The circus field in Flanders, Belgium, has experienced remarkable investment and development in the last 10-15 years. This progress can be understood in two ways. From a top-down perspective, different levels of authority (municipal, provincial, governmental, European) have recognised and invested in circus as a legitimate and valuable performing art. This has resulted in direct support from the Flemish government currently to 4 creation centres, 3 companies, 8 youth circus schools, 1 ‘Circuscentrum’ and many projects. At the same time, as discussed below, there is still space for bottom-up initiatives as it remains a relatively small field in numbers, which is still fundamentally based on human relationships between artists, programmers, and communities. A common consensus by many artists is that the main question is not the lack of willing artists and resources, but how you use them effectively.

To find out what the current state of affairs in the circus sector in Flanders is, Circuscentrum has started developing its Landschapstekening, which consists of various categories of interest and will be presented in November 2024. One of the subcategories of this research/mapping of the overall field, focuses on Circus Infrastructure, namely any kind of space that is used directly or indirectly by and for circus artists/companies in Flanders (and Brussels). As briefly explained in the article From the current state, to an ideal one: How much to ask for?, both quantitative and qualitative research was conducted. For the quantitative part, a wide range of artists were asked to indicate which spaces they used in the last year and what for (creation, residency, presentation, storage, atelier, etc). For the qualitative part, I was commissioned by Circuscentrum to take a deeper look into the experience and opinions of the users of the spaces, the artists themselves.

To ensure a diverse, wide ranging, and representative sample of the field, 10 artists/companies were invited for an online interview. They represented diverse circus disciplines (hand-to-hand, aerials, dance acrobatics, juggling, magic, etc), career paths (self-taught to professional, or from professional circus schools), moments in their career (just graduated or very experienced) and family status (single families or families with kids), backgrounds (Flemish, Dutch or foreign), as well as company sizes (solo/duo or multi member companies). The interviews lasted on average 45 minutes and followed a semi-structured character, with a standard set of questions but allowing flexibility regarding specific issues/characteristics relevant to each artist. For transparency, consent was asked on the record, and the interview transcripts were sent to the participants to express any concerns about the collected data. Moreover, before conducting the interviews, as it will be explained later in this report, the spaces of interest were categorised as creation/residency, education/training, presentation/performance (indoor, outdoor, or tent), and other spaces such as storage, craftsmanship, workshops/ateliers.

Before going deeper, it is useful to explain which were the research questions that constituted the basic structure of the interview questions. With the goal of identifying the current status quo of these circus spaces (strengths and weaknesses), as well as imagining the ideal one for the future, the artists were first invited to describe themselves and their main disciplines of work. After that, they were asked to reflect on the primary criteria (location, accessibility, availability, technical elements, other) when choosing a space to create/train/perform in, and subsequently their requirements. Following that, they were asked to reflect on the biggest challenges they are faced with and reoccurring issues that they stumble upon in their practices. From another perspective, they were then asked to recall positive surprises that improved their experiences in these spaces or shifted their mood in a positive way. Those with international experience, were also asked to compare the circus field in nearby countries that they may work in (e.g. Netherlands, France, UK) to see if Flanders could learn something from the situation there. Before rounding off (going away from the more practical and down to earth questions) artists were asked to imagine their ideal circus spaces for the future and what they would comprise in. In the end, they could also express any further wishes.

Accordingly, this report is built on similar chapters, following this base set of interview questions, in an attempt to collect answers and understand the challenges and opportunities of circus infrastructure in Flanders. By going through each function of the spaces as described above, it is possible to pinpoint some issues, report on the artists’ main challenges when working within these spaces, and consider ideal solutions and specific wishes, eventually summing up to the final conclusions. So: Join the ride

The condition

As explained in the previous article for this research, no space - or ecosystem - exists in vacuum, but rather it is influenced by and interacts with a variety of different factors. When discussing spaces, it is not just about rooms and technical conditions, but also about its management, geographical and social location, local partners, neighbours, audience, as well as the relevant authorities that they refer to. Similarly, when researching circus infrastructure in the context of Flanders, it is inevitable that the conversation will also touch upon other relevant subjects such as professionalisation, ecology, safety, inclusion or internationalisation (subjects that will also be covered in the Landschapstekening). And while the question about spaces could blatantly get the response of wanting more spaces, as it was demonstrated in the focus group about spaces and infrastructure that I attended, the matter is not just about adapting and using old churches for creating, or sport halls for training, or even more theatres for performing, it is about finding practical solutions. This means that what the sector needs is to continue being in dialogue, showing openness and flexibility to find more ways to collaborate and involve fairer practices while acknowledging existing power dynamics. The goal is not just more spaces, but better, community-based and safe spaces in this relatively small scene compared to other artforms.

Creation/Residency spaces

When it comes to the creation or residency spaces most attention goes to the 4 creation centers (Miramiro, Dommelhof, Perplx, Cirklabo) that are directly supported by the Flemish government to support the creation of contemporary artists at any level of their work. These creation centers provide time and space, as well as technical support and feedback, and opportunities for work-in-progress showings and presentations to the surrounding community and invited guests. In most cases, the 4 creation centers are also co-producing the creations, connecting the artists to presentation spaces and audiences in the region and abroad. However, due to growing demands, these creation centers are being overly popular and booked for months ahead. The presence of these structurally supported places, luckily does not deny the presence of dozens of alternatives where artists are resorting to for their creations, such as cultural centres, theatres, (youth) circus schools, or sports halls. At times, as an artist mentioned, ‘’GCs[1] can be more accessible and welcoming’’, while another argued that their artistic practice and characteristics “might not fit’’ the required criteria or might not match with what the majority of other artists are in need of.

It is fair to say that the majority of artists that were interviewed are largely satisfied with the conditions and standards of the creation centers and spaces, one of them saying ‘’they fulfill the required standards’’. Of course, the preferences and selection criteria of each artist/company vary depending on the requirements of each creation/artistic discipline, the career stage, the place of residence, family status, etc. For example, the need of an aerial rig might complicate the selection, or in the case of hand to hand artists, height is the most important requirement. More importantly perhaps, as many artists stressed, it is crucial that ‘’the creation center matches my vision’’ and that ‘’there is the prospect of a longer relationship and maybe the possibility to perform’’.

When asked what they were missing and what their first wish would be, many artists mentioned ‘sleeping space’ and ‘cooking space’. Even though Flanders is a relatively small region, going from one place to the other can be a logistical challenge. For that reason, it is essential to ensure that artists are getting the necessary conditions for them to focus on the creation, without having to worry about privacy and covering their meals. Accommodation is crucial not just for the company, but also for inviting external experts or advisors. Cooking facilities are equally vital, especially for bigger companies that need to be efficient in their time and resource management, or if there are specific dietary needs. The circus world is an extremely demanding place, both physically and mentally, so nutrition and rest should become a priority for everyone concerned.

Education/Training spaces

Regarding education and training spaces, one thing that many suggested is that Flanders is not in urgent need of professional circus schools due to the close proximity to France and the Netherlands. Many Flemish/Belgian artists can study at nearby schools (CODARTS[2] in Rotterdam, Fontys in Tilburg, ESAC in Brussels, CNAC in Chalons en Champagne) and return or move to Flanders for their creations. Apart from those, most of the artists mentioned Circolito in Mechelen, Circusplaneet in Ghent, Bethleem in Brussels, and Ell Circo D’ell Fuego in Antwerp, as key training spaces, each with specific positives and negatives. Many artists are also given the opportunity to teach at these youth circus schools, which is a nice community-builder possibility. In smaller communities, some artists find off-the-grid spaces to train, if they happen to be in an urgent need of a space to train in, which ‘’is not my living room’’.

At the same time, artists mentioned that the availability, fees, and time schedules of these places can be a bit complicated and reduce the possibility of spontaneity and last-minute booking of a space, especially if the artists require ‘’more than just a floor’’. This has led many companies to find other types of spaces, such as acro-yoga studios, or renting out a space in collaboration with other companies, such as De Ruimte in Leuven that is co-used by 4 companies. Nevertheless, the importance of well-equipped and available training spaces seems to refer more to younger and amateur-to-professionals ,as most professional companies are not in need of training spaces when they are constantly creating or performing.

Presentation/Performance spaces

Regarding the spaces in which circus shows are staged and performed, it is important to note that both indoor and outdoor, as well as circus tents need to be included. Starting off with the indoor spaces, a positive development mentioned by many, is that increasingly more theatres and cultural venues are programming circus. This points to an equally increasing understanding and interest in circus as a legitimate art form by audience and programmers alike. However, as many of the interviewed artists mentioned, the approach of audiences, programmers, and technicians often comes from other art forms like dance, theatre, or performance, leading to misunderstandings of circus-specific requirements. The particular vocabulary and requirements of circus seem to need more time to settle in and be communicated. Booking relaxed performances, for example, should be understood as an overall approach of inclusion and accessibility, not just a thematic element. Therefore, time, openness and communication are needed to clearly highlight the circus-specific requirements to technicians of venues, ensuring mental, physical, and psycho-social safety. Of course, it would be a ideal for companies to have their own technician on tour, but this is not something that all can afford/opt for.

Then, in technical terms, different artistic fields have varying understandings of technical requirements. This also translates into different understandings of construction loads as well as the amount and types of anchor points that should be available in venues, which according to many of the interviewed artists is often insufficient. The introduction of an across the board technical guideline for all performing venues in the country, similar to what applies in France could be beneficial, as one of the artists suggested.

Similarly to the training spaces, and befitting the nomadic character of circus artists, chances to perform can also be found across the border, with many artists performing all around Europe. When coming back to Flanders for residencies and creation periods, finding or connecting with performance spaces outside the conventional circus spaces was mentioned by some artist as a challenge.

This brings us to discuss outdoor spaces, and subsequently tents. Connected to the previous paragraphs, the need for correct communication beforehand also applies to outdoor spaces, especially with regards to participative projects. It is essential that the partners know beforehand what the show is about, who it refers to, and how to program it correctly (avoiding blind booking without a look into specificities). Artists need to make sure they have prepared creatively and technically for any location and any condition (e.g. weather), as well as the audience behaviour, which can be unpredictable and the numbers of attendance can be fluctuating. When booking a tent, programmers need to adhere to the regulations in place, checking with the local authorities first. Along with it comes the need for a ‘’proper flat soil, not in dirt and mud, and also showers, toilets, everybody getting paid, cooking and sleeping, rooms for people you invite, a workshop’’, in the words of a circus artist that is part of a company that creates and performs in tents. It is crucial to highlight that more often than not, a tent is part of the creation of the show, which elevates it from just a venue to the actual ‘home’ of the performance. This justifies why these companies need to have the possibility to bring their own tent and be supported on every level and for a longer term, since ‘’building up and breaking down every time costs time and energy.’’ Correspondingly, in relation to the creation centers for example, a tent-specific space next to them, where they can be rigged up for longer, would be a welcome provision.

Other spaces and needs

Next to the main functions of spaces for circus mentioned above, lie spaces that perhaps are not at the forefront of everyone’s minds but, it could be argued, are equally important. In fact, most artists that were interviewed mentioned that they either pay too much or are unable to find storage spaces for props, costumes, and stage designs that they do not wish to throw away. (These could be re-used in case an older production gets booked again, or could be adapted to fit a new production.) Similarly, constructing tools and props can be a time and money consuming process, as workshops and ateliers are hard to find, or might not always be specific to circus. For either, a solution could be, as was proposed by many of the interviewed artists, to have a workshop space next to the creation centers, allowing for designing and testing material, thus saving time and money in the transportation. Another solution would be to locate and map all the available ateliers and craftsmen around the country, so that artists can come in direct contact with them, in case they need them.

Furthermore, another wish of many artists, does not translate in spaces, but in people around the spaces, or perhaps people in office spaces. As is often unfortunately the case, artists are required to do their own bureaucracy and paperwork, when applying for funding and support. It is a procedure that (they have proven they can definitely do, but it) can be an arduous task that shouldn’t overlap with the creative process, even though it often does. For that reason, a concrete wish of many artists would be to educate, identify, and spread more ‘not circus, circus people’ such as dramaturgs, producers, or people responsible for the dissemination, communication, bureaucracy, and circus administration.

Common challenges - Pleasant surprises

Following the analysis of challenges within each function of a circus space and the proposed solutions (sprinkled on top), it is useful to explore some common challenges and some pleasant surprises mentioned by the interviewed artists. These go beyond the physical spaces to the overall field, and highlight specific wishes for an ideal future space.

To begin with, everyone interviewed spoke about the importance of community and connection, and how cohesive the field feels. The pleasant surprises often come in the form of positive feedback from an audience that enjoyed a show, or in the face of bookers who turn out to be “normal people’’. When bookers step out of their roles as programmers, they become just people interested in welcoming artists, building connections, and collaborating. This allows for trust and care to be developed, which are essential for any creative process. As a result, artists feel more connected to a place, a community, and a team, and are able to pinpoint the places that fit their vision and needs. However, it can’t be overstated - as demonstrated in the previous article - that existing power relations and criteria can hinder the chances of artists and companies getting booked, because of age, family status, background, or lack of connections. Additionally, as the field grows and more subsidies are provided to artists, specific measures should be taken into consideration to ensure fair payments, as well as time and space for reflection, not just for creation. The same applies for the misconception of the age that circus artists are booked at, as well as the family status of some companies, meaning that a greater understanding and support is needed, in order to overcome the logistical challenges that artists having children are faced with. On the flip side, a surprise and a relief that some longer-standing interviewed artists mentioned, is being rewarded with some blind booking, based on trust rather than taking opportunities from others.

Specific wishes for an ideal space

Finally, what would an ideal space consist of? One artist said: ‘’nice floor, warm, open, admin people, technicians, support’’ Another artist added ‘’black, clean floor. able to hang stuff, able to make it dark, people checking in on you.’’ These recommendations could be all that is necessary, with the additional necessities that were mentioned elsewhere, such as the possibility to do light design and the flexibility to loadout stage decor easily, without having to do many manoeuvres. However, if you take a closer look, the word ‘open’ is in there, implying both a welcoming space for everyone and a collective mindset. A shared responsibility might involve locating and using storage spaces or ateliers shared between companies and artists. This could also allow more autonomy for companies and give space for more ad-hoc or off-the-grid opportunities. This points to a wish by many companies to have a choice of where to perform without being committed to the space they create in. This includes the option to do a work-in-progress showing in front of a ‘safe’ audience, without the pressure of meeting expectations at that stage of the creation. Moreover, for environmental, economic, and daily life reasons, a wish of companies with children is to have the creation period closer to home to manage things more smoothly.

Taking another look at the above quotes, the terms ‘support’ and ‘people checking in on you’ highlight the importance of having the right people available at the right time. That is not to say they’re not already being given that, but rather, in the words of an artist, “having the right people available at the right time of the creation is important to make life easier. If you don’t have the money or if you don’t have the people, most things are difficult to do.’’ The ‘right people’ could be any kind of expertise that artists might need, be it technicians, dramaturgs, craftsmen, or admin people(as was mentioned previously). These people could connect with artists not just by assisting them in their creation, but also by sharing knowledge, hosting workshops and providing lobbying opportunities for the whole sector. As a result, more common pursuits to enrich the vocabulary and needs of circus could be made, in order to avoid borrowing vocabulary from other artforms into applications. Likewise, a wish by many artists is to see each project being treated uniquely, avoiding a one-size-fits-all approach. Alternative applications methods, such as videos and photographs instead of texts, would better align with the nature of circus. Most importantly, an ideal space can be constructed by ideal partners, or in the words of an artist: ‘’we need these partners that are also able to bring stuff to the table.’’

While an ideal situation may never be fully realised, it is important to voice dreams, such as placing an ideal space in the South where the weather conditions are better, or including a sauna, just as they do in Northern countries. Maybe an ideal location would be “not too far from the city, but not in the city center either.’’ Ultimately, going over these imaginations for a minute, the focus should be on creating safe(r) spaces and fostering a community, which is the first thing all artists emphasise. The need is for ‘’spaces that fit the circus purpose now, because circus is blooming’’, and with a willingness and openness to invest in them, it is about using the tools right effectively.

Conclusions

Rounding off this report, the feeling is that the status quo of circus spaces in Flanders is at a high level which meets the necessary standards. In this geographically small area in Europe, the interest and understanding of the circus art form as a performing art are increasing, leading to more support towards spaces, artists, and projects. The necessary circus-specific vocabulary is slowly becoming more established in the minds of technicians, programmers, and audience, while a community feeling seems to echo throughout. The sector, top-down and bottom-up, seems ready to mobilise, participate, and invest, to ensure the best working conditions and opportunities for everyone involved. The only concern that remains, is that with the gradual professionalisation and seemingly increasing funding opportunities, things could become more institutionalised and rigid. The way to combat this, would be to foster more (literal and metaphorical) spaces for impromptu exchanges and spontaneity, community gatherings and sharing. For example, creating workshop spaces and spaces where tents can remain rigged up for longer, next to creation centers, could already enhance a small feeling of community around those spaces.

As mentioned above, it is not about having more spaces, it is about finding practical solutions that can benefit everyone. Sometimes, the key is in becoming more flexible, such as opening up some more spontaneous training opportunities for artists in Flanders. Some other times, the solution requires more communication and planning, such as: finding shared storage spaces and ateliers, locating and connecting ‘not circus, circus people’, and securing sleeping and cooking spaces, thus taking care of the rest and nutrition of circus artists. What remains though, is the need to preserve the feeling of the community and give everyone the opportunity to enter, be heard, and receive equal opportunities that could benefit not just the field in Flanders itself, but the whole sector on a wider scale.