EU Commissioner for Culture Symposium circus in Monte Carlo
Friday, January 16 Jan Figel, European Commissioner for Education and Culture, will address the audience of the Symposium "CIRQUE: CULTURE FOR MILLIONS" in Monte Carlo.
This symposium is organized by the European Circus Association in cooperation with the World Federation of Circus and will be a global event with speakers and international auditors. The Symposium will be held from 14 to 17 h 15 h 15 Friday afternoon, among many other activities, workshops and meetings on Friday 16 and Saturday 17 January 2009 at the Auditorium Rainier III, easily accessible via the Fairmont Hotel.
For the European Union, 2009 is the Year of Innovation and Creativity, another reason for the two organizations to invite the Commissioner Figel to attend the Symposium as part of its activities to "launch" the Year .
Creativity
The inaugural presentations of the Symposium will be under the theme Innovation and Creativity in circus arts, very suitable for the European theme in 2009. A group of artistic directors of London, New York, Moscow and Amsterdam will discuss developments and trends in circus arts, they explain how they create numbers and programs incorporating cultural and artistic elements.
Social function
The circus is not only a platform for creativity without borders, but can also perform a social function. Cirque du Soleil of Canada will introduce the concept of "social circus" and its "Cirque du Monde", which is put into practice for 15 years in 45 countries. The founder of Circus Harmony United States will familiarize participants Symposium with the strength to teach circus skills (of) life to troubled youth, the circus is a way for peace.
This year's Symposium is free for anyone interested, so the organizers expect a large audience!
The European Circus Association represents the European circuses towards authorities and the public. It seeks to promote art and culture of the circus and to protect this important part of our cultural heritage. Urs Pilz, the president of the ECA, is also the vice president and artistic director of the International Circus Festival of Monte-Carlo. Almost all the famous circus in Europe are members of the ECA.
David, I respect you and in an effort to try to figure out what the heck is going on here, which may help with the sanctuary discussion started on a below thread, I would like to ask for clarification, and there seems to be nobody else but you. Mr. McCary is probably busy, trying to find out how Ned got on one of his Maine dates so that leaves it to you. Thanks for clearing up what Herriott girl it was on the horse, but I think this deal is still murky.
Point out to me where OABA's membership association with Cirque du Monte Carlo and ECA will benefit American circus animals. One little hint might be acceptable. This show above Bonne Annee that is endorsed by ECA, and uses their logo on paper, would they be authorized to use OABA/Circus animal welfare unit's logo also? While you are at it, see if you can find out who the "artistic directors" from the United States are who are going to be schooling Europe on the intricacies of the American circus.
Also, who is the priest/minister/ rabbi/preacher of this new religion, and where is their parish: The founder of Circus Harmony United States will familiarize participants Symposium with the strength to teach circus skills (of) life to troubled youth, the circus is a way for peace. That's all fine and dandy, but I am a bit concerned about the shows that have stopped using animals in the past 5 years. Is anybody still working on that, or isn't there room on the agenda?
Friday, January 9, 2009
For David Orr or anybody for that matter.
Posted by
Wade G. Burck
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7 comments:
Circus Harmony, is that the Jessica Hentoff Circus Day circus arts school in MO?
I think this is all well and good and great, and it's wonderful that even in tough economic times the governments of Europe are still funding creativity. I'm a bit less sure as to how it impacts circus in America?
Not so much circus arts. Over the last decade the growth in circus arts programs has been impressive. Camps, schools, youth circus, programs for at risk kids. Kudos to all. And a fond hat tip to the original Pickle show, the Make A Circus Troupe, and the first efforts in San Francisco to actually train students in ground and aerial acts.
But "circus arts" and circus as a "business" whether "for profit" or built like BAC and Flora are different beasties. If circus as a "business" isn't viable all of the "arts" programs available are just a remembrance of things past.
I'm sure that the links formed between OABA and the ECA are a plus. But as OABA represents the circus business here in the States it would be nice to hear more about how common business concerns shared by ECA and US shows are being addressed during this world wide economic downturn, rather than simply being reminded of the social benefits of the circus arts.
Ben,
There are so many issues that need to be addressed. What amazes me, is the number of folks who email asking about things like these, and I post a thread asking, and they disappear.
The folks handling it, seem to avoid answering. Laura Van de Meer responded once, but when questions were asked she never came back. The mentality that you are just supposed to go along, we are smarter and we will tell you what you need to do is an antiquated way of operating the circus. It looks an awful lot like one of those illusion deals again. I and a number of other folks, are still wondering how you can have 4 or 5 memberships in an organization, and if that gives you one vote or a deck stack with 5. As Mr. McCary didn't ask the OABA membership before tying in with ECA, does that mean he doesn't have to share any information.
If you take it apart in pieces, Ben it is crazy. In these times of shows struggling, it seems like the peasants are getting the valuables out of the castle, while their village is being plundered and destroyed. As the Kings carriage drives away with the gold, they are left looking at ruins.
Wade
Wade, I certainly don't have a beef with ECA, OABA, competitions in European or any other unabashedly pro circus efforts where there's a rhythm or reason. Maybe something good comes out of it and at worst it doesn't impact the weather for a mudshow in Texas in March. Best or worst the circuses I know get rained on.
I suppose what I'm curious about, what the folks writing to you are probably curious about is intent? If all of these organizations are working for the general good of the circus "industry," what's the game plan and what are the goals? Credit to ECA and other European industry groups, because I know they lobby hard within the EU. I imagine that OABA brings something home from those efforts to use here, but it might be helpful, particularly to the CFA members who contribute to OABA to get a clearer picture of the connection and benefits. For example, in Europe I would bet that the ECA or the producers have a regulatory database that members can tap going from country to country or province to province to aid in proper permitting, and inspections. Everything from animals to aerial acts. Here we don't have that kind of database to tap, though it wouldn't be rocket science for a representative group to put one together and keep it up to date. I'm sure that in Europe even "for profit" groups with a connection to "the arts" enjoy certain tax benefits. Over here I think we could say that even the lowliest shows offer up live performance, which is a good thing. Circus is subversive that way. Folks who would never attend a ballet see professional performers/entertainers in a circus, even if it's in the Legion Hall with a 14' ceiling. To the best of my knowledge we aren't using that to lobby for any kind of tax breaks here.
I guess what I for one am most curious about is a "plan." Not just on animal issues and industry wide animal standards, but on all the issues that impact the circus business. Part of the plan may be and should be encouraging all of those "circus arts" programs for kids, but I reckon an exemption on sales tax on truck and trailer tires wouldn't be a bad thing too. I'm sure that the beauty of the performances in MC are incredible, something anyone associated with circus can be proud of. But nuts and bolts are what get the shows down the road in a long Recession.
I imagine that Rodney Huey, the OABA's circus media consultant could paint a better picture of how all of this works.
Ben,
What!!!! They are wondering if someone holds a number of memberships from different countries, does that give them more then one vote, and how does the association with OABA animal fund impact animals in America, with a union that is 100 % European.
Wade
Circus Harmony is indeed the youth circus program founded by Jessica Hentoff in St. Louis, MO. I am currently the head teacher at the school. We foccus on using acrobatic, equilibristic, object manipulative skills, aerial skills, magic, and comedy to promote social interaction between young people of different races, cultural backgrounds, socio-economic situations, and religions, to learn basic life skills such as relf responsibility, responsibility for others, trust, discipline, honesty, and teamwork. Our goal is not necessarily to produce some new generation of super, new cirque, performers. We teach classic skills and work with the young people to develop routines that reflect the tradition and heritage of the American Circus. I spend hours looking for videos of classic American and European acts that we can use to motivate the young people to try new and more difficult skills.
Through an ongoing relationship with Circus Flora, we do have out first venture into the world of animals with a bareback riding act. The kids who participate in this are expected to learn hot to care for the horses, they clean stalls, they feed and water, they dress and undress, the warm up and cool down. This cooperative effort also involves support from the Zoppe family and a facility that offers theraputic horsemanship to disabled youth.
We serve over 1300 young people in the Metro St. Louis area each year with over 80% receiving some kind of financial assistantce to attend our programs. Jessica is taking our message of social circus to the meetings at Monte Carlo because she was invited to do so. Also, she will be receiving the 2009 Arts Innovator of the Year award from the Atrs and Education Council of St. Louis on January 26th.
I disagree with Mr. Trumble and his statement that if the circus business cannot get its act together to survive that arts supported programs like ours are doomed. We are not attempting to produce some new generation of new circus performers although our intermediate and advanced students produce some 400 shows a year since performing in front of an audience reinforces the self confidence and self respect concepts we feel are important life skills. Our program receive support from Feld Entertainment, Cirque du Soleil, and UniverSoul which we treasure and appreciate so much but if this support goes away, we will continue because we are clear in our mission and vision.
Every single member of our faculty has a successful career in the business end of circus from Mongolia to France, to Taiwan, to Japan, to Saudi Arabia, to wherever.
Perhaps OABA, and others might look more closely at what social youth circus is doing to build an international community that promotes our work and see how to make the business work.
Warren
Warren,
Speaking of animals, didn't circus Flora have an elephant at one time?
Wade
Yes, Flora did have an elephant at one time, long before I came here to St. Louis and I don't have all of the information about the reasons for her retirement or exactly which sanctuary Flora ended up with. I ask some questions and try to follow up on that with more information if I can get something based on fact not rumor. I have a feeling it was not exactly plesant but I'll try to uncover the truth. As far as our young riders are concerned, Flora provides some financial support, and used the kids in the show. They are not involved in the training of either the riders or the horses. The circus Flora show, however does include animals although I do not know of a cage act. It is usually horses and dogs as features and a small zoo of goats, chickens, etc. in the narative segments.
Sorry my previous reply to Mr. Trumble was posted as Annomyous - I pushed the wrong buttons.
Warren
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