In December 1994, the festival was already one of the foremost circus festivals, but was it was still fighting for a reputation, I think, and I did quite a long report on it in my newspaper, along with a focus on the history of the Cirque d’Hiver. Then, as now, the festival was all about the young, up and coming circus talents from around the world. And usually about the avant garde acts they were creating.
Cirque de Demain Taiwanese diabolo troupe
But it is the sheer baffling talent that awes at this festival today as in the past. The circus arts often are thought of us something slightly tawdry, and often not really a true art, but a cheap thrill obtained through buffoonery or minor skills of juggling and gymnastics. This festival shows how high an achievement, how much discipline mental, spiritual and physical it takes to achieve the highest level of the circus arts. Today it seems a circus artist can no longer be content to master one thing: A juggler has to be something of a gymnast, dancer, clown, tumbler, and have enough imagination to be able to communicate with the audience through more than just wowing them with throwing objects into the air.
Cirque de demain diabolo solo
Same for the trapeze artists, the tumblers, and others: Multitalented consummate artists who absolutely send shivers of emotion through us at their multifaceted shows and skills. Anyone interested in going into the circus profession as an artist, really must check out this festival to see how high the bar – literally and figuratively – may be set for the very highest levels of the art.
Cirque de demain chairs gymnast
Aside from this clear development since the early 1990s, another of the biggest developments I noticed this year compared 23 years ago was that at that time, the dominant acts, most of the acts, came from the former Soviet countries, from Russia, Ukraine, all over Eastern Europe, as well as from China. All of those communist states that had for decades poured money into developing the circus arts.
Cirque de Demain trapeze shadows
This year, act after act came from Western countries, or a large number of the performers no matter where they were from had trained in the West. Much to my delight and surprise, that included many of them having trained at the National Circus School in Montreal, Canada. Founded in 1981, that school would not have had the time by 1994 to have produced such a large quantity of performers, I suspect. But what was also interesting was that some of these performers seemed – if I understood correctly – to have come from other countries to study there.
Cirque de demain Bar Russe
There were plenty of West European performers as well, of high quality. In all, my favorite performances came from the two diabolo juggling acts, the solo artist, Arata Urawa, in the early part of the show and the group of four jugglers from Taiwan called Diaboloism. I loved the hand-to-hand performances of Tristan & Eve, as well as those of the other such performers, i.e., Julius & César. And I enjoyed the huge hoop, or Roue Cyr, performance by Vincent Bruyninckx of Belgium. The various trapeze artists took my breath away and raised my heart rate permanently as I feared for their lives so high above the stage.
Cirque de demain hoop
The festival has grown vastly in its public success as well in the last 23 years, and since it was founded by Dominique Mauclair – who died recently – in 1977. Although the Cirque d’Hiver remains myself favorite circus location, the move to a big tent like the Cirque Phénix brings a whole different dimension to this international competition – there were some 20 countries represented – with an audience on the third day of the show for the finale (which is what I attended) reaching something like 5 to 6,000 spectators. It was, in fact, the record of audience size for the festival.
Cirque de demain flippers
Another constant between 1994 and today, was that there is nevertheless a common feel to these acts with avant garde music and the effort to raise a circus act to the level of high art. That is one of the distinguishing aspects of this festival. This is not really for young children. Lasting nearly three hours and consisting of the finest, most artistic acts around, it lacks the big gut-splitting sort of act of that lower kind that children – and adults too – really love to see. But that is not, either, the purpose of this festival. It is more competition, showcase, career launching board than at strict family show.
Cirque de demain flags
Oh, yes, and on that point, it is also worth pointing out that there are no animal acts. This is purely the side of the circus that is involved in great human achievement, not the P.T. Barnum fascination with animals and oddities. Speaking of which, as I left the festival, I wondered to myself how it is that with the health of the circus act so clearly incredibly high – higher than ever before, dare I say? – how is it that over the past year one of the greatest of all circuses with more than a century of tradition, still was unable to succeed and had to close down forever? Did Ringling Brothers & Barnum and Bailey depend too much on the old idea of the circus? In any case, my feeling is that the Festival Mondial du Cirque de Demain, after 39 years, still has decades more to go, and I can’t wait to see how it all evolves in the future….