Learning to Become a Circus Artist: Student’s Challenges in a Circassian Professional Training

Abstract

This paper discusses challenges related to professional circus training experiences from the view points of students. In professional circus training, students learn ‘’about’’ their bodies and ‘’through’’ their bodies. In addition to theoretical classes, they have practical classes related to their respective discipline, as well as complementary classes in dance, theater, music, trampoline, physical preparation and also research, creation and presentation. In this professional training context, each student has his own schedule. They sometimes work individually, in disciplinary teams, in professional collectives, as well as in large groups. The pedagogical team is made up of regular teachers (ensuring a regular presence throughout the year) and external teachers (professional artists who are hired for few teaching sessions only). Unless exception, students share their workspace and constantly work in contact with others and being watched by others. This specific context underlies different learning challenges. As a part of a postdoctoral research, I conducted a qualitative interpretative research at the Centre national des arts du cirque (CNAC, France) to better understand circus training experiences from the view point of students and teachers. In February, March and April 2018, I did participant observation (75 hours), interviews (52), and focus groups (9) involving 62 participants (including all the students (38) of this professional circassian training). This research relies on Dewey’s concept of experience (1934/2005) and on Activity theory (Engeström, 1987, 2007). This presentation will specifically address some challenges related to learning experiences in this particular context of professional circus training.

Details

Presentation Type

Virtual Lightning Talk

Theme

Learning in Higher Education

KEYWORDS

Artistic Education, Circus

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