Why We Should Stop Calling It Contemporary Circus

For many years, the circus has evolved, and with it, the terminology used to describe it. Nowadays, it’s common to hear the term “contemporary circus” to refer to the works that push the boundaries of the traditional circus. However, I believe that this terminology is flawed and has no real meaning.

Firstly, the term “contemporary” implies a connection to the present time. But everything that is created today is contemporary by definition. In this sense, labeling a circus show as contemporary is redundant and adds no real value to the understanding of the work.

Moreover, the term “contemporary circus” implies a separation from the traditional circus, as if it were something fundamentally different. This creates a false dichotomy that limits the understanding of the circus as an art form. In reality, every circus performance builds upon the legacy of the traditional circus and adds new elements, techniques, and approaches to create something unique and innovative.

The term “contemporary circus” has been used to describe the circus that is performed today, but is it really an accurate label? I argue that calling it contemporary circus is a misnomer, and that it is limiting the diversity and potential of the circus as an art form.

Let’s compare circus to music. Music has various genres such as punk, rock, jazz, and more. These genres are used to classify different styles of music and to help audiences understand what to expect from a particular artist or performance. In this sense, genres serve a purpose in cataloging and appreciating the art form.

However, the term “contemporary circus” is problematic because it suggests that the circus of today is only a continuation of the circus that has been performed for centuries, but with modern twists. In reality, the circus of today is vastly different from its historical counterparts. The circus has evolved into a more artistic and expressive form, with a greater focus on storytelling, movement, and acrobatics.

Furthermore, the label “contemporary circus” is limiting because it implies that there is only one kind of circus being performed today. In reality, there are many different styles and genres of circus, each with its own unique characteristics and techniques. By labeling it all as “contemporary circus,” we are missing out on the richness and diversity of the art form.

Finally, the term “contemporary” is not necessary. Everything that is made today is, by definition, contemporary. Labeling something as “contemporary” adds nothing to our understanding of the art form and only serves to create confusion and limit the potential of the circus as an art form.

I suggest that we abandon the term “contemporary circus” and instead use more accurate and descriptive labels for the various styles and genres of circus being performed today. Let’s embrace the diversity and richness of the circus as an art form, and appreciate it for what it truly is.