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Census Arts | Situationen för cirkus i Europa Studie (Sweden)

Situationen för cirkus i Europa Studie (Sweden)

Över hela Europeiska unionen, och omfattar traditionell / klassisk och samtida cirkuskonst, är de övergripande målen för studien att:


  • Ge uppgifter om den socioekonomiska situationen och en övergripande bild av sektorn
  • Ge en analys av cirkussektorens innovativa potential
  • Ge en kvantitativ och kvalitativ utvärdering av EU-finansieringsbestämmelserna för cirkussektorn
  • Ge information om utbildningssituationen för barn som bor i resande cirkusföretag i EU


Fokus ligger på yrkesverksamma som arbetar i cirkus i vilken egenskap som helst och deras verksamhet under en viss tidsperiod.


Metoder för datainsamling:



En folkräkning av cirkus i Europa genomförs. Detta riktar sig till personer som arbetade i cirkus i en EU-stat mellan den 1 januari till den 31 december 2018, företag som skapade och presenterade arbete och enheter som festivaler, arenor och skapande centra som var värd för föreställningar under samma period. Länkarna för folkräkningen finns här:


För professionella – https://goo.gl/CaGHRE

För organisationer – https://goo.gl/kywmgg



Källor för relevant industriell litteratur och kontakter rörande arbetstagare, arbetsmönster, arbetstillstånd, utbildning av barn på turné, finansiering, lagstiftning, cirkusskolor och skapande centra, cirkusfestivaler och arenor i EU-medlemsstater kan läggas till de landsspecifika forumsidorna.


Studien har beställts av Europeiska unionen och genomförs av forskaren Verena Cornwall i samarbete med Panteia forskningsinstitut. Resultaten kommer att delas med alla som deltar och med andra inklusive beslutsfattare och universitet i hela Europa.


Alla frågor kan riktas till combarts@gmail.com

  • Anonymous
    Posted at 18:24h, 07 January Reply

    From the CASA Guide, here is a brief overview:
    Swedish contemporary circus is considered to have part of its origin in the street theatre group Jordcirkus in the 1970 and 80s. They were inspired by many of the same ideas and conditions as their contemporaries Circus Oz and Archaos, and could be defined as political circus-theatre. In France the generational energy of that time developed into nouveau cirque, while in Sweden it diminished or was channeled into physical theatre – only to reoccur later. While today contemporary circus is growing wildly and in many different directions in Sweden, street theatre is very rare. The weather may play a role, but that’s not the whole story. In recent history street theatre has been strongly associated with the left-oriented political theatre movements of the 1970s – to the times of parents and grandparents – and as such has often been considered old-fashioned. This is changing, however; today we see young circus companies creating outdoor performances with the desire of reaching audiences that don’t find their way to theatres. Circus and street art remain connected, though as yet there is no independent outdoor performance sector in Sweden.

    As early as the 1980s you could take acrobatics classes in Stockholm. In 1987 Gycklargruppen was formed, a company working with a mix of comedy and circus disciplines and inspired by the audience interaction they had encountered in street performance abroad. The first circus education was started by an artist from Gycklargruppen in 1988.

    Another key influence was Stockholm Water Festival inviting international new circus shows to Stockholm in the early 90s. Archaos was a big success, and together with other pioneer companies like Circus Oz and Cirque Plume, they introduced the circus form to the Stockholm audience and to Swedish culture.

    In 1995 Cirkus Cirkör created their first show with the support of Stockholm Water Festival – and the rest is history. Cirkus Cirkör has developed at pace through the last twenty years, going from a group of wild and independent young artists to a company that produces shows that tour the world, that founds educational programmes, that pushes for changes in cultural policy to improve the recognition of the circus form, that trains hundreds of thousands of children in circus techniques all over Sweden, and that has won recognition as a regional institution with a mission to develop the art form. Cirkör’s importance to the development of the art form in Sweden is immense. Since the end of the 90s the company has been located in Botkyrka – a city that has invested greatly in Cirkus Cirkör and in the development of the contemporary circus field. Subtopia is a cultural cluster owned by Botkyrka, with the mission of building infrastructure for the creation, touring and presentation of circus.

    While we are still waiting for the new wave of outdoor performance to hit us, we nonetheless enjoy a variety of artistic approaches within contemporary circus in Sweden. Since the 90s different new circus practitioners have continuously emerged, each with their own vision and idea of what circus is and should be. Circus is performed in many different venues and spaces all over the country; it draws on all the performing arts and there is a growing audience acquainted with the form. In Sweden there is a national federation, open training for professionals, higher and research education, residency systems, networks, and within the circus sector we find an impressive number of international collaborations compared to other art fields. (Verena)

  • Mariya Mariya
    Posted at 21:20h, 21 October Reply

    Thanks for sharing

  • Ziane.ziane
    Posted at 20:14h, 06 December Reply

    Thanks for your efforts.

  • ahlam st
    Posted at 08:13h, 07 January Reply

    great post,thanks

  • tita
    Posted at 12:24h, 27 January Reply

    thanks so much for this post

  • aryne
    Posted at 13:18h, 28 February Reply

    Thank you for sharing this interesting blog

  • aryne
    Posted at 14:33h, 29 March Reply

    Thank you, it is very helpful article.

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