – A relação entre escolas de circo no Brasil e a formação de artistas que atuam no contexto das performances de circo de rua consistiu no objetivo da pesquisa que deu origem a este artigo. Analisamos cinco escolas, uma de cada região do país, por meio da revisão de projetos pedagógicos, entrevistas com docentes e coordenadores, e um questionário respondido por alunos egressos. Identificamos que, apesar do reconhecimento da rua como um espaço cênico relevante e da alta demanda, não há uma abordagem sistemática voltada ao desenvolvimento de competências específicas para a performance de circo de rua, sugerindo a ausência institucionalizada desses saberes na formação oferecida nas escolas estudadas. RESUME L’lnvisibilité des Connaissances de la Rue dans la Formation des Artistes de Cirque au Brésil – La relation entre les écoles de cirque au Brésil et la formation des artistes qui travaillent dans le contexte des spectacles de cirque de rue était l’objectif de la recherche qui a donné naissance à cet article. Nous avons analyse cinq écoles, une de chaque region du pays, à travers une revue de projets pédagogiques, des entretiens avec des enseignants et des coordinateurs et un questionnaire répondu par les étudiants diplômés. Nous avons identifié que, malgré la reconnaissance de la rue comme espace scénique pertinent et la forte demande, il n’existe pas d’approche systématique visant à développer des compétences spécifiques pour le spectacle de cirque de rue, suggérant l’absence institutionnalisée de ces connaissances dans la formation offerte dans les écoles étudiées.
Journal Article
Peter Spier's circus!
A traveling circus arrives, sets up its village of tents, performs for the crowd, and then moves on again.
Book
The Invisibility of Street Know-How in the Training of Circus Artists in Brazil
The relationship between circus schools in Brazil and the training of artists who perform in street and open spaces was the goal of this study. Five schools were analyzed through a review of pedagogical programs, interviews with teachers and coordinators, and a questionnaire completed by former students. Despite the recognition of the street as a relevant space for performing and its high demand, there is no systematic approach aimed at developing specific skills for street circus performance, suggesting the institutionalized absence of this know-how in the training provided by the schools studied.
Journal Article
Margaret Hillert's Circus fun
\"A boy spends the day at the circus and sees all the attractions including a parade, the big top tent, clowns, and acrobats\"-- Provided by publisher.
Book
Circus Artists and Romanies
The Romanies and circus performers constitute diverse and complex groups that, under specific circumstances, have intermingled and evolved into circus performers of Romani origin. As a result, they share similarities in their lifestyles and artistic production. In this context, this article examines the encounters and influences that shaped their identities as professional, familial, and cultural groups, through the cross-referencing of various sources. It becomes evident that Romani circus performers have begun to adapt their habits, expanding their relationships with non-Romanies, and that the itinerant nature of circus life is both an economically driven choice and a constraint shaped by prejudice.
Journal Article