I: ARRIVAL OF NEW TERMS

During the Sector Day in June 2023, I was struck by a PowerPoint slide projecting the Flemish circus sector as an ecosystem. To my knowledge, Circuscentrum and its affiliations have been addressing the Flemish circus sector as an ecosystem for the second year in a row. I even had a detailed phone call with Anne who kindly ensured that I saw and heard it right. This analogy raises interesting questions: Is it an accurate representation of the sector? Is it an attainable marriage of concept to reality? What are the merits and drawbacks of viewing it as an ecosystem? Let’s delve into these questions.

II: SYSTEM OF ECOLOGY

The term "ecosystem" originates from the field of ecology, which is the scientific study of interactions between organisms and their environment, first proposed in the 1930s by British ecologist Sir Arthur Tansley. The Flemish circus sector being addressed as an ecosystem implies that it is a complex and interconnected network of individuals, organisations, and institutions that rely on each other for growth. This perspective recognises that the sector is not just a collection of isolated actors but rather a dynamic system where changes in one part can affect the entire system. This suggests that interventions or decisions made in the sector should be made with an understanding of the interconnectedness and interdependence of the various stakeholders. More importantly, the sector should be managed in a way that promotes sustainability, diversity and resilience, recognising that disruptions or changes in one part of the system can have significant impacts on the overall health of the sector. With diversity and inclusivity being one of the main priorities of Circuscentrum, the sector can not only become more socially responsible but also tap into new audiences and perspectives, which can lead to greater creativity and innovation. Inclusivity can also help build stronger connections between the sector and the broader community, creating a more supportive environment for the sector as a whole. It all sounds fantastic and beneficial. However, it is essential to examine whether the current sector aligns with these principles. How about we first look at if this analogy is a good match to see where we fly with it?

III: A MISNOMER?

The adoption of the term ‘ecosystem’ was first popularised in the business domain during the 1990s and gained traction with the rise of the technology industry. Often from anglophone private sectors, it aims at promoting a homogenous mentality for the expansion of businesses. When I come to think of an ecosystem, the image of a perfectly established and balanced biosphere pops into my mind. It is a rather romantic idea, but it also brings a significant number of limitations if we were to apply it to the cultural sector.

Firstly, the concept of biological necessity where each organism has a role to play does not apply to the circus sector. Circus, being a cultural and artistic practice is based on the premise that culture is fluid. People can change roles and functions, while trends and tastes heavily influence the adoption and abandonment of cultural practices. The most precious thing about being human and participating in cultural work is anchored on the belief that we are free. In comparison, a component in an ecosystem, such as a pine tree, cannot decide one day that it will become a predator on top of the food chain. We must collectively avoid presuming, in Sartrean bad faith, that there is no permeability in one’s continuous pursuit of meaningful jobs and subsequent happiness, however fleeting. For example, there should be no barriers preventing an administrative worker from becoming an artist and vice versa. This also resonates with my previous column on gender with this magazine that once we assume biological necessity, gender roles in the system would be fixed and non-negotiable. This all the more reminds us to carefully examine the hierarchical structure within a sector or domain if democratic practices and social mobility are the values we aspire to.

Secondly, while an ecosystem is passively affected by external factors and sees changes from outside as disruptions, the Flemish Circus Sector should in fact take a proactive stance and move in line with worldwide movements such as fair practice, human rights improvement, ethics of AI and climate action. Equating the sector to an ecosystem risks oversimplification and limits the potential of internationalisation for Flanders. It is crucial to overcome the capitalistic approach of internationalisation, which appears to be merely packaging some Flemish-labelled companies and selling them to larger and richer markets such as the UK and France as cultural products. While the anglophone world is at the global forefront of notable movements of many isms and anti-isms that Flanders can strive for, we also need to avoid jumping on bandwagons and misusing catchy phrases of productivity-driven industries. A truly internationalised Flemish circus sector would mean that it observes the highest standards of ethical and artistic practices in the world.

Thirdly, when discussing ecosystems, associated terms such as 'natural selection' and 'invasive species' arise, leading to complex considerations. How does the process of natural selection in the biosphere compare to that of the circus sector? And how should we approach the term 'invasive species'? Recent history has demonstrated how this infamous scientific concept can be exploited for political propaganda and resulted in atrocities. On the flip side, a constructive question confronting this would be: What are our responsibilities as a sector to the newcomers and the underprivileged? In the current landscape where there are attempts to uphold values such as diversity, inclusivity, and equal opportunity, the notion of Darwinian natural selection could apply in a cutthroat business scene underpinned by the market economy where survival is only for the fittest. However, it will not comfortably fit within the relatively well-funded and supported cultural sector, specifically the Flemish circus sector today where noble beliefs such as ‘art is for all’ exist. Subsequently, we must question if there is space and opportunity for people who are neurodivergent or physically challenged to survive and thrive, and if so, are those spaces as big as a shoebox?

Lastly, we must acknowledge the human-centric nature of contemporary circus. Interdependence and competition between stakeholders in the circus sector is not a mechanical unfolding of the works of genetics or natural processes, but rather a complex social dynamic that is determined by cultural subjectivity, social construct, trends, and sheer chance and luck! It means that contemporary circus, with its glorious flexibility and adaptability, is precisely a human-created industry that operates through human decision-making, market forces, and funding mechanisms. While ecosystems are governed by natural processes between a diverse range of organisms such as energy flow, nutrient cycling, and natural selection, the circus sector primarily involves human actors, such as ministers, theatre and festival employees, audiences, practitioners, technicians, and educational bodies. By extension, an ethical human-decision-centric industry would advocate for the prevention of unwarranted extinction or suffering of marginalised communities. Conversely, it is also cultural practices that create oppression and cruelty against our own kind. Either way, the point is that the circus sector is actively shaped by human decisions that can involve drastic turns compared to the principles of ecological succession that govern a stable self-sustaining ecological community.

IV: CONCLUSION

While the interconnectedness and interdependence of different species within an ecosystem can resemble the interconnectedness of different stakeholders in the Flemish circus sector, it is at times insufficient and limiting to truly apply this analogy. In order to make well-informed policy decisions, groundwork must be done to ensure that we start from a position that accurately reflects the current state of affairs. Metaphors and buzzwords should be approached with caution, as they have the potential to confuse the people they serve and tilt the direction of the sector or organisation. While analogies can be useful tools for communication, there should be a clear boundary between the romanticism of literature, marketing tactics and the practicality of policy.