The role of women in circus is a subject that is very important to me. So you can imagine how pumped I was to learn of the Gynoïdes Project. What is the Gynoïdes Project? It is a project about the role of women in circus, as well as the representation of women in circus. So if you're a female circus performer or circus director, I kindly invite you to fill out the following questionnaire.
The goal of this survey is to understand how female circus artists experience the representation of women in circus.
The study is being conducted by Marie-Andrée Robitaille, circus artistic director and senior lecturer at the University of Dance and Circus in Stockholm, Sweden.
Click here for more information on the project.
Thanks for your contribution!
Showing posts with label women. Show all posts
Showing posts with label women. Show all posts
Thursday, August 29, 2013
Saturday, July 27, 2013
Fashion, Faut Pas
When you're on a tour in the circus, a rhythm sets in and things can sometimes get to be a little monotonous. But every so often, an exciting side gig or special event comes along and shakes things up a bit. I was lucky enough to be chosen for just such a special event when I was asked if I wouldn't mind being part of a photo shoot for one of Switzerland's most widely circulated magazines!
At first, I was really excited. I was the only one in the troupe who would be featured in the shoot, and they were even flying in a model from New York for one day only, just for one shoot at our little circus! I would be in my wheel in full costume and make-up and I was told that as a main feature in the magazine, the photo would take up at least a quarter of the page, maybe more.
But my excitement quickly turned into some serious feelings of insecurity.
The model was stunning. She was exactly what you would imagine if someone told you to picture a fashion model in your head. Tall, slender, blonde, cheekbones to die for... and when the camera started clicking, she easily maneuvered from one sultry pose to the next with barely a second in between positions.
Me? Well, at first they wanted me upside down. But then they decided I was "so cute" that I could stand upright behind the model. Yipee... where she is tall, I am quite short. Where she is slender, I am muscular, almost boxy by comparison. I swear, in the photos I saw afterward, I looked like a squat little dwarf...
Moreover, no one told me what to do or where I should look. So sometimes I looked at the model, sometimes the camera. I had a very limited range of movement because I was standing in the wheel and any shift in weight would have caused it to roll out of the position desired for the shot. I had no idea why I was even there.
In the photos I saw afterward, I mostly look like I hate the model and maybe want to murder her. In the ones that I thought I looked good, the model was typically shifting from one pose to another. In the ones where she looked good, I looked like I was going to do her bodily harm.
When I pointed this out to the photographer, he insisted I just looked proud. I'm not so sure about that. Fortunately, he said he could just take her from one photo and me from another to make one super photo. I really hope he does.
The entire thing left me feeling terribly self-conscious and unattractive. I know that people have different standards of beauty, and many people at the circus reassured me that they like the way I look way more than the model looked, but my self-worth seemed to have decreased considerably from when I got up in the morning.
One thing I really like about circus is that very often it shows women of many different body types. They range from the petite and fit hand-to-hand flyer, the strong and slender aerialist, the muscular firecracker acrobat, and everything in between. Circus showcases every kind of woman, for the most part*, healthy and strong, each and every one of them beautiful.
I know this to be true. But when all was said and done, I certainly didn't feel that way. And the blow was that much harder as it came at me from inside my own home. The entire thing shook me in ways that I can't express. They were made all the more confusing by events that would occur the following evening...
* Like many fields (or just plain life) where the body is subject public scrutiny, eating disorders lurk. Luckily, I haven't encountered it much in my career. But that is not a subject I wish to address at this time.
At first, I was really excited. I was the only one in the troupe who would be featured in the shoot, and they were even flying in a model from New York for one day only, just for one shoot at our little circus! I would be in my wheel in full costume and make-up and I was told that as a main feature in the magazine, the photo would take up at least a quarter of the page, maybe more.
But my excitement quickly turned into some serious feelings of insecurity.
The model was stunning. She was exactly what you would imagine if someone told you to picture a fashion model in your head. Tall, slender, blonde, cheekbones to die for... and when the camera started clicking, she easily maneuvered from one sultry pose to the next with barely a second in between positions.
Me? Well, at first they wanted me upside down. But then they decided I was "so cute" that I could stand upright behind the model. Yipee... where she is tall, I am quite short. Where she is slender, I am muscular, almost boxy by comparison. I swear, in the photos I saw afterward, I looked like a squat little dwarf...
Moreover, no one told me what to do or where I should look. So sometimes I looked at the model, sometimes the camera. I had a very limited range of movement because I was standing in the wheel and any shift in weight would have caused it to roll out of the position desired for the shot. I had no idea why I was even there.
In the photos I saw afterward, I mostly look like I hate the model and maybe want to murder her. In the ones that I thought I looked good, the model was typically shifting from one pose to another. In the ones where she looked good, I looked like I was going to do her bodily harm.
When I pointed this out to the photographer, he insisted I just looked proud. I'm not so sure about that. Fortunately, he said he could just take her from one photo and me from another to make one super photo. I really hope he does.
The entire thing left me feeling terribly self-conscious and unattractive. I know that people have different standards of beauty, and many people at the circus reassured me that they like the way I look way more than the model looked, but my self-worth seemed to have decreased considerably from when I got up in the morning.
One thing I really like about circus is that very often it shows women of many different body types. They range from the petite and fit hand-to-hand flyer, the strong and slender aerialist, the muscular firecracker acrobat, and everything in between. Circus showcases every kind of woman, for the most part*, healthy and strong, each and every one of them beautiful.
I know this to be true. But when all was said and done, I certainly didn't feel that way. And the blow was that much harder as it came at me from inside my own home. The entire thing shook me in ways that I can't express. They were made all the more confusing by events that would occur the following evening...
* Like many fields (or just plain life) where the body is subject public scrutiny, eating disorders lurk. Luckily, I haven't encountered it much in my career. But that is not a subject I wish to address at this time.
Thursday, July 12, 2012
Well Played, MCC, Well Played
When I first saw that Undermän would be presented at the Montreal Completement Cirque (MCC) festival this summer, my first thought went something like this: "Great, another completely male dominated circus show about the awesomeness of being a dude."
Then I remembered that Amaluna is also a part of the festival and I couldn't help but applaud the folks at MCC. As far as I'm concerned it was a very clever move on their part to have a counter point to the female centric Amaluna.
I've yet to see Undermän, so I can't really comment on it just yet. But I have seen Amaluna and they did an excellent job creating a show about women without coming off as trying too hard, being at all preachy, or even too one dimensional. I think that on its own, a show like Undermän could run those risks. Though from what I've heard, that's not at all the case. In my opinion, having both shows in the same festival gives each of them more merit and more weight. Especially since the themes are being expressed by different companies from different parts of the world. I've seen an institution do multiple shows where one cast was all male and the other was all female. But coming from the same source, each show was similar in feel and style. Seeing a four man show from Sweden vs. a huge scale production by Soleil should be pretty interesting,. And I for one look forward to seeing both.
Then I remembered that Amaluna is also a part of the festival and I couldn't help but applaud the folks at MCC. As far as I'm concerned it was a very clever move on their part to have a counter point to the female centric Amaluna.
I've yet to see Undermän, so I can't really comment on it just yet. But I have seen Amaluna and they did an excellent job creating a show about women without coming off as trying too hard, being at all preachy, or even too one dimensional. I think that on its own, a show like Undermän could run those risks. Though from what I've heard, that's not at all the case. In my opinion, having both shows in the same festival gives each of them more merit and more weight. Especially since the themes are being expressed by different companies from different parts of the world. I've seen an institution do multiple shows where one cast was all male and the other was all female. But coming from the same source, each show was similar in feel and style. Seeing a four man show from Sweden vs. a huge scale production by Soleil should be pretty interesting,. And I for one look forward to seeing both.
Monday, July 9, 2012
MCC 2012 - Amaluna
It took three months, but I finally made it to Amaluna. I haven't seen a Cirque du Soleil show since Corteo premiered in 2005 and let me say, I'm glad I ended the drought with this show.
It amazes me that I find it very hard to comment on a Cirque du Soleil show. Having worked professionally for the last six years, having seen many shows, and basically having a better understanding of the milieu, I find that my perspective has completely changed. When I saw Cirque du Soleil for the first time 20 years ago it was a moment of absolute wonder. It really was like stepping into a magical world the likes of which I had never seen or imagined. Now when I see anything Cirque du Soleil, I immediately recognize it as a brand. You expect it to look and sound a certain way, and it does. I don't want to say that the magic is gone for me, but the tent seemed smaller and all the artists seemed remarkably human.
And yet...
It took me a while to enter into the world they were proposing, but enter it I did. I think it helped that I was familiar with the story going in. Knowing exactly what the director had intended made the show very clear and easy to follow.
Interestingly, none of the acts really stand out. Of course I had my favourites (chinese pole, unicycle, high bar) and there were some pleasant surprises (meteor icarian games hybrid, bone balancing), but unlike other shows that have one or two really stand out acts, Amaluna seemed to consist of numbers that were a part of a whole.
I talked a lot about Amaluna when it first premiered, particularly about how it is a show that focuses on women and femininity. There's always the risk of such themes quickly becoming cliche, preachy, or pedagogical. But Amaluna truly does succeed in showing many aspects of femininity from a place of strength and elegance. It was so wonderful to see such strong female characters on stage, not to mention such a variety of body types and personalities.
The main character of Prospera is inspiring. I can think of no way of saying this without sounding rude, so I'll just mention that that is in no way my intention... This artist is clearly a little older than the average cast member, but she is all the more radiant for it. It's so nice to see a more mature artist on stage and all that that maturity brings. Plus, she sings during her hoop act. I mean... come on.
I absolutely adored the centaur women and their high bar act. These women are clearly warriors. And when the men arrive in the show, swept in by a storm, the women hold their own and leave the men scampering away in fear. I know a lot of people aren't too keen on high bar acts, but as an ex-gymnast, I love them. I would have liked to see a little more technique, but I think I'm just being picky. What they did was amazing. Plus, they totally do some old school wraps on the bars, which I love, love, loved!
But there's also softness in the show. The bone balancing act is best described as monumental stillness. It's a truly captivating moment in the show that brings many images to mind. You can't help but think of Adam and Eve, only this time, Eve is building her own world from ribs. Or perhaps you focus on how fragile life is, or better still, how the tiniest piece of the puzzle is just as important as every other piece, if not more.
There were some weak moments as well, I'm afraid. I really didn't care for the white peacock character. This dancer may have her own solo but frankly, I wasn't at all impressed by her. I feel there are far more skilled dancers out there. No to mention far more exciting circus. The closing number is also pretty weak. Not because it's bad, it's just that for a finale, there isn't much to it. Three women do straps, only there's very little straps involved, just a whole lot of swinging back and forth. It's clear that only one of the three was actually trained in straps. Plus, there's a duo straps act in the beginning so it seems a little repetitive. And the clowns... the clown act in that show is by far the most messed up thing I have ever seen. It mostly involves pregnancy, multiple births, and football babies.
The show still has a lot of growing to do, but that goes for any new show. I think that once it really finds its legs and has time to evolve, it will be a really great show in the same sphere as classic shows like Quidam. I'm so happy that Soleil decided to have a women centric show, but more than anything, I am so impressed by how well the subject was treated. I mean, yes, they do still fall into some kind of love story, and everyone does seem their man in the end. But I think the idea wasn't so much that a woman needs a man as it was that men and women are a compliment to one another, and it's by creating that kind of relationship that we continue to evolve. But then, it's also just a circus show and maybe we all just like a happy ending...
Congratulations to all the cast and crew of Amaluna!
Cirque du Soleil at the old port of Montreal
It amazes me that I find it very hard to comment on a Cirque du Soleil show. Having worked professionally for the last six years, having seen many shows, and basically having a better understanding of the milieu, I find that my perspective has completely changed. When I saw Cirque du Soleil for the first time 20 years ago it was a moment of absolute wonder. It really was like stepping into a magical world the likes of which I had never seen or imagined. Now when I see anything Cirque du Soleil, I immediately recognize it as a brand. You expect it to look and sound a certain way, and it does. I don't want to say that the magic is gone for me, but the tent seemed smaller and all the artists seemed remarkably human.
And yet...
It took me a while to enter into the world they were proposing, but enter it I did. I think it helped that I was familiar with the story going in. Knowing exactly what the director had intended made the show very clear and easy to follow.
Interestingly, none of the acts really stand out. Of course I had my favourites (chinese pole, unicycle, high bar) and there were some pleasant surprises (meteor icarian games hybrid, bone balancing), but unlike other shows that have one or two really stand out acts, Amaluna seemed to consist of numbers that were a part of a whole.
I talked a lot about Amaluna when it first premiered, particularly about how it is a show that focuses on women and femininity. There's always the risk of such themes quickly becoming cliche, preachy, or pedagogical. But Amaluna truly does succeed in showing many aspects of femininity from a place of strength and elegance. It was so wonderful to see such strong female characters on stage, not to mention such a variety of body types and personalities.
The main character of Prospera is inspiring. I can think of no way of saying this without sounding rude, so I'll just mention that that is in no way my intention... This artist is clearly a little older than the average cast member, but she is all the more radiant for it. It's so nice to see a more mature artist on stage and all that that maturity brings. Plus, she sings during her hoop act. I mean... come on.
Triple threat
I absolutely adored the centaur women and their high bar act. These women are clearly warriors. And when the men arrive in the show, swept in by a storm, the women hold their own and leave the men scampering away in fear. I know a lot of people aren't too keen on high bar acts, but as an ex-gymnast, I love them. I would have liked to see a little more technique, but I think I'm just being picky. What they did was amazing. Plus, they totally do some old school wraps on the bars, which I love, love, loved!
Here come the....boys? Oh dear...
Centaur women on high bar
But there's also softness in the show. The bone balancing act is best described as monumental stillness. It's a truly captivating moment in the show that brings many images to mind. You can't help but think of Adam and Eve, only this time, Eve is building her own world from ribs. Or perhaps you focus on how fragile life is, or better still, how the tiniest piece of the puzzle is just as important as every other piece, if not more.
Bone balancing
There were some weak moments as well, I'm afraid. I really didn't care for the white peacock character. This dancer may have her own solo but frankly, I wasn't at all impressed by her. I feel there are far more skilled dancers out there. No to mention far more exciting circus. The closing number is also pretty weak. Not because it's bad, it's just that for a finale, there isn't much to it. Three women do straps, only there's very little straps involved, just a whole lot of swinging back and forth. It's clear that only one of the three was actually trained in straps. Plus, there's a duo straps act in the beginning so it seems a little repetitive. And the clowns... the clown act in that show is by far the most messed up thing I have ever seen. It mostly involves pregnancy, multiple births, and football babies.
What did I just watch?
The show still has a lot of growing to do, but that goes for any new show. I think that once it really finds its legs and has time to evolve, it will be a really great show in the same sphere as classic shows like Quidam. I'm so happy that Soleil decided to have a women centric show, but more than anything, I am so impressed by how well the subject was treated. I mean, yes, they do still fall into some kind of love story, and everyone does seem their man in the end. But I think the idea wasn't so much that a woman needs a man as it was that men and women are a compliment to one another, and it's by creating that kind of relationship that we continue to evolve. But then, it's also just a circus show and maybe we all just like a happy ending...
Congratulations to all the cast and crew of Amaluna!
Hear us roar!
Saturday, July 7, 2012
MCC 2012 - Carrousel et Corde à Linge
Due to the frustrating limitations of the circus passport, I was unable to see LEO tonight and had to see Carrousel et Corde à Linge instead. As it turns out, I couldn't have hoped for a better stroke of luck!
Created by Îles-de-la-Madeleine company Vague de Cirque, Carrousel et Corde à Linge is two hours of circus that will not only make you smile, but is bound to impress even the toughest of circus critics. This show packs some seriously big circus into a seriously small space. The result is an intimate evening that guarantees that the audience is right in the heart of the action.
This show is silly. It is delightfully, wonderfully silly. And what makes their silliness so wonderful is that it isn't forced. No one is playing the buffoon. The absurdity comes from within and so even the most 'serious' of characters will still leave you laughing. It's a remarkable balance that leaves the audience completely under the artists' silly spell.
Where to begin? Part of me wants to ramble on like a five-year-old and mention every captivating detail. But the rest of me really wants you to have a chance to see the show yourself, so I don't want to give away all the surprises.
I can say this though, the cast is impressive. I've learned that the show came together in only two weeks! And one artist was only integrated into the show yesterday! That recent integration can be felt, however. While the rest of the troupe appears on stage as one, this new addition seems to come out of nowhere and disappear just as quickly, making you wonder what she's doing there at all. Not that she isn't skilled. There's just more serious integration work that needs to be done. Aside from that and a few first performance kinks, the show was a smash.
I particularly liked Yohann Trépanier's character. What could have been your clichéed nerdy clown quickly became my coup de coeur. And this boy is skilled. Aside from a duo juggling act (the weirdest, most ridiculous juggling act I have ever seen, and loved), and a hat juggling act, not to mention all the group stuff, Yohann managed to do a technically impressive acrobatic bicycle act on a stage that was only 16 feet in diameter! For those who aren't in the know, usually the double is required for such an act!
Pauline Bonnani won me over with her absurd character and impressive acrobatic skills. We all know I love to see a woman represent when it comes to acro, and Pauline did just that. Banquine, acro solo, and teeterboard flyer, she left no doubt that she was there to execute some serious skills. And her character... her character! Forget the girly girl, or the bitch. Pauline's character wasn't a tomboy, but wasn't trying to be terribly feminine either. It seemed like an endearing if not socially awkward girl just trying to do some backflips, damnit. And it was awesome.
Holding the show together was comedic character Raymond Raymondson, created and portrayed by artist Gregory Lackovic. Let me tell you, it is very easy to have too much of a clown. It is very easy to wish that the clown would just get off stage already and let the acrobats do their job. In fact, I would say it's very easy to hate the clown. But you would be hard pressed to feel anything but enchantment with Gregory Lackovic. Not only is character really funny and absolutely solid, but he brings a much needed maturity and obvious experience to the entire show. You could feel that that maturity has rubbed off on the other artists and the entire production is better for it.
Vague de Cirque was a wonderful discovery for me and the perfect way to kick off the festival. I really look forward to seeing more from them in the future, and I highly recommend you see them while you can!
Carrousel et Corde à Linge runs in their chapiteau next to the Tohu on Saturday July 7th at 16h and 19h, as well as Sunday July 8th at 19h.
After that, you'll have to make a trip to the Magdalen islands. Which really doesn't sound all that bad if you ask me.
As for LEO? I'm seeing it tomorrow.
Stay tuned for more MCC coverage!
Created by Îles-de-la-Madeleine company Vague de Cirque, Carrousel et Corde à Linge is two hours of circus that will not only make you smile, but is bound to impress even the toughest of circus critics. This show packs some seriously big circus into a seriously small space. The result is an intimate evening that guarantees that the audience is right in the heart of the action.
This show is silly. It is delightfully, wonderfully silly. And what makes their silliness so wonderful is that it isn't forced. No one is playing the buffoon. The absurdity comes from within and so even the most 'serious' of characters will still leave you laughing. It's a remarkable balance that leaves the audience completely under the artists' silly spell.
Where to begin? Part of me wants to ramble on like a five-year-old and mention every captivating detail. But the rest of me really wants you to have a chance to see the show yourself, so I don't want to give away all the surprises.
I can say this though, the cast is impressive. I've learned that the show came together in only two weeks! And one artist was only integrated into the show yesterday! That recent integration can be felt, however. While the rest of the troupe appears on stage as one, this new addition seems to come out of nowhere and disappear just as quickly, making you wonder what she's doing there at all. Not that she isn't skilled. There's just more serious integration work that needs to be done. Aside from that and a few first performance kinks, the show was a smash.
I particularly liked Yohann Trépanier's character. What could have been your clichéed nerdy clown quickly became my coup de coeur. And this boy is skilled. Aside from a duo juggling act (the weirdest, most ridiculous juggling act I have ever seen, and loved), and a hat juggling act, not to mention all the group stuff, Yohann managed to do a technically impressive acrobatic bicycle act on a stage that was only 16 feet in diameter! For those who aren't in the know, usually the double is required for such an act!
Pauline Bonnani won me over with her absurd character and impressive acrobatic skills. We all know I love to see a woman represent when it comes to acro, and Pauline did just that. Banquine, acro solo, and teeterboard flyer, she left no doubt that she was there to execute some serious skills. And her character... her character! Forget the girly girl, or the bitch. Pauline's character wasn't a tomboy, but wasn't trying to be terribly feminine either. It seemed like an endearing if not socially awkward girl just trying to do some backflips, damnit. And it was awesome.
Holding the show together was comedic character Raymond Raymondson, created and portrayed by artist Gregory Lackovic. Let me tell you, it is very easy to have too much of a clown. It is very easy to wish that the clown would just get off stage already and let the acrobats do their job. In fact, I would say it's very easy to hate the clown. But you would be hard pressed to feel anything but enchantment with Gregory Lackovic. Not only is character really funny and absolutely solid, but he brings a much needed maturity and obvious experience to the entire show. You could feel that that maturity has rubbed off on the other artists and the entire production is better for it.
Vague de Cirque was a wonderful discovery for me and the perfect way to kick off the festival. I really look forward to seeing more from them in the future, and I highly recommend you see them while you can!
Carrousel et Corde à Linge runs in their chapiteau next to the Tohu on Saturday July 7th at 16h and 19h, as well as Sunday July 8th at 19h.
After that, you'll have to make a trip to the Magdalen islands. Which really doesn't sound all that bad if you ask me.
As for LEO? I'm seeing it tomorrow.
Stay tuned for more MCC coverage!
Friday, April 6, 2012
Amaluna - A Little Bit of Background
I wanted to post this yesterday with the other Amaluna posts, but between taking advantage of my last day in Copenhagen and getting ready for the voyage to Berlin, I didn't have the chance.
The following is an interview with Amaluna director Diane Paulus. I like how she says that the idea behind this female-centric show wasn't so much about women's issues as it is about showcasing strong female characters and a matriarchal society. By doing that, I think, you still ultimately touch upon women's issues, but in a way that isn't preachy or pedagogical.
Also, I love how the hoop artist character of Prospera is portrayed by an older acrobat, and that the women you see in this video all look so strong and powerful.
But enough about what I think. See for yourself!
UPDATE - From the Montreal Gazette:
"The upcoming Cirque du Soleil production Amaluna will be a love story inspired by Greek mythology, Amazonian warrior women and Shakespeare, featuring 70 per cent female performers.
The story, modelled after Shakespeare's final play, The Tempest, tracks the romance between a shaman queen's daughter and a prince, on a remote island called Amaluna. Paulus, who has been working on the show for two years, said it will be an 'homage to women.' "
The following is an interview with Amaluna director Diane Paulus. I like how she says that the idea behind this female-centric show wasn't so much about women's issues as it is about showcasing strong female characters and a matriarchal society. By doing that, I think, you still ultimately touch upon women's issues, but in a way that isn't preachy or pedagogical.
Also, I love how the hoop artist character of Prospera is portrayed by an older acrobat, and that the women you see in this video all look so strong and powerful.
But enough about what I think. See for yourself!
UPDATE - From the Montreal Gazette:
"The upcoming Cirque du Soleil production Amaluna will be a love story inspired by Greek mythology, Amazonian warrior women and Shakespeare, featuring 70 per cent female performers.
The story, modelled after Shakespeare's final play, The Tempest, tracks the romance between a shaman queen's daughter and a prince, on a remote island called Amaluna. Paulus, who has been working on the show for two years, said it will be an 'homage to women.' "
Tuesday, March 13, 2012
Circus, Women, and Family
This is a very challenging post for me to write. I am at an age where I'm expected to start thinking of settling down and having kids. While establishing a home base that isn't a suitcase is definitely a thought that flits through my head often enough, having children is not.
So why do I feel so compelled to write about this? Because of a certain act of injustice that has left me extremely angry. I mentioned in an earlier post that there were quite a few babies born in the troupe over the last 12 months. While six babies were born, only one of the mothers happens to be an acrobat. Otherwise, the new moms are all the wives of people in the show, but not in the show themselves.
When L got pregnant, they needed to hire two people to replace her. When she went on maternity leave, she made it very clear that she would be coming back, and that the trampoline act she created was hers and that she was letting them keep it in the show for the sake of the story.
When L started discussing coming back on tour, the director seemed lukewarm to the idea at best.
"Oh... but I really like that bit we added with O..."
Yeah, as awesome as those 30 seconds are, we are talking about a person's job and livelihood.
She continued pushing the point, trying to get an idea of when she could come back. First there was the story of that 30 second moment. Then how her coming back would somehow complicate things at the office. Finally, the director sent her an e-mail saying that the person replacing her on trampoline had a better energy than she did, brought more to the show, and that they would be keeping him. If she wanted, she could come back for hand to hand and that's it.
She has been with the company for eight years and has done six different acts in five disciplines. In this show, she does three acts and just had two taken away from her. What would have happened if they had managed to replace her with only one person? Would she be allowed back at all?
Now, correct me if I'm wrong, but I'm pretty sure that when you go on maternity leave, you're not only entitled to getting your job back, but to getting the same job back. Not just a third of it.
Worth mentioning: When L was trying to get pregnant and they were looking for replacements for her, the director had a conversation with the costume woman about B, a potential replacement for L. It went a little something like this "Yes, you can tell that she's had children. It really makes a huge difference on stage. She just seems so much more mature and womanly. Yes, you can really tell she's had children."
So... first L wasn't good enough because she wasn't a mother, and now that she has children, you realize that it wasn't so much the whole children/no children thing that was an issue as her not being a hot Brazilian man? Gotcha.
It gets worse.
The future of the show isn't even remotely clear at the moment, but there's a chance we will be performing in Paris in the fall. That's kind of a big deal. L now fears that some producer is going to see O performing her act and want to hire him for it. Not only is this new mother getting screwed over by her long time employer, but she's now at risk of losing future employment because someone else is getting credit for her work! This tour is almost over, having new work possibilities is pretty crucial. And from what I've heard, O hasn't exactly shied away from using other people's material in the past when it proved profitable.
So what can she do? The company doesn't feel they are doing anything wrong. They pull out bullshit logic like, "Oh... well, Paris wasn't part of the original contract so it doesn't apply to your maternity leave."
Newsflash: we never signed a contract (there's a reason for this, but I won't get into all that here). At most, it was said the that the tour would probably go on until June 2012. And if you look at the DVD release of this show, it states that the tour was from 2009 to 2013...
I feel like she needs to file a complaint. Her partner, who is also in the show, feels the same way. But I can understand her hesitation. She's afraid that if she rocks the boat, she won't be taken back at all. She has two new babies at home and the family needs the income.
I will never forget what a colleague said when one of my peers was about to become a parent: "It's easier for the guys. They can go off on tour right away and it doesn't matter. The baby needs their mother, they need her milk. It's so much easier for the guys..." In that case, the dad was the acrobat and the mum just followed him around on tour.
I know that it's hard for the men in the troupe to be away from their families. But at least there was never a question of whether or not they'd be allowed to have their jobs back once the baby was born.
I know many other woman in circus who have had children and continue to tour and perform. I have no idea how they do it, but I admire and respect them for it. Personally, I can't help but think it would be the end of my career.
I am disgusted by the actions of my company. By their own logic (so and so brings more to the show), there are a couple of musicians who should be let go because when their replacements perform, not only do they bring a much better energy to the show, but they also play their instruments a hell of a lot better. Oh wait... they're Associates. Never mind...
Balancing motherhood and a career is challenging enough for most women, and frankly, I'm not sure just how much has been done to facilitate it. But for the modern female acrobat? I can't even wrap my head around it. And the attitude of my company, the idea of that having a child could be a fatal blow to your career...
I would have liked for this to be a reflective, measured post on women in circus and the effect that motherhood has on that role. But I am not a mother, only a witness to an acrobat's struggle with motherhood and returning to work. As a woman and her friend, I can't get beyond the anger, frustration, and inability to understand how this is even an issue today.
If you're a woman in the circus and have had a child, I would love to hear about your experiences.
So why do I feel so compelled to write about this? Because of a certain act of injustice that has left me extremely angry. I mentioned in an earlier post that there were quite a few babies born in the troupe over the last 12 months. While six babies were born, only one of the mothers happens to be an acrobat. Otherwise, the new moms are all the wives of people in the show, but not in the show themselves.
When L got pregnant, they needed to hire two people to replace her. When she went on maternity leave, she made it very clear that she would be coming back, and that the trampoline act she created was hers and that she was letting them keep it in the show for the sake of the story.
When L started discussing coming back on tour, the director seemed lukewarm to the idea at best.
"Oh... but I really like that bit we added with O..."
Yeah, as awesome as those 30 seconds are, we are talking about a person's job and livelihood.
She continued pushing the point, trying to get an idea of when she could come back. First there was the story of that 30 second moment. Then how her coming back would somehow complicate things at the office. Finally, the director sent her an e-mail saying that the person replacing her on trampoline had a better energy than she did, brought more to the show, and that they would be keeping him. If she wanted, she could come back for hand to hand and that's it.
She has been with the company for eight years and has done six different acts in five disciplines. In this show, she does three acts and just had two taken away from her. What would have happened if they had managed to replace her with only one person? Would she be allowed back at all?
Now, correct me if I'm wrong, but I'm pretty sure that when you go on maternity leave, you're not only entitled to getting your job back, but to getting the same job back. Not just a third of it.
Worth mentioning: When L was trying to get pregnant and they were looking for replacements for her, the director had a conversation with the costume woman about B, a potential replacement for L. It went a little something like this "Yes, you can tell that she's had children. It really makes a huge difference on stage. She just seems so much more mature and womanly. Yes, you can really tell she's had children."
So... first L wasn't good enough because she wasn't a mother, and now that she has children, you realize that it wasn't so much the whole children/no children thing that was an issue as her not being a hot Brazilian man? Gotcha.
It gets worse.
The future of the show isn't even remotely clear at the moment, but there's a chance we will be performing in Paris in the fall. That's kind of a big deal. L now fears that some producer is going to see O performing her act and want to hire him for it. Not only is this new mother getting screwed over by her long time employer, but she's now at risk of losing future employment because someone else is getting credit for her work! This tour is almost over, having new work possibilities is pretty crucial. And from what I've heard, O hasn't exactly shied away from using other people's material in the past when it proved profitable.
So what can she do? The company doesn't feel they are doing anything wrong. They pull out bullshit logic like, "Oh... well, Paris wasn't part of the original contract so it doesn't apply to your maternity leave."
Newsflash: we never signed a contract (there's a reason for this, but I won't get into all that here). At most, it was said the that the tour would probably go on until June 2012. And if you look at the DVD release of this show, it states that the tour was from 2009 to 2013...
I feel like she needs to file a complaint. Her partner, who is also in the show, feels the same way. But I can understand her hesitation. She's afraid that if she rocks the boat, she won't be taken back at all. She has two new babies at home and the family needs the income.
I will never forget what a colleague said when one of my peers was about to become a parent: "It's easier for the guys. They can go off on tour right away and it doesn't matter. The baby needs their mother, they need her milk. It's so much easier for the guys..." In that case, the dad was the acrobat and the mum just followed him around on tour.
I know that it's hard for the men in the troupe to be away from their families. But at least there was never a question of whether or not they'd be allowed to have their jobs back once the baby was born.
I know many other woman in circus who have had children and continue to tour and perform. I have no idea how they do it, but I admire and respect them for it. Personally, I can't help but think it would be the end of my career.
I am disgusted by the actions of my company. By their own logic (so and so brings more to the show), there are a couple of musicians who should be let go because when their replacements perform, not only do they bring a much better energy to the show, but they also play their instruments a hell of a lot better. Oh wait... they're Associates. Never mind...
Balancing motherhood and a career is challenging enough for most women, and frankly, I'm not sure just how much has been done to facilitate it. But for the modern female acrobat? I can't even wrap my head around it. And the attitude of my company, the idea of that having a child could be a fatal blow to your career...
I would have liked for this to be a reflective, measured post on women in circus and the effect that motherhood has on that role. But I am not a mother, only a witness to an acrobat's struggle with motherhood and returning to work. As a woman and her friend, I can't get beyond the anger, frustration, and inability to understand how this is even an issue today.
If you're a woman in the circus and have had a child, I would love to hear about your experiences.
Thursday, March 8, 2012
Women in Circus for International Women's Day
The role of women in circus is, for me, a source of pride. Long before society began to see women as equals, and long before the idea of women being equals was even a thing, women had a place in the circus. Female circus performers date back to the earliest days of modern circus. In 1772, an early circus performance at Philip Astley's Riding School in London featured two equestriennes. In 1772!
By the end of the 19th century, American circus was entering its Golden Age. Women had a role in the circus, and unlike female performers in other artistic fields like theatre, they were respected and considered respectable. Successful, strong, and talented, the female circus artist was a role model for progressive urban women. The female circus star was proof that a woman could outshine a man.
So today, let us honour the strength, grace, and physical prowess of women of circus past.
More after the jump.
By the end of the 19th century, American circus was entering its Golden Age. Women had a role in the circus, and unlike female performers in other artistic fields like theatre, they were respected and considered respectable. Successful, strong, and talented, the female circus artist was a role model for progressive urban women. The female circus star was proof that a woman could outshine a man.
So today, let us honour the strength, grace, and physical prowess of women of circus past.
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More after the jump.
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