American Circus Educators Magazine Spring 2018 (Issue 1, Volume 12) | Page 10

P o i n t o f // A E R I A L
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Aerial disciplines were of course part of the
traditional circus arena in origin, and so for
a long time, being in the circus was the only
way to become part of the circus. Aerial work
was considered a high-status act, so training
was a privileged exchange between performer
and apprentice (often kept inside families) and
outsiders had to commit to the touring life
to be given an opportunity to learn. Training
happened with the sole goal of progression
to a performance level, and innovations
happened slowly as there were few outside
references.
As the circus world gradually opened up to
more aspiring artists with the development of
contemporary circus, schools began forming
as well, offering classes to both aspiring
performers and recreational aerialists from
more varied backgrounds. However, there was
Tanya Burka
still definitely a tradition within this. Learning
remained a hands-on, personal experience
with a coach which resulted in close bonds
between trainers, performers and fellow
students, and with much of the focus still
on professional-quality skills and acts being
nurtured within a small niche industry.
Although it is an art form, aerial work is also,
at its roots, a paid profession; that is the other
half of the history of how these disciplines
and the practice of instruction developed.
High-caliber artists earn their living through
performance, which is typically an endeavor
that can only be pursued for a limited
timespan. Those artists are the ones who will
invest the most financially, emotionally and
physically in reaching that level, and also the
ones who by virtue of pounding out 7-10 shows
per week are taking on the most risk.
PHOTO CREDIT: TANYA BURK A & LINDA JACOBSON
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