Konsten och vetenskapen har mycket gemensamt. Båda utforskar vi vad det är att vara människa, orsak och verkan, paradoxerna, det ljusa och det mörka.
At Cirkus Cirkör we often hear that we enact “the existential” and that audiences leave our performances invigorated, but with more questions than before. Much like the champions of science, we seek answers to life's big questions without knowing if or when we will find them. It is no coincidence that our creative director Tilde Björfors is one of the world’s few circus professors or that co-creating with researchers continues to drive us forward.
Our creative director is a circus professor
The American composer Philip Glass, who during the pandemic year 2020 composed the world's first circus opera, Circus Days and Nights, especially for Cirkör, firmly believes that "opera came from the circus, not from the church" and that "opera music is perfect for the circus". Here, on the borders between different art forms, is where the circus has always operated. Fittingly, Circus as a transgressor in art and society is the title of Tilde Björfors' dissertation.
Partner acrobats are driven by an ethos of cooperation, in addition to exploring what is possible to achieve mentally and physically through the body. The ensemble often shares a life-and-death bond, dependent on its cooperation with the technicians and riggers backstage.
Cirkör is fueled by what we call the interdisciplinary search. Tilde Björfors conducted her research in close collaboration with the Stockholm School of Economics and Karolinska Institutet. At the same time, Cirkör is engaged in ongoing research that spans various art forms such as circus, video art, dance and theatre studies.
The circus is interdisciplinary
With artistic research at its core, Tilde Björfors and affiliated researchers from other fields of science have expanded our knowledge of education, business administration, theatre studies, psychology and philosophy. The world is too complex to be understood other than through the contributions of a range of disciplines, in the same way, that the various circus disciplines form a whole that emphasizes collective efforts before individual ones and where the odd, the difficult to understand, the unusual and almost always contradictory are seen as vital components of the whole. Much like groundbreaking research, Circus is not and will never be mainstream. Contemporary circus lives slightly on the sidelines of society yet aims to change it through its art.
A vital aspect of Cirkör’s artistic vision is to use the art of circus to push boundaries – both internal and external – in art and society. Cirkör seeks what is singular, magical and risky. We hope to awaken people's sense of amazement through both majestic and minimal expressions on stage – and beyond the world’s major stages into the streets and squares of cities, even up in the skies above, in two hot air balloons, like in our show Puff, a joint venture with Stockholm's Kulturfestival.
Fear and brain research
In my attempts to understand how risk and opportunity work, both physically, emotionally and mentally, I have come to devote a lot of time to the brain. I’ve always had this curiosity about what happens physically when we create, collaborate and learn. Why do some people dare to fly 30 feet (10 meters) above the ground while others don’t? Where are our courage and fear located? And not least, can we I affect them?
In other words, initially, it was her desire to grasp her own fears that caused Tilde fall to fall in love with the art of contemporary circus and that later lead her to study the brain as an integral part of her research. Since the mid-2000s, the insights of neuroscience have increasingly influenced our workplaces in terms of how we view leadership and “employeeship”. In short, what it means to be a human being at work – otherwise known as neuro-leadership. Basically, there are two social systems that control the human brain: the first responds to threats and the second to rewards. The threat response is five times stronger than the reward response. Thus, in life, we are often driven by fear, unless we make a conscious effort to process and work with it.
Circus reshapes the brain
Circus is a life and death affair; fear is ever-present. Research shows that you can restructure your own brain, alter how it functions and thereby influence the onset of fear. Jacob Westin, a circus artist at Cirkör, talks about how he is sometimes asked if he is "out of his mind" when he bungee jumps from a hot air balloon. His answer:
No, on the contrary, I am in my mind. I have asked myself thousands of times if I can grab fear by the hand and jump, until my whole self – body and mind – says yes and knows exactly what do and does just that all on its own.
Research within the field of circus confirms that aerial acrobats seek mastery and control rather than sensation.
By consciously practising features of circus such as balance and being present, we can restructure our brains at the cellular level, for the better, and even create new brain cells – to keep our fears in check. Or more accurately, to make friends with our fear. Thus, the meeting of circus and brain research puts into words what happens when the brain’s right and left hemispheres work together and how, for example, flow arises within a circus artist, effortlessly. It occurs the instant before the flying trapeze artist lets go of the trapeze. Those watching also often experience a sense of total presence, a deep concentration that, despite its tension, is relaxed, open and expansive.
One flying trapeze artist described it as “a click in the brain” when he succeeds in executing a new movement or flight for the first time. By the same token, artists explain that it is much harder to unlearn a trick and relearn it the right way if one has initially learned how to execute it the wrong way. The connections in the brain must be redrawn. Juggling daily for six weeks has also been shown to stimulate the growth of the brain’s white matter, the part of the brain and spinal cord that carries information between nerve cells. Within the circus, we observe what happens in the body when we perform various physical exercises. Brain research on the other hand receives its information via scans, measurements and lab tests. In the space where circus and brain research meet, a language is created that helps us put life into words. A body philosophy meets physical thinking.
Creativity arises in collisions/friction
The circus contributes to creating a sense of wonder and, in the long run, an increased sensory intelligence. That is why experiencing circus, whether in a show, an exhibition or the workplace helps us to understand ourselves a little bit better, or at least keeps us asking questions. The circus simultaneously immerses us in deep seriousness, lightness, play, the non-verbal – and this touches us emotionally. The clown's gaze sees through all the facades we adults walk around with, that prevent us from being open and authentic and from living in the faith that, within all our shortcomings, vulnerabilities and enormous abilities we hold a multitude of amazing ideas.
Through brain research – with the support of the attitudes, approaches and disciplines of the circus – we can find solutions to the great challenges we face. Right and left hemispheres – different and complementary. At Cirkus Cirkör, we shaped our key concepts as three pairs of opposites, secure in the knowledge that it is in the collisions between the creative right hemisphere and the rational left that genuinely sustainable ideas arise. Thus, friction between two extremes is essential – both madness and quality – to realizing world-class circus and science. Qualitative madness is just one of our three guiding principles.
Business students meet Cirkör artists
Several times, Cirkör has collaborated with students from the Stockholm School of Economics, most recently on a research project where Emma Stenström, director of the university’s Center for Arts Business and Culture (ABC), was one of the affiliated researchers. Here, the students from the School of Economics helped provide the artists from Cirkör with left hemisphere tools, for example working with visions and concepts – which the artists were not accustomed to employing – to strengthen their brands as performers. This encounter with another way of thinking – or perhaps more accurately another form of schooling – was extremely rewarding for the artists. Through their work with the performers, the students in turn came to realize that they too are creative beings and were struck by the insight that creativity and creating meaning are not always viewed as essential at the School of Economics. Many of the business students expressed a desire to see more emphasis on this in the future. Additionally, the students gained a deeper understanding of entrepreneurship from the artists, who are more internally driven, follow their passions and shape their own professional lives. The students were also inspired by how the artists had learned to harness risks, while the students in turn asked themselves if they had in fact become more adept at avoiding risk.
Cirkus strengthens trust
Some extremely interesting observations have been made within the framework of Cirkör's concept Circus Transfer. Recently, several primarily online workshops were carried out with 94 participants from the global insurance company Allianz, the Swedish Institute, students from the Stockholm School of Economics and artists from Cirkör. The purpose of all the workshops was to explore and enhance trust by using the methods, approaches and attitudes of the circus. During the final three workshops, in connection with his Master’s thesis at Hyper Island, the former aerial acrobat Andreas Skjönberg asked the following question: Did the circus workshops increase your trust in the other participants? The results show that on average 72% of participants felt they had become more trusting.
Ethics, emotions and aesthetics build good leadership
The arts and circus have a bright future when it comes to group and leadership development, which is clearly illustrated in Julia Romanowska’s research at Karolinska Institutet on the effects of the “Shibboleth Concept”. Exposing managers and leaders to the existential issues that art raises has a significant positive impact on the managers’ colleagues as well as on employees, one far exceeding that of traditional leadership training. In short, Romanowska’s research concludes that increasing your aesthetic, emotional and ethical awareness as a human being is what allows you to be genuinely successful in a leadership role. Contemporary circus is a seminal influence in this area.
At the Stockholm School of Economics, a workshop control group explored increasing trust between students through physical exercises but without the methods, approaches and attitudes of the circus. Emma Stenström of the School of Economics found that the group that practiced circus to a greater degree referred to insights gained through their workshop than the control group without circus experience.
Cirkör – a center of knowledge
Cirkus Cirkör is a knowledge hub for the artistic and technical development of contemporary art and is continuously working to evolve further in this direction. We vigorously strive to be a leader in performing arts technology and safety. We are inspired by looking for technological solutions in contexts outside the realm of performing arts and hope to work with technical universities, and identify workshops, technical artists or artistic techniques on which we can base long-term collaborations. We are at the forefront of developing circus rigs and safety measures, and our goal is to train the riggers and technicians of the future. We hope to attract individuals who share our desire to foster technical developments within the performing arts that have both an edge and scope. We look forward to hosting residencies for technical innovation within the arts. To this end, we always work together with our artists and base our development and innovations on their needs and ideas. For us, it is a given that everyone – from riggers to acrobats – should be involved from the very beginning, from the idea stage of a production concept.
The circus is circular
We have a deep interest in touring sustainably. Perhaps we will return to the roots of the circus in the USA and once again begin touring by train? Increasingly, we use sustainable materials and, in keeping with the circus’s innate “circular thinking”, we strive to own as little as possible.
Our aim is to create something new, to go where others have not gone, play, evolve, grow and make the impossible possible. Would you like to play, conduct research, co-create, develop and innovate interdisciplinary arts with us? Get in touch.