HomeCircus arts without borders

HomeCircus arts without borders

Circus arts without borders

Arts du cirque sans frontières

Artes circenses sin fronteras

For a world history of the circus from Antiquity to the present day

Pour une histoire mondiale du cirque de l’Antiquité à nos jours

Para una historia mundial del circo desde la Antigüedad hasta nuestros días

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Published on Wednesday, May 15, 2024


The aim of this conference is to decompartmentalise these historiographies by inviting researchers in history and, more broadly, in the arts and the social sciences (performing arts, art history, sociology, anthropology, etc.), as well as those involved in the artistic and cultural world, to combine their approaches. This conference sees itself as a first step towards a world history of the circus, while being aware of the limits of such an undertaking. The historiography of the circus is recent, and many aspects remain unexplored. There is a lack of works that build bridges between different national histories. Moreover, some of them have not yet been written. The history of the circus in certain regions of the world and at certain periods remains largely unknown. Consequently, papers taking a local approach may be proposed if they draw attention to these areas where the history of the circus has yet to be written. However, the emphasis will be on comparative or connected, global or even worldwide approaches. The aim will be to highlight intercultural dynamics rather than local particularities.



  • Gaëtan Rivière (Head of research at the Centre National des Arts du Cirque, PhD in circus history and aesthetics)
  • Quentin Villa (PhD student in Modern Circus History at Université Rennes 2)

Date and location

The conference will be held from 3 to 5 February 2025 at La Villette (Paris). This will be a hybrid conference (attendance and videoconferencing).


For the past twenty years or so, the history of the circus has benefited from an undeniable scientific dynamism. While this development is occurring at the same time as that of global histories, no true world history of the circus has yet been undertaken. Yet the circus is international by its very nature. Although historiographers have already attempted to write "world histories of the circus" (Jando, 1977; Renevey, 1977; Mauclair, 2002 and 2003), most works study the circus on a national or even local scale. For example, many works focus on the circus in the United States (for example: Davis, 2002; Weber et al., 2012) but also in Latin America. National histories have been written about Chile (Ducci González, 2012), Cuba (Menéndez, 2014; Venero de la Paz, 2016) and Mexico (Revolledo Cárdenas, 2010). There are also "national" histories of the circus in Spain (Matabosch, 2018), England (Assael, 2005), Australia (St Leon, 2006), the Soviet Union (Neirick, 2012), India (Anirban, 2014; Nisha, 2020; Gandhi, 2022) and the Chinese acrobatic arts (Liang, 2018). Regional approaches sometimes dominate, as in Brazil, with works focusing on the state of Bahia (Carvalho da Silva, 2014), Minas Gerais (Horta Duarte, 1995) or Rio de Janeiro and its surroundings (de Carvalho Lopes and Silva, 2019). Finally, some studies focus on individual cities, such as Barcelona (March, 2021), Buenos Aires (Infantino, 2014) or San José in Costa Rica (Urbina Gaitán, 2002). Notwithstanding the predominance of these national approaches, a few transnational studies have been undertaken. Most of them focus on the Anglo-Saxon world and have been produced by Australian researchers Peta Tait (2016), Mark St Leon (2014) and Gillian Arrighi (2021), who place the emergence of a so-called "modern" circus in a colonial perspective. A comparative approach has been adopted by Caroline Hodak (2018), who studies the emergence of equestrian theatre in England and France in the eighteenth and nineteenth centuries, and Sabine Hanke (2020), who puts English and German circuses in the first part of the twentieth century into perspective.

The aim of this conference is to decompartmentalise these historiographies by inviting researchers in history and, more broadly, in the arts and the social sciences (performing arts, art history, sociology, anthropology, etc.), as well as those involved in the artistic and cultural world, to combine their approaches. This conference sees itself as a first step towards a world history of the circus, while being aware of the limits of such an undertaking. The historiography of the circus is recent, and many aspects remain unexplored. There is a lack of works that build bridges between different national histories. Moreover, some of them have not yet been written. The history of the circus in certain regions of the world and at certain periods remains largely unknown. Consequently, papers taking a local approach may be proposed if they draw attention to these areas where the history of the circus has yet to be written. However, the emphasis will be on comparative or connected, global or even worldwide approaches. The aim will be to highlight intercultural dynamics rather than local particularities.

Decentralising the gaze also means recognising the diversity of historiographies to integrate the multiplicity of research in front of a production centred on the West. While today there’s a proliferation of collective historical undertakings that seek to think about and publicise the diversity of historiographical narratives around the world (Kouamé et al., 2020), the first world circus bibliography undertakings were characterised by a predominantly Anglophone review. Raymond Toole-Stott's World Bibliography (1958-1983) was limited by its sources held in English, French and American libraries. While these pitfalls of research centred on the North Atlantic still mark studies, some historians are opening up to other geographical areas in Europe. The Union des Historiens du Cirque, for example, has included Austria, Italy, the Netherlands, and Spain in its Thesaurus Circensis (1990). This doxa of the "birth of the Circus" (Denis, 2018) in Europe is, however, challenged by historiographies from elsewhere: how does one write the history [of the circus] outside the Western world? (Kouamé et al., 2014) How can they be integrated into the writing of the world history of the circus? What are the consequences of this shift in perspective?

Shifting the gaze also means moving away from the chronological milestones institutionalised by Western usage. Taking a new historiographical approach means deconstructing narratives that begin in 1760: writing the history of the circus in Cuba requires us to interrogate sources from the end of the fifteenth century (Venero de la Paz, 2016), while the history of Mexico begins with the maroma in the early modern era (Revolledo Cárdenas, 2010; Pescayre, 2017) or is even part of older practices (Gutiérrez, 2017). This gap also calls for a broadening of the chronological boundaries of this Western history of the circus, from studies of Antiquity (Álvarez Jiménez, 2018; Forichon, 2021; Dasen, 2019), the Middle Ages (Clouzot, 2002, 2011; Faral, 2011 [1910]; Rey-Flaud, 1998) or the early modern era (Porot, 2021; Martin, 2007). Finally, this looks at the past leads us to examine the terminology and normalising use of the term "circus". When Kim Baston (2018) studies a variety of spectacular practices in the Ottoman Empire, she reserves the word 'circus' for a Euro-American tradition, while acknowledging a categorical value to this notion.

In order to counterbalance the "circusisation" (Pescayre, 2017) and naming problems (Martin, 2021) of current studies, the historical approach to practices and disciplines is renewing their historical construction. Historiographers and artists have sought to place disciplines within a long history, transforming the chronologies in use, from acrobatics in the West (Strehly, 1880) or in China (Fu, 1985), juggling (Ziethen, 1981-1982 ; 2017), the art of clowning (Rémy, 1945), spectacular bodily practices (Depping, 1871; Desbonnet and Chapman, 2022 [1911]), horse riding (Gaussen, 1893) and taming (Thétard, 1928). Approaching the circus through its disciplines extends our understanding of aesthetic movements and evolutions, whether it be taming (Rivière, 2022), clowning (Brailowsky, 2020; Vienne-Guérin, 2020) or fairground practices (Gourarier, 2002). This work of deconstructing norms makes it possible to overcome dichotomies, particularly in the opposition between modern and contemporary circuses. Rethinking chronology means not accepting ruptures a priori, or even raising unthought-of continuities. In fact, the choice to include the contemporary circus in historical studies underlines the importance of a scientific study of a field that has yet to be explored.

Finally, the aim is to go beyond the classic schema canonised by Henry Thétard in La Merveilleuse histoire du cirque (1947), which consists of using entries by country and/or discipline, concentrating on the major companies and the most recognised artists (from a Western perspective). To this end, five cross-cutting themes have been selected. Proposals may fit into one or combine several of them.

Circulation and itinerancy (movement, exchange, control)

In many contexts, the circus arts are practiced by travelling troupes, whether they are called "circus" or otherwise. Travel is a central issue in the history of the circus. This colloquium will therefore raise the question of mobility regimes and itinerancy strategies implemented by "circus artists", as posed for example by Mark St Leon (2014) on a Pacific scale. The focus may be on groups as well as individuals; the aim will be to understand the logics behind the itinerant model. These mobilities are accompanied by inevitable exchanges – economic, but not only – in which the proposals could also take an interest. In addition, the authorities generally seek to regulate and supervise these nomadic artists. Following works of Caroline Hodak (2018) and Chester Urbina Gaitán (2002), proposals dealing with the relationship between circuses and the authorities will also be considered with interest.

Circus artists and entrepreneurs (itineraries, groups and social imaginaries)

The history of the circus must also be written through the prism of the social and economic history of its actors and the national and international contexts. Indeed, circus entrepreneurs' place in the political and economic context of the entertainment market sheds light on the itineraries and strategies adopted to survive (Hodak, 2018). While contemporary economic logics and issues are considered in the analysis of the evolution of the circus arts (David-Gibert et al., 2006), the evolution of the economy of the performing arts over time reveals ruptures and crises, but also contexts of censorship, market liberalisation, or privileges granted to establishments or artists (Leroy, 1990). An interplay of scales allows for the diversified approaches necessary for the social and economic history of the circus, whether it be the itineraries of artists such as Chocolat (Noirel, 2012) or Colleano (St Leon, 2000), companies such as the Troupe acrobatique de Tanger (Telhine, 2013) or the Alexis Gruss company (Petiteau, 2018), or individual companies such as Cirque du Soleil (Toewe, 2014), Cirque Olympique (Yon, 2005) or FitzGerald Brothers' Circus (Arrighi, 2015). Social history explores the sociology of circus artists, from the definition of professional groups (Sizorn, 2013) or the emergence of new artists (Garcia, 2011), or even the evolution of social groups (Barré-Meinzer, 2004).

Shows (aesthetics, movements, hybridisation)

The history of the circus also requires us to study creations and explore the aesthetic movements that structure the evolution of disciplines. The interdisciplinary nature of this colloquium examines the structuring of aesthetic models, from a study of the history of the circus arts to localised approaches. These studies shed light on the socio-political and cultural ecosystem that allows new aesthetics to emerge, following the example of studies on the history of animal taming in a colonial context (Tait, 2012, 2016), or contortion in the West (Martinez, 2021). Collective studies on the aesthetics, poetics, and hybridity of the circus (Tait and Lavers, 2016; Füchs et al., 2020; Jürgens, 2016; Jürgens and Hilbrand, 2022; Goudard, 2010; Wallon, 2013) are complemented by geographical approaches. These works examine the evolution of aesthetics according to cultural areas: Catalonia (Jané and Minguet, 2006), Canada (Leroux and Batson, 2016), England (Saxon, 1978) and South America (Infantino, 2023). Studies of Moroccan (Escher, 1999) or Ethiopian (Kendall, 2017) acrobats also focus on practices specific to particular groups. The historical approach explores more current trends to reintegrate them into a long-term perspective, from the modern circus to the contemporary circus (Guy, 2001; Trapp, 2023), via the new circus (Maleval, 2010). This history reinterprets the past of the disciplines, in the image of Martine Clouzot's studies on juggling (2011) and examines the legacies of today's artists.

Circus reception (audiences, spaces, media)

As part of the vast task of writing the history of the circus, the question of audience reception seems essential to anchor this narrative in the field of social history (Petiteau, 2021). While the sources tend to evoke a generic audience, studying them allows us to understand life around the ring, and even spectator experiences (Lochert et al., 2022). The study of audiences from the past to the present (Salaméro, 2017) raises several issues around the circus: the consequences on creation, programming (Cordier et al., 2021) and performances. In fact, beyond the show itself, imaginary images of the circus are formed (Hotier, 2005), produced by the various media discourses. On the one hand, artists publish memoirs and communication documents that convey their discourse and legitimise their practices (Rivière, 2019); on the other hand, the different media evoke the circus and construct a constellation of representations. The press (Goudard and Amy de la Bretèque, 2018; Rivière 2022), television (Goudard and Vienne-Guerrin, 2020), as well as literature (Basch, 2002) and cinema (Denis and Houillère, 2019) allow circus forms to circulate. However, we are not expecting a history of circus representations, but we would like to understand the role of the media as actors in its history, in its dissemination, its legitimisation (Rosemberg, 2004) and even its transformation. Finally, we would like to evoke the spaces of this reception, from the place given to fixed and travelling circus tents in the urban space to the evolution of distribution models, via the spaces and times dedicated to the circus, such as festivals. The history of circus festivals such as those in Monte Carlo, Girona and the Demain provides an insight into the phenomenon of circus distribution and globalisation, opening up the European market to companies from Asia, Africa, Oceania and America.

Writing the history of the circus (historiography, sources, legacies)

Lastly, this conference will provide an opportunity for epistemological reflection on the history of the circus. Firstly, it will provide an overview of historiographies and look at the different ways of approaching the question of the circus and its history, both in time and space. For example, we could study the work of historiographers, who were the first to take up the subject before academic researchers. It could also involve looking at sources, in line with work already done on circus posters (Le Men, 1991; Anglays, 2009), judicial sources (Lavrov, 2013) or the use of the press in the history of the circus (Villa, 2023). From a global and post-colonial perspective, the history of the circus can also be considered through oral sources and the phenomena of filiations and embodied traditions. Finally, the question can be approached from the angle of memories and legacies, and the perception that circuses and circus artists have of their past.

How to submit

Proposals must include a title, a summary of the paper (maximum 2000 characters, spaces included), the language of the conference, a short presentation of the author(s) (status, research themes, emails, etc. maximum 500 characters), the focus(s) of the planned paper and a selective bibliography. Papers may be presented in French, English or Spanish. If possible, please indicate your preference for presence or remote participation.

Proposals for papers must be sent to the following address: colloquecirque@gmail.com

no later than 01 September 2024.


  • Deadline for receipt of proposals: September 1st, 2024
  • Notification of acceptance to authors after examination by the scientific committee: October 10th, 2024
  • Conference: from 3 to 5 February 2025 in La Villette, Paris (hybrid)

Scientific Committee

  • Gillian Arrighi (Associate Professor of Theatre and Performance Studies, University of New South Wales)
  • Philippe Bourdin (Professor of Early Modern History, Université Clermont Auvergne)
  • Pierre Causse (Mcf of Theatre Studies, Université Rennes 2)
  • Martine Clouzot (Professor of medieval Studies, Université de Bourgogne)
  • Daniel de Carvalho Lopes (Doctor in education, Universidade de São Paulo)
  • Alexis D’Hautcourt (Professor of French, Kansai Gaidai University)
  • Véronique Dasen (Professor of archeology, Université de Fribourg)
  • Charlène Dray (Mcf of Theatre Studies, Université Paris 8)
  • Julieta Infantino (Professor of anthropology, Universidad de Buenos Aires)
  • Éléonore Martin (Mcf of performing arts, Université Bordeaux Montaigne)
  • Natalie Petiteau (Professor of Modern History, Avignon Université)
  • Pierre Philippe-Meden (Mcf of performing arts, Université Paul-Valéry Montpellier 3)
  • Gaëtan Rivière (Head of research at the Centre National des Arts du Cirque
  • Quentin Villa (PhD student in Modern Circus History, Université Rennes 2)


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Anirban Ghosh, The Tropic Trapeze : Circus in Colonial India, thèse pour le doctorat en histoire de l’art, Université Louis-et-Maximilien de Munich, 2014.

Arrighi Gillian, « Circus, Colonialism, and Empire. The Circus in Australasia and Asia » dans Arrighi Gillian, Davis Jim (dir.), The Cambridge Companion to the Circus, Cambridge, Cambridge University Press, 2021, p. 48-62.

Arrighi Gillian, The FitzGerald Brothers' Circus. Melbourne: Australian Scholarly Publishing, 2015.

Assael Brenda, The Circus and Victorian Society, Charlottesville, University of Virginia Press, 2005.

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Carvalho da Silva Reginaldo, Dionysos par la voie de chemin de fer : cirque et théâtre dans l’intérieur de l’État de Bahia, Brésil, pendant la première moitié du xxe siècle, thèse pour le doctorat en arts du spectacle, Université Paris 10/Université fédérale de Bahia, 2014.

Carvalho Lopes (de) Daniel, Silva Erminia, Um Brasil de Circos : a produção da linguagem circense do século XIX aos anos de 1930, Campinas, Circoteudo/Prêmio Funarte de Estímulo ao Circo (2019), 2022.  

Clouzot Martine, Le Jongleur. Mémoire de l’Image au Moyen Âge. Figures, figurations et musicalité dans les manuscrits enluminés (1200-1330), Berne, Peter Lang, 2011.

Clouzot Martine, « Homo ludens, homo viator. Le jongleur au cœur des échanges culturels au Moyen Âge » in Les échanges culturels au Moyen Age. Actes du Congrès de la Sociétés des Médiévistes, Boulogne-sur-Mer, Paris, Publications de la Sorbonne, 2002, p. 293-301.

Cordier Marine, Spinelli Céline, Salaméro Émilie, Sizorn Magali, « Du cirque pour tous les publics ? Représentations et enjeux de programmation dans le cadre d’une Capitale européenne de la culture », Biens Symboliques / Symbolic Goods [En ligne], 9 | 2021.

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Denis Dominique, Philip Astley. La naissance du Cirque, Aulnay-sous-Bois, Arts des 2 Mondes, 2018.

Denis Sébastien, Houillière Jérémy (dir.), Cirque, cinéma et attractions. Intermédialité et circulation des formes circassiennes, Villeneuve d’Ascq, Presses universitaires du Septentrion, 2019.

Depping Guillaume, La Force et l’adresse, Paris, Librairie Hachette et Cie, 1871.

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Escher Anton, « Les acrobates marocains dans les cirques allemands » dans Berriane Mohamed, Popp Herbert (dir.), Migrations internationales entre le Maghreb et l’Europe. Les effets sur les pays de destination et les pays d’origine, actes du 4e colloque maroco-allemand (Munich, 1997), Rabat, Publications de la Faculté des Lettres et des Sciences Humaines, 1999, p. 249-258.

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Forichon Sylvain, Les spectateurs des jeux du cirque à Rome (Ier siècle a.C. au VIe siècle p.C.). Passion, émotions et manifestations, Bordeaux, Ausonius, 2021.

Fu Qifeng, Chinese acrobatics through the age, Beijing, Foreign Languages Press, 1985.

Fuchs Margarete, Jürgens Anna-Sophie, Schuster Jörg (dir.), Manegenkünste. Zirkus als ästhetisches Modell, Bielefeld, transcript, 2020.

Gandhi Aastha, A Critical History of Indian Circus: Negotiations with Popularity, State, and Laws (1947-2015), Doctorate at the School of Arts and Aesthetics, Jawaharlal Nehru University, 2022.

Garcia Marie-Carmen, Artistes de cirque contemporain, Paris, La Dispute, 2011.

Gaussen Maxime, Écuyers et Écuyères. Histoire des cirques d’Europe : 1680-1891, Paris, Rothschild, 1893.

Getachew Aklil, « Circus Ethiopia : Dilemmas of a Development-oriented Entertainment NGO in Ethiopia », Africa Development, vol. 34, no4, 2014, p. 21-44.

Goudard Philippe, Le cirque entre l’élan et la chute. Une esthétique du risque, Saint-Gély-du-Fesc, Éditions Espaces 34, 2010.

Goudard Philippe, Amy de la Bretèque François (dir.), Trente ans de cirque en France (1968-1997). Chroniques de Jacques Richard, journaliste, Montpellier, Presses Universitaires de la Méditerranée, 2018.

Goudard Philippe, Vienne-Guerrin Nathalie (dir.), Figures du clown, sur scène, en piste et à l’écran, Montpellier, Presses universitaires de la Méditerranée, 2020.

Gourarier Zeev, « Danseurs de corde, artistes d’agilité et aériens », in Gourarier et al., Jours de cirque, Arles ; Monaco, Actes Sud, 2002, p. 84-86.

Guy Jean-Michel (dir.), Avant-garde cirque ! Les arts de la piste en révolution, Paris, Éditions Autrement, 2001.

Gutiérrez Gerardo, « Acrobatic Dances and Games of Mesoamerica as Ritual-Entertainment », in Voorhies Barbara, Prehistoric Games of North American Indians : Subartic to Mesoamerica, Salt Lake City, University of Utah Press, 2017, p. 235-258.

Hanke Sabine, National identity and cultural difference in the British and German circus, 1920-1945, thèse pour le doctorat en histoire, Université de Sheffield, 2020.

Hodak Caroline, Du théâtre équestre au cirque : le cheval au cœur des savoirs et des loisirs, 1760-1860, Paris, Belin, 2018.

Horta Duarte Regina, Noites circenses : Espetáculos de circo e teatro em Minas Gerais no século XIX, Campinas, Editorao, da Unicamp, 1995.  

Hotier Hugues, L’imaginaire du cirque, Paris, L’Harmattan, 2005.

Infantino Julieta (dir.), A Arte do circo na america do sul. Trajetorias, tradições na arena contemporânea, Sao Paulo, Edições Sesc, 2023.

Infantino, Julieta, Circo en Buenos Aires. Cultura, Jóvenes y Políticas en disputa. Buenos Aires: Instituto Nacional del Teatro, 2014.

Inversen Rune, « Bronze Age acrobats : Denmark, Egypt, Crete », World Archaeology, vol. 46, no2, 2014, p. 242-255.

Jando Dominique, Histoire mondiale du cirque, Paris, Jean-Pierre Delarge, 1977.

Jané Jordi, Minguet Joan Maria (éd.), L'art del risc. Circ contemporani català, Barcelone, Triangle Postals ; KRTU, 2006.

Jürgens Anna-Sophie, Poetik des Zirkus. Die Ästhetik des Hyperbolishen im Roman, Heidelberg, Universitätsverlag Winter GmbH Heidelberg, 2016.

Jürgens Anna-Sopie, Hildbrand Mirjam (éd.), Circus and the Avant-Gardes. History, Imaginary, innovation, Abingdon ; New York, Routledge, 2022.

Kendall Jessica, Rare birds : a global ethnography of Ethiopian circus performers, thèse pour le doctorat en ethnologie, École des études orientales et africaines, Université de Londres, 2017.

Kouamé Nathalie, Meyer Éric P., Viguier Anne (dir.), Encyclopédie des historiographies : Afriques, Amériques, Asies, 2 tomes, Paris, Presses de l’Inalco, 2020.

Kouamé Nathalie, Coquery-Vidrovitch Catherine, Meyer Éric P., Viguier Anne (dir.), Historiographies d’ailleurs. Comment écrit-on l’histoire en dehors du monde occidental ?, Paris, Karthala, 2014.

Lavrov Aleksandr, « Le dur métier de montreur d’ours : les plaintes et les dépositions des baladins russes (skomoroxi) comme source historique », Revue des études slaves, vol. 84, no1-2, 2013, p. 155-167.

Le Men Ségolène, « French Circus Posters », Print Quarterly, vol. 8, n°4, 1991, p. 363-387.

Leroux Louis Patrick, Batson Charles R. (éd.), Cirque Global. Quebec’s Expanding Circus Boundaries, Montréal, McGill-Queen's University Press, 2016.

Leroy Dominique, Histoire des arts du spectacle en France. Aspects économiques, politiques et esthétiques de la Renaissance à la Première Guerre mondiale, Paris, L’Harmattan, 1990.

Liang Wei, Zaji ou les arts acrobatiques chinois : un voyage entre Chine et France, thèse pour le doctorat en arts du spectacle, Université Paul-Valéry Montpellier 3, 2018.

Lochert Véronique, Bouhaïk-Gironès Marie, Candiard Céline, Cavaillé Fabien, Hostiou Jeanne-Marie, Traversier Mélanie, Spectatrices ! De l’Antiquité à nos jours, Paris, CNRS éditions, 2022.

Maleval Martine, L’émergence du Nouveau Cirque, 1968-1998, Paris, L’Harmattan, 2010.

March Enric H., Barcelona Freak show : Història de les barraques de fira i els espectacles ambulants, del segle XVIII al 1939, Barcelone, Viena, 2021.

Martin Éléonore, « Nommer et comprendre les arts acrobatiques chinois : une approche ethnoscénologique », L’Ethnographie. Création. Pratiques. Publics, n°6, 2021, URL : https://revues.mshparisnord.fr/ethnographie/index.php?id=1020.

Martin Isabelle, L’animal sur les planches au XVIIIe siècle, Paris, Honoré Champion, 2007.

Martinez Ariane, Contorsion : Histoire de la souplesse extrême en Occident, XIXe-XXIe siècles, Paris ; Châlons-en-Champagne, Société d'Histoire du Théâtre ; Centre national des arts du cirque ; Chaire ICiMa, 2021.

Matabosch Genís, Orígenes del circo en España: actividad de las compañías ecuestres (1768-1915), thèse pour le doctorat en histoire de l’art, Université de Barcelone, 2018.

Mauclair Dominique, Histoire du cirque. Voyage extraordinaire autour de la terre, Toulouse, Privat, 2003.

Mauclair Dominique, Planète cirque. Une histoire planétaire du cirque et de l’acrobatie, Baixas, Balzac, 2002.

Menéndez Miguel, El arte circense en Cuba, Barcelone, Promociones y Publicaciones Universitarias, 2014.

Neirick Miriam, When Pigs Could Fly and Bears Could Dance: A History of the Soviet Circus, Madison, University of Wisconsin Press, 2012.

Nisha Poyyaprath Rayaroth,  Jumbos and Jumping Devils. A Social History of Indian Circus, Oxford/New Delhi, Oxford University Press, 2020.

Noiriel Gérard, Chocolat clown nègre, Montrouge, Bayard, 2012.

Peignist Myriam, « Histoire anthropologique des danses acrobatiques », Corps, no7, 2009, p. 29-38.

Pescayre Charlotte, « Patrimonialización y "cirquización" de la maroma zapoteca de Santa Teresa Veracruz: retos de un patrimonio en movimiento », in Boletín del Colegio de Etnólogos y Antropólogos CEAS, 2017, p. 83-90.

Pescayre Charlotte, « Traverser sur un fil. La maroma mexicaine contemporaine : patrimoine ou “cirque indigène” ? », Terrain [en ligne], no64, 2015, URL : https://journals.openedition.org/terrain/15731 (consulté le 08/12/2023).

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  • La Vilette, Quai de la Charente
    Paris, France (75)

Event attendance modalities

Hybrid event (on site and online)


  • Sunday, September 01, 2024


  • cirque, histoire, historiographie, circulation, artiste, spectacle, histoire mondiale, histoire globale


  • Gaëtan Rivière
    courriel : gaetan [dot] riviere [at] cnac [dot] fr

Information source

  • Gaëtan Rivière
    courriel : gaetan [dot] riviere [at] cnac [dot] fr


CC-BY-4.0 This announcement is licensed under the terms of Creative Commons - Attribution 4.0 International - CC BY 4.0 .

To cite this announcement

Gaëtan Rivière, Quentin Villa, « Circus arts without borders », Call for papers, Calenda, Published on Wednesday, May 15, 2024, https://doi.org/10.58079/11o80

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